Este estudo apresenta a escritora chilena María Luisa Bombal ao cenário da crítica literária brasileira, destacando brevemente suas obras, porém detendo-se em A amortalhada, escrita em 1938. Assim, buscar-se-á mostrar alguns recursos recorrentes nesta obra da autora, sobretudo no que tange à(s) voz(es) apresentada(s) no desenvolver-se da narrativa, ou seja, analisar como se dá o discurso. Em particular, na pesquisa, tratar-se-á de ritmo, rima e sinestesias, recursos que contribuem para que a obra seja de uma simbologia, rara e precisa. / We intend to introduce this study about Chilean writer María Luisa Bombal´s life and work to the scenery of Brazilian literary criticism, trying to analize more closely La amortajada (The shrouded woman) (1938) considered extremely important in Chilean and international literary milien. We will emplacize certain narrative devices like the use of differet voices in the discourse, all along the plot, rhythm, rhyme and synesthesy which contribute to the creation of a typical symbology, rare and need.

Rosa. Articula-se a proposta de uma análise estilística do texto com a interpretação de cunho psicanalítico, sobretudo a partir de Freud. Situa-se, primeiramente, a relação entre este estudo e a fortuna crítica da obra selecionada, discutindo aspectos relevantes dos trabalhos de outros estudiosos. Ao abordar a relação entre o foco narrativo e o protagonista e utilizando-se de indicações do próprio Guimarães Rosa presentes em outras obras e em correspondências com seus tradutores, utiliza-se a metáfora do badalar de um sino como homólogo aos movimentos internos e externos de Soropita, sobretudo em torno da questão da manutenção do recalque como forma de preservar sua estabilidade social e pessoal. Esta dissertação reflete ainda sobre uma possível disposição melancólica de Soropita, além de estudar aspectos significativos do amor entre este personagem e sua esposa, Doralda, que mantém relação com a dinâmica do recalque. Aponta-se, por fim, para o caráter cíclico e inconcluso da presente narrativa, como sendo sua marca distintiva, não havendo, no nível do personagem principal, solução possível para seus dilemas. As questões histórico-sociais, pertinentes ao contexto abarcado pela novela, também serão articuladas ao estudo do estilo e à problemática psicanalítica abordada. / The present essay examines the novel Dão-Lalalão, by author João Guimarães Rosa, from Minas Gerais. It articulates the proposal of a stylistic analysis of the text with the interpretation of psychoanalytic nature, especially from Freud. It is placed, first, the relationship between this study and the critical fortune of the selected work, discussing relevant aspects of other scholars works. In addressing the relationship between the narrative focus and the protagonist and using Guimarães Rosas own indications present in other works and correspondence with his translators, it is used the metaphor of the chime of a bell as correlation with the internal and external movements of Soropita especially around the issue of maintenance of repression as a means of preserving his social and personal stability. This work still reflects on a possible melancholic disposition of Soropita, in addition to study significant aspects of love between this character and his wife, Doralda, which maintains relationship with the dynamics of repression. It points out, finally, to the cyclical and inconclusive nature of the present narrative, as its distinguishing mark, do not existing to the level of the main character, possible solution to his dilemmas. The historical and social issues, relevant to the context covered by the novel, will also be articulated to the study of the style and to the psychoanalytic problematic issues considered.

Essa dissertação apresenta um estudo do poema Memórias do boi Serapião, de Carlos Pena Filho, publicado em 1956. Sob a perspectiva da Estilística, o estudo aponta como a seleção de elementos lingüísticos contribui para a construção de sentido e expressividade do poema, mais especificamente na caracterização dos espaços \"campo atual\" em relação ao \"campo da infância\", guardado na memória. A personagem central e eu lírico do poema é o boi Serapião, que lança um olhar sobre as imagens pictóricas do passado: \"um campo verde e mais verde\", a \"rede azul do terraço\", as filhas banhando-se no rio contrapondose à imagem de um \"campo vasto e cinzento\", de \"homens secos e compridos\", de mulheres com vestidos desbotados e \"crianças feitas de farinha e jerimum\". Paralelamente, essas imagens contrastantes vividas pelo eu lírico são um convite ao leitor a partilhar das experiências do boi na \"terra do não chover\". / This dissertation shows a study of the poem Memórias do boi Serapião from Carlos Pena Filho published in 1956. Under the perspective of the Stylistic, the study appears with the selection of linguistic elements it contributes to the sense construction and expressiveness of the poem more specifically in the characterization of the spaces \"current field\" in relation to the \"field of the childhood\", kept in the memory. The central character and the lyrical subject of the poem it is the ox Serapião, that launches a glance on the pictorial images of the past: \"a green and greener field\", the \"blue net of the terrace\", the daughters taking a bath in the river opposing to the image of a \"vast and gray field\", of \"dry and long men\", of women with faded dresses and \"children done of flour and pumpkin\". Parallel, those contrasting images lived by the lyrical subject they are an invitation to the reader to share the experiences of the ox on the \"earth it does not rain\".

La littérature en langue vernaculaire du XIIe siècle cristallise une évolution lente dans les styles d'écriture : une simple lecture permet de constater l'absence ou presque de métaphores dans les chansons de geste, alors que des expressions métaphoriques, originales et diversifiées, ornent en nombre non négligeable les romans et les lais. Les arts poétiques médiolatins des XIIe et XIIIe siècles proposent leur définition de la métaphore, se situant dans la lignée des textes théoriques de l'Antiquité ou au contraire privilégiant la rupture. Ce bouillonnement réflexif caractérise l'engouement de l'époque pour le tour métaphorique. L'apparition et le développement de la littérature romanesque entraînent, dans son sillage, des modifications dans les manières de concevoir l'écriture : le traitement de certains motifs littéraires, au premier rang desquels la passion, ainsi que des contraintes nouvelles liées à la versification favorisent le recours aux métaphores. Des influences extérieures jouent également un rôle dominant : la littérature médiévale s'inspire de la poésie élégiaque latine, qui se complaît dans l'utilisation d'images amoureuses, mais également de la lyrique d'oc, qui offre une vision différente de la passion, fondée sur la réciprocité. / A slow evolution concerning the writing styles has taken shape in vernacular literature of the 12th century. A simple reading reveals that whilst hardly any metaphors are used in epic poems, original and varied figures of speech abound in novels and lays. The medieval Latin poetic arts of the 12th and 13th centuries have their own definition of metaphor. They either follow the line of ancient theoretical texts or choose to recreate it. This ferment of ideas illustrates the infatuation with metaphors which prevailed at that time. The appearance and the subsequent development of novelistic literature have caused writing modifications : the way some literary motifs –first and foremost passion- and new restraints due to versification encourage the use of metaphors. External influences also play a major part : medieval literature is inspired by Latin elegiac poetry -which indulges in love images- and by troubadour poetry, the latter offers another point of view about passion, based on reciprocity.

Notre thèse, La polyphonie de Rimbaud, a pour but d’analyser les œuvres d’Arthur Rimbaud sous l’angle de la polyphonie. De « Premiers vers » jusqu’aux Illuminations, le poète renouvelle sans cesse sa poésie et, en même temps, celle-ci devient de plus en plus compliquée et abstraite. Cette tendance provient de plusieurs logiques différentes qui apparaissent dans un même texte. En effet, dans Une saison en enfer, Rimbaud construit une narration très complexe en mélangeant plusieurs discours différents. Afin de dévoiler la structure polyphonique fondée sur plusieurs voix et sa fonction, nous analysons donc les textes du poète en appliquant quatre modèles de la polyphonies, liés à l’énonciation, à l’intertextualité, aux genres littéraires et au discours social. Selon nous, Rimbaud dépasse la limite de la poésie romantique, fondée sur le sujet empirique. Sa polyphonie contribue à l’universalisation du sujet poétique et de son abandon du privilège de l’auteur. C’est ainsi que le poète met en scène une multiplication des voix, pour inventer une nouvelle langue poétique. / The aim of my doctoral dissertation is to discuss Rimbaud’s poems, focusing on their various voices (polyphony). From “Premiers vers” to the prose poems, Illuminations, the poetry of Rimbaud never turns back on its tracks, and, at the same time, it shows an increasing tendency towards complication and abstraction. This tendency results from different logics at work in his poems. In fact, Rimbaud constructed a complex narrative structure for Une saison en enfer in 1873, by entwining many voices that have different tones. Therefore, I analyse this frequently contradictory principle of multilogic, adapting a stylistic and intertextual approach, and research Rimbaud’s method of polyphonic demonstration and its functions. His polyphony results in the universalization of his poetry and the loss of the author’s privilege which then encourages autonomous voices to form a new poetic language.

The purpose of this study is to trace and describe the form, origin and history of the praise poem ‘Ba Masemola’. This praise poem was included in the volume Seriti sa Thabantsho (1956). In that period, E. M. Ramaila collected and transcribed traditional praise poems of different groups, such as the Bapedi, the Batau, the Mapulana, and others. During his collection, Ramaila urged these groups not to forget their descent and history, and pointed out that these particulars were all brought together in their praise poems. Of the clans that are represented by their praise poems in this volume, only the Batau are discussed in this study. The Batau is a large group that is in its turn divided into five smaller groups, namely the Mphanama, Masemola, Nchabeleng, Makobe and Bakgaditsi groups. From among these smaller units the ‘Ba Masemola’ are selected for closer examination. Among the praise poems about the ‘Ba Masemola’ different kings are praised, for instance Mokwene, Tseke, Mabowe, and others. Not all these poems will be scrutinised, though occasional reference will be made to them. The most important concepts that are discussed in this study are the following: the praise poem, the narrative poem (poem with epic characteristics) and the epic. These genres share certain characteristics, yet also differ from each other. With regards to the content of the poem, several important characters are praised. The foremost figures that are mentioned here are the praise poet, the praised one and the ‘audience’. Their conduct differentiate them from characters found in (other) narratives works. The actions that are described can be divided into two groups, namely those that operate autonomously from other actions, and those that link with other actions. Nevertheless, all these happenings belong to the past. The milieu in this praise poem largely corresponds to that found in the narrative works, mainly because in the traditional settings, the praise poem is a declamatory piece that has several characteristics in common with the stage performance. In the description of the structural composition of this praise poem, a distinction will be made between the poem as literary work and the poem as verse. In the first case the theme, title and structure of the poem will be examined. The description of the structure of ‘Ba Masemola’ entails the different techniques Ramaila employs to carry across his ‘message’ and elucidates his point of view. In the examination of the verse composition, the first emphasis is on metrical principles that govern form, i.e correspondence and co-ordination, and the way in which Ramaila used them is then illuminated. In the stylistic finish of the poem there is a noticeable emotional charge. This can be mentioned as an important quality of the poem, and brings to the fore the bravery and fearlessness of the clan of GaMasemola. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

O presente trabalho tem por objetivo apresentar uma proposta de ensino da frase, das orações absolutas e orações coordenadas pelos quadrinhos. Trabalho esse que dialoga com a realidade do mundo moderno que, principalmente por conta das tecnologias da informação conectadas em rede, cada vez mais lançam mão da dinâmica e atrativa comunicação verbo-visual. Comunicação essa que, por despreocupações com o uso padrão da língua, gera impactos na comunicação em outros setores que exigem diferentes posturas em relação ao uso da língua. O referencial teórico metodológico da proposta é norteado pelos pressupostos bakhtinianos que abarcam a dialogia, a enunciação, os gêneros discursivos, a ideologia e, principalmente, as questões estilísticas do ensino da língua. Esse material foi trabalhado de forma a dar sustentação para que proposta pudesse oferecer conhecimentos gramaticais elementares aos alunos, para que eles, a partir daí possam ser inseridos em outros trabalhos de análise de estilísticas. Os tópicos gramaticais trabalhados foram: frase, orações absolutas e coordenadas. A título de contextualização, é apresentado também aqui um breve e importante panorama histórico das histórias em quadrinhos, passando pela prática do homem em utilizar figuras na comunicação até as desconfianças sobre a utilização dos quadrinhos na educação. Também são feitos breves comentários sobre os equívocos gerados ao longo do ensino gramatical e a apresentação de possibilidades signo-ideológicas que causam esses equívocos. Por fim, esta proposta não pretende substituir as gramáticas tradicionais, apenas um material de suporte ao professor e ao aluno no processo de ensino/aprendizagem dos importantes conteúdos gramaticais selecionados. Uma forma de tornar o ensino um pouco mais significativo. Adentra-se, também, este trabalho, no campo investigativo da Linguística Aplicada, uma vez que contribui para o ensino da língua materna. / The present study aims to present a proposal for teaching of sentence, absolute and prayers prayers coordinates by comics. This work that converses with the reality of the modern world that, mainly due to information technologies connected in network, increasingly throw hand of dynamic and attractive communication visual-verb. This communication which, by despreocupações with the standard usage of the language, generates impacts on communication in other sectors that require different attitudes concerning the use of the language. The theoretical framework of methodological proposal is guided by bakhtinianos assumptions which include the dialogia, the enunciation, the discursive genres, ideology and, mainly, the stylistic language education issues. This material was worked in order to give support for that proposal could offer elementary students grammar knowledge, so they then can be inserted in other works of stylistic analysis. The grammatical topics worked were: phrase, prayers and absolute coordinates. By way of background, are also here a short and important historical panorama of comics, passing by the practice in use figures in communication until the suspicions about the use of comics in education. Are also made brief comments on the misconceptions generated over grammar teaching and the presentation of sign-ideological possibilities that cause these misconceptions. Finally, this proposal is not intended to replace traditional grammars, only a supporting material to the teacher and the student in the teaching / learning of important content selected grammatical process. One way to make a little more meaningful education. Also, this work is entered in the investigative field of Applied Linguistics, as it contributes to the teaching of the mother tongue.

'T Uitnemend Kabinet is a two-volume collection of two and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amsterdam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book. he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music.

Pages 19 to 23 have been omitted because of Revision / Elizabethan prose fiction has been virtually ignored for a long time. The question of rhetoric in this fiction is an extremely complex issue, and studies which have examined this aspect are usually stylistic analyses that fragment the works by dissecting isolated passages for stylistic data concerning an author's manipulation of particular schemes and tropes. This approach has often tended to ignore the possibility that larger ideals and attitudes may underlie the use of rhetorical figures (i.e. elocutio) in particular passages. While this dissertation does not attempt to resolve the problems of the relationship between rhetorical training in the grammar schools and Elizabethan fiction, or between the English vernacular rhetorics and Elizabethan fiction, it offers some idea about what these writers thought about rhetoric beyond its status as ornamentation. This thesis tries to discover what these writers thought about the possibilities of rhetorical training --that is, about its moral status as an art of persuasion. In my view, the major writers of Elizabethan prose fiction dramatize the abuses of verbal skills; they explore some of the techniques of deception, distortion and manipulation that are afforded by rhetorical training. The subject-matter of this fiction is largely concerned with verbal methods of persuasion that manipulate and distort, that rely on false logic and dishonesty; these writers are concerned with rhetorical attempts to change the face of the "real" world in order to justify a particular idea, action, or belief. My thesis explicates the prose fictional works of Gascoigne, Lyly, Sidney, Nashe and Deloney with this theory in mind. As well as suggesting the ways in which rhetoric is handled as a subject in a variety of fictional contexts, my thesis also explicates the rhetorical strategies which these authors themselves use to involve their reader in evaluating rhetoric. / Thesis / Doctor of Philosophy (PhD)

本論文では，近現代日本語小説を分析対象とし，社会的文体の経時的変化と個人文体の意図的な変化をめぐって統計的分析法及び機械学習法のアプローチで計量分析を行った。まず，口語体が確立されてから日本の近現代小説の文体にどのような変化が起こっているかについて考察した。そして，現代作家の水村美苗が近代文学への憧れを原点として創作した一連の作品を取り上げ，水村の意図的な文体変化について分析した。 / 博士(文化情報学) / Doctor of Culture and Information Science / 同志社大学 / Doshisha University