This thesis explores the poetics of editing in the films and multimedia works of Chris Marker. From his first essay films of the 1950s to his 1998 CD-ROM Immemory, the director’s work has attracted critical attention for its beauty and originality of expression. Much existing analysis engages with this work in terms of its subject matter and themes and their relationship with its associational, rather than linear, narrative form, with relatively little focus on the stylistics of Marker’s editing. While questions of the director’s thematic concerns also arise in my study, I argue that Marker’s contribution to cinema and the visual arts cannot be fully appreciated without a systematic understanding of his stylistics—his expressive use of cinematic forms and patterns. In developing such an understanding, this thesis utilises the work of a number of film writers explicitly concerned with the expressive use of cinematic space and time. From Andr?? Bazin, I take the idea of rapprochement to mean the way the comparison between two juxtaposed events or images suggests or expresses the meaning of their juxtaposition. From Jean-Andr?? Fieschi, I draw on the idea that the dialectical interaction of the plastic, formal and narrative elements of a film gives meaning to its cinematic space and time. My approach synthesises and builds upon both ideas for its account of the stylistics of Marker’s work. Starting with a preliminary analysis of one cinematic comparison in The Case of the Grinning Cat (2004), I then consider Marker’s exploration of the imaginative potential of a single image sequence in The Last Bolshevik (1993). After this, I explore examples of the stylistic figure of rapprochement in Letter from Siberia (1958), and the stylistic figure of transformation in Sunless (1982). The thesis then studies articulations of rapprochement and transformation in the museum installations Zapping Zone: Proposals for an Imaginary Television (1991), Silent Movie (1995) and the CD-ROM Immemory.

This thesis explores the poetics of editing in the films and multimedia works of Chris Marker. From his first essay films of the 1950s to his 1998 CD-ROM Immemory, the director’s work has attracted critical attention for its beauty and originality of expression. Much existing analysis engages with this work in terms of its subject matter and themes and their relationship with its associational, rather than linear, narrative form, with relatively little focus on the stylistics of Marker’s editing. While questions of the director’s thematic concerns also arise in my study, I argue that Marker’s contribution to cinema and the visual arts cannot be fully appreciated without a systematic understanding of his stylistics—his expressive use of cinematic forms and patterns. In developing such an understanding, this thesis utilises the work of a number of film writers explicitly concerned with the expressive use of cinematic space and time. From Andr?? Bazin, I take the idea of rapprochement to mean the way the comparison between two juxtaposed events or images suggests or expresses the meaning of their juxtaposition. From Jean-Andr?? Fieschi, I draw on the idea that the dialectical interaction of the plastic, formal and narrative elements of a film gives meaning to its cinematic space and time. My approach synthesises and builds upon both ideas for its account of the stylistics of Marker’s work. Starting with a preliminary analysis of one cinematic comparison in The Case of the Grinning Cat (2004), I then consider Marker’s exploration of the imaginative potential of a single image sequence in The Last Bolshevik (1993). After this, I explore examples of the stylistic figure of rapprochement in Letter from Siberia (1958), and the stylistic figure of transformation in Sunless (1982). The thesis then studies articulations of rapprochement and transformation in the museum installations Zapping Zone: Proposals for an Imaginary Television (1991), Silent Movie (1995) and the CD-ROM Immemory.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho aborda a influência dos elementos da língua falada coloquial na obra de Lygia Bojunga, cujo estilo costuma ser definido como prosa falada. Através da elaboração lingüístico-estilística de determinados aspectos da oralidade, a autora promove a identificação com o público-leitor ao utilizar uma linguagem que se aproxima daquela presente em seu cotidiano. Partindo do pressuposto de que a relação entre fala e escrita se baseia na noção de continuum, busca-se, por meio do levantamento das principais marcas da oralidade encontradas na obra de Bojunga, demonstrar as semelhanças entre ambas as modalidades, e assim provar que não se pode falar de superioridade de uma com relação a outra. No que se refere ao ensino do Português, pretende-se, levando a questão oralidade para as salas de aula, ampliar a visão dos alunos sobre a língua ao discutir as noções de heterogeneidade e preconceito lingüístico. / This research approaches the influence of the colloquial spoken language elements on Lygia Bojungas workmanship, whose style uses to be defined as "spoken prose".Through the linguistics-stylistics elaboration of determined orality aspects, the authoress promotes identification with the reader while using a language that approaches to that used in its quotidian. Considering that relation between spoken and written language bases on the notion of continuum, it is intended, by the survey of the main orality marks on Bojungas workmanship, to demonstrate likeness between both modalities, so that, it should not be affirmed that there is a superiority of one over the other. Regarding the Portuguese teaching, it is intended, bringing orality to the classrooms, to extend the students vision of the language while discussing about heterogeneity and linguistics prejudice notions.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho aborda a influência dos elementos da língua falada coloquial na obra de Lygia Bojunga, cujo estilo costuma ser definido como prosa falada. Através da elaboração lingüístico-estilística de determinados aspectos da oralidade, a autora promove a identificação com o público-leitor ao utilizar uma linguagem que se aproxima daquela presente em seu cotidiano. Partindo do pressuposto de que a relação entre fala e escrita se baseia na noção de continuum, busca-se, por meio do levantamento das principais marcas da oralidade encontradas na obra de Bojunga, demonstrar as semelhanças entre ambas as modalidades, e assim provar que não se pode falar de superioridade de uma com relação a outra. No que se refere ao ensino do Português, pretende-se, levando a questão oralidade para as salas de aula, ampliar a visão dos alunos sobre a língua ao discutir as noções de heterogeneidade e preconceito lingüístico. / This research approaches the influence of the colloquial spoken language elements on Lygia Bojungas workmanship, whose style uses to be defined as "spoken prose".Through the linguistics-stylistics elaboration of determined orality aspects, the authoress promotes identification with the reader while using a language that approaches to that used in its quotidian. Considering that relation between spoken and written language bases on the notion of continuum, it is intended, by the survey of the main orality marks on Bojungas workmanship, to demonstrate likeness between both modalities, so that, it should not be affirmed that there is a superiority of one over the other. Regarding the Portuguese teaching, it is intended, bringing orality to the classrooms, to extend the students vision of the language while discussing about heterogeneity and linguistics prejudice notions.

The aim of this thesis is editorial treatment of Memoirs, which was written by Karel Kojecký in the 1950s-1970s. Part of the thesis will be in addition to editorial note also linguistic and stylistic analysis of the text. Author of Memoirs comes from Kroměřížsko, the analysis will therefore also include the characteristics of the dialect, which he uses in the book.

This dissertation entitled The Afrikaner Nationalism and the Production of a White Cultural Heritage: An analysis of selected works undertaken by Dirk Visser and Gabriel Fagan from 1967-1993 examines the construct of a white settler heritage as promoted and implemented through various restorations and reconstructions of DutchNOC buildings. The primary rationale of this study is to critically assess the actions of the main protagonists in the creation of this heritage, that is, the Department of Public Works, the National Monuments Council, Anton Rupert (and his Historic Homes of South Africa), the Simon van der Stel Foundation, the Institute of South African Architects and the provincial institutes. Directly related to this issue is the assessment as to whether the isolationist nature of the South Africa contributed to the plethora of stylistic restoration and reconstructions undertaken during the apartheid era. This study comprises two sections: first, the examination of the intellectual theoretical texts of Foucault, Nora and others pertaining to power, ideology, history and memory, as well as the seminal texts of Jokilehto and Choay which discuss the stylistic and historicist conservation theories of Viollet-le-Duc; and second, the analysis of selected case studies undertaken by Fagan on behalf of the state (The Castle of Good Hope and De Tuynhuys) and Visser on behalf of Rupert and Historic Homes of South Africa (Drostdy of Graaff-Reinet).

No description available.

Friedrich Nietzsche represents a radical departure from alroost all of the philosophical tradition which preceded him. His stylistic differences from the tradition in philosophy find their basis in his perspectivism1 a strong form of relativism. Perspectivism is the theory that there are an indefinite number of different perspectives on the world, none of which can legitimately claim to be the true definition of it. Nietzsche bases a number of interesting arguments about language, truth and logic on perspectivism. His perspectivism is problematic because it cannot be asserted as true without also encountering a paradox: if perspectivism is a definitive perspective on the world, then perspectivism is false. Nietzsche found a method of dealing with this paradox through his writing style itself, viz. through his style he exenplifies perspectivism without seriously asserting it. That means that his style constantly refers to and serves as an exanple of perspectivism, and yet he never plainly asserts that perspectivism is a true description of the world. Nietzsche's style is intended to distinguish him from the rest of the philosophical tradition because he thought that was the only way to have his ideas accepted: on his own terms standing in opposition to the rest of the tradition, especially Socrates. / Thesis / Master of Arts (MA)

This thesis examines what roles linguistic, stylistic and sociocultural factors play in the popularity of contemporary Chinese-English bilingual codeswitching songs released between the years of 2004 and 2010, making a case study of the urban youth audience of Shanghai. It is significant as it is the first large scale study into Chinese-English songs that has looked at all of these three factors: linguistic, stylistic and sociocultural, but also because it compares the findings in these three areas from corpus analysis with an audience study. A corpus of 150 songs from popular codeswitching performers was collected, and was analysed individually in relation to the linguistic, stylistic and sociocultural factors with regard to features that may enhance the popularity of these songs. To this was added an audience study based on fieldwork in Shanghai which included participant observation and data collection from online surveys and individual interviews. First a linguistic analysis was done on syntactic grounds based on the Myers-Scotton 1993 Classic MLF (Matrix Language Frame) model, and this was followed by an analysis of the metaphorical functions of these songs following general pragmatic theories of Gumperz (1982). A stylistic analysis was then done on the corpus, using theories of literary stylistics from Leech (1969) and the stylistic findings of recent codeswitching researchers. This stylistic section also examined modes of language use after Hymes. The sociocultural aspects within the songs were examined using a social anthropological framework, and used research in the East Asian setting by Gao Liwei (2007) and Yang Mei-hui (1997) on identity formation, as well as the Accommodation Theory of Giles and Smith (1979), and other research relevant to codeswitching in the East Asian pop culture context, such as J. Lee (2004, 2006). Data collection was also carried out based on Hymes’ (1971) ethnographical techniques, and Blom and Gumperz’s (1972) participant observation. The findings from each of the factors were discussed in relation to the audience study and the results show that: 1) These codeswitching songs are both a reflection of the singers’ and audiences’ need to present a particular identity, negotiated within the particular expectations of music, genre and location. 2) Chinese-English codeswitching songs are a reflection of the high levels of English codeswitching in Shanghai, Chinese, and also wider East Asian popular culture, and reflect a growing bilingual or multilingual identity in wider East Asia. 3) The English within the Chinese-English codeswitching songs is localised to a Southern Chinese, almost a Shanghai context. 4) The uses to which codeswitching is put, or how codeswitching appears in songs, depends on many factors, and so it is difficult to clearly define the functions, stylistic techniques, or sociocultural purposes of codeswitching in songs consistently across different genres, chronological periods (due to changes in language use over time), or between cultures. Despite this, it is hoped that the number of unique findings from the corpus analysis and the discussion in this study could enlighten or stimulate future studies examining codeswitching in songs.

Nuo žiniasklaidos pasirenkamos kalbinės raiškos priklauso jos vartotojų kalbinė raiška. Žurnalo kalbinės raiškos savitumą lemia taisyklingi ir netaisyklingi kalbos vienetai. Taisyklingos žurnalo stiliaus priemonės: 1) vediniai; 2) leksiniai sinonimai; 3) sintaksiniai sinonimai; 4) stiliaus figūros – leksinės semantinės, sintaksinės. Deminutyvai – stilistiškai žymėtieji darybiniai vediniai, turintys ne tik maloninį, bet pajuokiamąjį, pašiepiamąjį atspalvį. Populiariausia žurnalo deminutyvų priesaga – -ukas, (-ė). Dažniausiai vartojamos semantinės figūros – metaforos ir metonimijos. Taisyklingos kalbinės raiškos priemonės analizuojamos pragmatinės lingvistikos požiūriu. Netaisyklinga žurnalo kalbinė raiška: 1) barbarizmai – nevartotinos naujosios svetimybės; 2) barbarizmai – neteiktinos svetimybės ir jų dariniai; 3) daliniai barbarizmai – hibridai; 4) netaisyklingi naujadarai; 5) žargonybės. Žurnale daug slavų, anglų kilmės barbarizmų. Vakarų kalbų skoliniai plinta kartu su naujomis technologijomis, prekėmis, paslaugomis. Barbarizmai tiriami semantinės ir funkcinės analizės metodu, keičiami lietuvių kalboje tinkamais vartoti žodžiais. Svarbi žiniasklaidos vadovų nuostata, susijusi su jų pačių kalbos kultūra. / Linguistic expression used by the media influences the linguistic expression of its users. The peculiarities of the linguistic expression used by the media are determined by correct and incorrect units of the language. Correct stylistic means used in the magazine: 1) derivedes; 2) lexical synonyms; 3) syntactical synonyms; 4) stylistic devices – lexical semantic and syntactical. Diminutives – stylistically marked derivedes used to convey not only a degree of endearment but also irony and mockery. The most common suffix of diminutives in the magazine is -ukas, (-ė). The most commonly used semantic devices are metaphor and metonymy. The correct means of linguistic expression are analysed in terms of pragmatic linguistics. Incorrect linguistic expression used in the magazine: 1) barbarisms – unacceptable new loanwords; 2) barbarisms – non-recommended loanwords and their derivatives; 3) partial barbarisms – hybrid words; 4) incorrect neologisms; 5) slang. Barbarisms used in the magazine are mainly of Slavic and English origin. The borrowings from Western languages have spread together with the new technologies, products and services. Barbarisms are examined using the method of semantic and functional analysis and are replaced with appropriate Lithuanian words. The attitude of the media leaders towards their own language culture is also a significant factor.