No description available.

I believe art can offer an antidote to our numbness and rekindle a sense of childlike wonder. Reclaiming Wonder is an installation in which I aim to explore the possibility of evoking the curiosity of childhood in the viewer’s mind and transporting him or her into a dreamlike atmosphere to wander about in wonder through the use of the senses of sight, touch, and hearing. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

To interpret a poem is to comprehend a complete act of written communication. And to comprehend such an act, the reader must break the codes in which the communication is framed. Thus, poetic interpretation becomes the study of codes--or semiotics. Poetic codes exist at pragmatic, semantic, syntactic, and phonic levels. The decoding requires the reader's linguistic skills, literary competence, and personal experience. It involves an initial reading and a retroactive reading. At the first step, the reader attempts to supply elements missing in the text. Yet trying to interpret the text literally, he encounters problems in pragmatics, semantics, syntactics, or phonics, and is unable to grasp a coherent sense of the poem. Those problems give rise to a retroactive reading. At this step, the reader looks for a higher level of understanding where a unity of meaning can be identified. And by explaining the clues in the text according to his linguistic and literary competence, and revising his understanding on the basis of his new findings, he finally discovers a kernel concept, on which the whole text can be seen as a single unit, and every element, which first appeared to be puzzling, has a significative purpose. This semiotic model of interpretation has proven to be very fruitful in the explication of Tu Mu's poetry. It also enables the reader to appreciate the poetic discourse more thoroughly. Some of the ideas advocated by the model may also serve as principles for the translation of poetry. For example, in reading a poem, the model requires a search for unified pragmatic, semantic, syntactic, and phonic patterns, which convey the kernel concept. Thus, in translating a poem, the translator should also try to re-produce in the target language such unified patterns so that the reader may grasp the same kernel concept as contained in the original discourse. The model stresses implicities of poetry. Hence the rendition of a poem should preserve the implicities of the original text in order to invoke from the reader a response similar to what would be induced by the original poem.

Thesis (Ph.D.)--University of Tulsa, 1990. / Bibliography: leaves 217-225.

Thesis (doctoral)--Université de Toulouse-Le Mirail, 1996. / Includes bibliographical references (p. 294-307).

Thesis (doctoral)--Université de Toulouse-Le Mirail, 1996. / Includes bibliographical references (p. 294-307).

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-07-12Bitstream added on 2014-06-13T19:06:54Z : No. of bitstreams: 1 sgarbi_ea_me_assis.pdf: 450707 bytes, checksum: 62ad6590ab270f7e871637fead75c5bd (MD5) / A dissertação analisará construções imagéticas e estilísticas do escritor português José Saramago nas obras Os Poemas Possíveis (1966), Provavelmente Alegria (1970) e O Ano de 1993(1975), procurando estabelecer as diferenças e semelhanças entre as três obras mencionadas, tendo como foco o percurso figurativo e temático dos poemas, por meio da atenção ao rigor da construção, à tipologia dos versos e seus padrões rítmicos, aos campos semânticos e efeitos estilísticos. A dissertação também procurou estabelecer as relações entre lirismo e descrição; contenção irônica e fixação pelo problema limiar da arte e da poesia apresentadas pelo eu-lírico; uso de recursos retórico-poéticos; relação com arquétipos e mitos da memória coletiva; recortes epigramáticos; atributos simbólicos de conceitos chave (por exemplo: mar, terra, pedra, silêncio, palavra); construção da paisagem e seus componentes recorrentes (luz, sombra, água, terra, árvores, corpo), com vistas a compor o rol de motivos característicos à obra em análise. A análise, portanto, procurou realizar uma leitura que apreendeu as figuras de linguagem, a criação de imagens oníricas e a presença de conteúdos temáticos que atualizam assuntos de um repertório universal, com vistas a compor uma síntese das formas, imagens e temas recorrentes responsáveis pela configuração da linha poética do autor nas três obras consideradas, apontando nelas linhas convergentes e variantes. / The dissertation analyzed the imagery and stylistic construction of José Saramago in Os Poemas Possíveis, Provavelmente Alegria and O Ano de 1993, aiming to establish differences and similarities between the three poetic works of José Saramago apart from focusing on the figurative and thematic itinerary of the poems through the attention given to rigor of construction, typology of the verses and its rhythmical patterns, semantic field and stylistic effects. The present dissertation sought to draw a parallel between lirism and description, ironic contention, fixation by the problem of threshold of art and poetry suggested by self-lyric; use of rhetorical-poetic resources; relationships with archetypes and myths of collective memory, epigrams; symbolic attributes to key concepts (sea, earth, rock, silence, word) the construction of landscape and its components (light, shadow, water, earth, trees, body), with the objective of showing the range of motives typical of the works mentioned. Therefore, the dissertation also analyzed the language, the creation of oniric images and the presence of thematic contents which may refer to subjects of a universal repertoire, aiming to compose a synthesis of forms, images and recurrent themes responsible for the poetic trait of Saramago in his three poetic works, pointing out convergent and variant characteristics.

This narrative inquiry explores the implementation of multimodal, aesthetic responses to literature in my 12th grade English Language Arts classroom during the spring of 2018. Specifically, the study examines a unit of study for the novel The Color Purple, in which student received arts-based instruction from three different guest teaching artists and were asked to create multimodal final projects that expressed their understanding of the novel. Informed by social semiotic multimodality, the aesthetic theories of Dewey and Rosenblatt, and Bakhtin’s dialogism, this dissertation investigates the ways in which multimodal response to literature serves as a mechanism for making meaning and relevance for students. In light of the dominance of verbocentric modalities of constructing and expressing meaning within institutional schooling, this study explores the possibilities of non-verbocentric modalities and their potential role within the ELA classroom. Examining my data – field notes, audio recordings, video recordings, student surveys and student artifacts – through the lenses of the creation-reflection semiotic cycle (Dewey), and of modal affordances and modal fixing (Kress), I conclude that multimodal response can provide students with important mechanisms for understanding and engaging with literature. Specifically, I lay forth guiding principles for anchoring multimodal response to literary meaning, and for using multimodal response to invite students into the discourse community of the classroom.

The purpose of this paper is to carry out an analysis of the novel A Hora da Estrela (1977) and the film A Hora da Estrela (1986), based on the perspectives of the Semiotics and the Intersemiotics Translation. Theory the study shows that it is possible to involve distinct languagens in the process of different kinds of Things. Starting from a study of the translating and its conceptions, we discuss the adaptation process of the novel for the seventh art, so as to interweave of the different languages. The analysis is founded on the idea that adaptations can not be considered as faithful or unfaithful, in fact, they are recreations, transpositions, or transcreations in the words of Haroldo de Campos. The theoretical perspective of the study is based on the work of authors such as Júlio Plaza, Eisenstein, Gorlée, Benedito Nunes, in order to provide a richer support to the theoretical and critical analysis of both of literary text and the film, focusing on the intersemiotic dialogues in A Hora da Estrela. They were examined in the light of the literary text as a re-reading of Suzana Amaral whose work establishes a dialogue with as well as interpenetrates the work of Clarice Lispector (1977), offering an updated approach to the construction of the cinematographic narrative. / Este estudo tem por objetivo realizar uma análise do texto literário A Hora da Estrela (1977) e do filme A Hora da Estrela (1986), sob o ponto de vista da teoria semiótica e da tradução intersemiótica. Busca-se mostrar que o processo da tradução entre linguagens distintas é possível e abrangente, uma vez que envolve a literatura (como base) e o cinema articulados com diferentes tipos de signos. A partir do estudo da tradução e seus conceitos, discutir-se-á o processo de adaptação do romance para o cinema, de forma a viabilizar o entrecruzamento de linguagens e o trânsito dos signos. Entendemos que as adaptações fílmicas não podem ser consideradas apenas fiéis ou infiéis, mas sim, recriações que têm por base matrizes verbais literárias, conforme postula Haroldo de Campos (1980). Com o objetivo de complementar nossa análise teórica e crítica sobre A Hora da Estrela - livro e filme, Do Texto Literário ao filme: diálogos intersemióticos em A Hora da Estrela, objeto e título desta pesquisa, utilizamos instrumentais teóricos de autores que compartilham nosso percurso de discussão, tais como Júlio Plaza (1987), Eisenstein (2002), Gorlée (1993), Benedito Nunes (1989). Esses teóricos possibilitou-nos estudar o texto literário como se pôde a partir de uma releitura poética de Suzana Amaral, que em sua obra dialoga e interpenetra semioticamente a obra de Clarice Lispector atualizando-a na construção da narração cinematográfica e com quais as condições em que se deu esta recriação.

Based on a section of the author's Thesis (doctoral--University of Coimbra). / Includes bibliographical references (p. [151]-158) and index.