A proposta desta tese é analisar, na trajetória do poeta Ferreira Gullar, a presença constante e cada vez mais frequente de metapoemas que sistematizam uma noção de poesia na qual se destaca, entre os diferentes ethé presentes, um ethos professoral, com discurso marcadamente filosófico: o enunciador argumenta, explica, critica e ensina. A teoria utilizada para a análise do corpus, composto de doze poemas, pautou-se na estilística-discursiva, mais especificamente, a relação entre os recursos linguísticos utilizados (sonoros, lexicais, sintáticos, semânticos) e os efeitos de sentido produzidos no plano da enunciação e do discurso. Para os estudos estilísticos (a noção de estilo) e da enunciação, foram consideradas as teorias de Charles Bally (1951), Mattoso Câmara (1961, 1973, 1977), Mikhail Bakhtin (2002, 2003, 2013), Sírio Possenti (2000, 2001), Nilce Sant´Anna Martins (1989) e Émile Benveniste (2006). Para a Análise do Discurso de linha francesa, são discutidos os conceitos de Dominique Maingueneau (1993, 2008, 2011), especialmente sobre ethos discursivo e cenografia. Finalmente, para as considerações sobre a metalinguagem/ metadiscurso e argumentação, presentes nos poemas metalinguísticos, são citados os estudos de Roman Jakobson (1990, 2004, 2007), Samira Chalhub (2002), Sírio Possenti (2000, 2001), Ruth Amossy (2005, 2007, 2011), José Luiz Fiorin (2004, 2015) e Ingedore Koch (2003, 2004, 2007). A partir da análise do corpus, torna-se possível concluir que, na medida em que o militante marxista morre na poesia gullariana, ganham mais voz o crítico de arte e o filósofo Ferreira Gullar. Nesse sentido, o ethos professoral se faz presente e permite refletir sobre o tom didático dos poemas, na forma como ensinam sobre o gênero e o fazer poético. Partiu dos próprios poemas analisados a motivação para a atividade didática proposta no capítulo final. / The proposal of this thesis is to analyze, in the trajectory of the poet Ferreira Gullar, the constant and progressively frequent presence of metapoems which systematize a notion of poetry within which could be highlited, among the several present ethé, a professoral ethos, with a remarkable philosophic discourse: the enunciator arguments, explains, criticizes and teaches. The theory used in the analysis of the corpus, comprised of twelve poems, include discoursive stylistics, more especifically, the relationship between the linguistic resources used (sound, lexical, synthatic and semantic) and the effects of meaning produced in the plan of enunciation and discourse. Regarding the studies of stylistics (the notion of style) and enunciation, the theory of such authors like Charles Bally (1951), Mattoso Câmara (1961, 1973, 1977), Mikhail Bakhtin (2002, 2003, 2013), Sírio Possenti (2000, 2001), Nilce Sant´Anna Martins (1989) and Émile Benveniste (2006) were considered. On the the French Discourse Analysis side, the concepts of Dominique Maingueneau (1993, 2008, 2011), especially the ones of ethos and scenography, were brought into our discussion. Finally, in our considerations on metalanguage/ metadiscourse, the studies of Roman Jakobson (1990, 2004, 2007), Samira Chalhub (2002), Sírio Possenti (2000, 2001), Ruth Amossy (2005, 2007, 2011), José Luiz Fiorin (2004, 2015) and Ingedore Koch (2003, 2004, 2007) were called. After the analysis of the corpus, it was possible to conclude that, as the voice of the marxist militant fades in the gullarian poetry, the voices of both the art critic and the philosopher Ferreira Gullar rise. In this sense, the professoral ethos is present and makes it possible to reflect about the didactic tone of the poems, in the way they teach the genre and the poetic craft. The motivation for the didactic activity proposed in the final chapter of this thesis had its origin in the study of the poems heretofore analyzed.

O objetivo desta tese é estudar as escolhas temáticas, lexicais e estilísticas presentes na obra poética de Raul Bopp, produzidas contemporaneamente às manifestações da Antropofagia e detectar, a partir da constituição do ethos antropofágico, a expressão do conceito de brasilidade nas obras mais representativas: Cobra Norato e Urucungo. A recolha e a análise das escolhas foram feitas sob a ótica da Estilística e dos Estudos discursivos, fruto de uma visão interacionista e dialógica que trabalha o signo como uma instância de disputa pelo poder. O poeta, ao recuperar culturas silenciadas, dar voz a elas, e propor antropofagicamente a devoração constante, reconhece e valoriza a alteridade numa época em que a desigualdade entre etnias e raças tinha sido naturalizada. A metáfora da pele de seda elástica, presente em Cobra Norato, não é só representativa dessa obra, ela pode ser esticada à vida e à obra poética de Bopp: um antropófago que correu o mundo em busca de colher antropologicamente informações sobre as culturas para depois registrá-las poeticamente em suas obras. / The main purpose of this thesis is to study the thematic, lexical and stylistic choices in the poetic work of Raul Bopp, produced contemporaneously to Anthropophagy movement, and detect, from the constitution of the anthropophagic ethos, the expression of the concept of brazilianness in two of the most significant Bopp\'s poetic works: Cobra Norato and Urucungo. The collection and analysis of lexical choices were made from the Stylistics\'s and Discursive Studies perspective, the result of a dialogic and interactionist vision that works the sign as an instance of power struggle. The poet, when recovering silenced cultures, giving them voice, and suggesting anthropophagically the constant devouring, acknowledges and values the otherness in a time when the gap between ethnicity and races has been naturalized.The elastic silk skin metaphor, presented in Cobra Norato, can be stretched to Bopp\'s life and poetry: an anthropophagous who toured the world in search of different cultures, anthropologically collecting data that later became his poetry

O objetivo desta dissertação é estudar as escolhas e as criações lexicais de Mário de Andrade nas suas obras poéticas mais representativas da década de 20: Pauliceia desvairada; Losango cáqui e Clã do jabuti. Sob a ótica da Estilística Léxica e com auxílio da Semântica, recolhemos e analisamos as criações lexicais resultantes da necessidade estilística. Entendemos que elas foram escolhidas por Mário de Andrade para acentuar a expressividade de seu texto e procuramos demonstrar, através da sua inserção em campos-léxico-semânticos, a existência de temas reveladores da visão de mundo do autor e da época. As obras analisadas evidenciam a ampliação do território poético de Mário de Andrade que parte da cidade de São Paulo, em processo de urbanização, para abraçar o país multicultural. Através dos temas e das escolhas lexicais feitas, o poeta-enunciador, ao usar a máscara do arlequim, transfigura-se em poeta-arlequim, poeta-soldado e em poeta-antropólogo sugerindo, assim, a aproximação ou o afastamento de determinado grupo social. / The purpose of this dissertation is to study the choices and the lexical creations by Mário de Andrade in his most representative poetic works in the twenties: Pauliceia desvairada, Losango cáqui and Clã do jabuti. From the Lexical Stylistics point of view and with the Semantic\'s help, we collected and analyzed the lexical creations resulting from stylistic necessities. We understand that those were chosen by Mário to enhance the expressiveness of his text and we try to evidence, by inserting them in lexical-semantic-fields, the existence of themes revealing the poet\'s particular view of his world and time. The present work evidences the enlargement of Andrade\'s poetic territory which starts in a São Paulo city in urbanization process to embrace the whole multicultural country. Based on the themes and lexical choices made, the enunciator-poet, when uses the harlequin\'s mask, transfigures himself in a harlequin-poet, a soldier-poet and in a anthropologist-poet suggesting, in this way, the proximity or distance from specific social groups.

In this study of David Foster Wallace’s Infinite Jest, I combine the linguistic and literary theories of renowned scholar Mikhail Bakhtin to create a new lens through which to consider Wallace’s thematic project. Combining Bakhtin’s linguistic theories of dialogic conflict and heteroglossia with his literary theories on the grotesque provides an integrated stylistic methodology that illustrates the connections between Wallace’s use of imagery and style. In view of his use of both grotesque liminal imagery and dialogized heteroglossia, Wallace’s seemingly obsessive use of language is recast as a manifestation of grotesque embodiment that reflects the postmodern mileau in which he writes. I propose that Wallace crafts a series of grotesque stylistic devices that shape his words to match his theme. I propose two particular grotesque stylistic devices: narrative bleed in which the seemingly neutral narrative voice begins to reflect particular character discourses and character-to-character voice bleed in which dialogic conflict between characters is dramatically rendered within the novel.

Linguistics and literary studies approach the same object language from different perspectives. In spite of their shared interest, these fields of research are still separated by a border that is all too rarely crossed. The discipline of stylistics, however, has tried to exploit the common ground between the two domains. This dissertation will attempt to bridge the gap further by examining how linguistic theory can contribute to the elaboration of literary interpretations of selected works by three Nigerian authors. This study takes as its point of departure the Bakhtinian view that language is inextricably linked to its development in society. The medium carries the ideologies to which it has been attached throughout history, leaving speakers with the difficult task of appropriating words for the expression of their own intentions. This socially based perception of linguistic codes finds echoes in post-colonial theory, which has paid attention to the ideological implications behind the imposition of the colonial language in the former British Empire, to which Nigeria belonged. Post-colonial movements of linguistic decolonization have taken many forms and, in the literary field, the responses given by African authors have been among the most remarkable. The first chapter of this dissertation provides an overview of the question of language in African literature, an issue that has divided both writers and critics for decades. It is discussed here in relation to the definition of African literature and to more general considerations on the subject of categorization. The second part of the chapter is devoted to a discussion of the methodological choices that have informed the analyses conducted in the rest of the study. It is argued that linguistic investigations into Nigerian fiction should take into account the many culturally specific strategies that can be found in the countrys literature, but should also extend their scope to stylistic techniques that are not directly linked to the literary works post-colonial status. The second chapter focuses on the novel Another Lonely Londoner, a rarely discussed work by the little-known author Gbenga Agbenugba. The narrative is written in an experimental style that mixes English with Nigerian Pidgin and includes elements of Nigerian English, Black British English, Cockney and Yoruba. Extensive analyses of the interaction between English and Nigerian Pidgin are undertaken from sociolinguistic and grammatical perspectives, each time with the view of assessing the impact of the languages on the novels possible literary interpretations. The other codes, varieties and linguistic influences contained in the book also receive systematic treatment, and it gradually appears that all these elements combine to produce a complex polyphonic piece. The third chapter provides an examination of selected works by Chimamanda Ngozi Adichie. The investigation into Adichies writing constitutes the point of methodological articulation of this study. The first part follows the way paved by the analysis of Agbenugbas novel, and further looks into issues relating to cultures and linguistic codes, among which the themes of language and food in some of Adichies short stories, and the presence of Igbo, codeswitching and proverbs in her novel Purple Hibiscus (2003). The second part of the chapter departs from explicitly cultural models and investigates the narrators use of language with a variety of theories, borrowed for instance from functional grammar and cognitive linguistics. This combination of approaches aims at demonstrating that literary, cultural, social and cognitive methods can complement each other to produce a coherent interpretation of Adichies work. The final chapter compares Ben Okris second novel, The Landscapes Within (1981), with the authors revised version of the same book, Dangerous Love (1996). A general introduction outlining the changes that have taken place between the two narratives is followed by a discussion of some of the stylistic aspects that distinguish Okris earlier novel from his later text. The chapter then takes a cognitive turn, and tries to establish the importance of metaphor in the novels, especially in Dangerous Love. This analysis of metaphor leads to the creation of an interpretative framework that forms the basis for a textual analysis of some of the novels narrative sequences. The conclusion reaffirms that the adoption of an eclectic methodology has contributed to the exploration of Gbenga Agbenugbas, Chimamanda Ngozi Adichies and Ben Okris approaches to the notion of identity. In the light of these results, possible lines of research are evoked. La linguistique et les études littéraires abordent le même objet le langage ou la langue selon des perspectives différentes. Malgré leur objet commun, ces domaines de recherche restent séparés par une frontière qui nest que trop rarement franchie. La stylistique a toutefois tenté dexploiter lespace partagé par ces deux disciplines. La présente dissertation tâchera de poursuivre cet effort en examinant les manières dont la théorie linguistique peut contribuer à lélaboration dinterprétations littéraires ; ces dernières porteront, en loccurrence, sur des textes choisis dans luvre de trois auteurs nigérians. Cette étude prend sa source dans la conception bakhtinienne selon laquelle le langage est inextricablement lié à son développement au sein de la société. En effet, le médium charrie les idéologies auxquelles il a été attaché au fil de lhistoire, laissant les locuteurs aux prises avec une tâche difficile : celle de sapproprier les mots pour exprimer leurs propres intentions. Cette perception des codes linguistiques, fondée sur une approche sociale, trouve des échos dans la théorie post-coloniale, qui sest intéressée aux implications idéologiques de lutilisation imposée de la langue coloniale dans lancien Empire britannique, auquel appartenait le Nigeria. Les mouvements post-coloniaux de décolonisation linguistique ont pris de nombreuses formes et, dans le champ littéraire, les réponses apportées par les auteurs africains comptent parmi les plus remarquables. Le premier chapitre de cette dissertation offre un aperçu général du problème de la langue dans la littérature africaine, lequel divise écrivains et critiques depuis des décennies. Ce thème est ici mis en relation avec la définition de la littérature africaine, ainsi quavec des considérations plus générales portant sur la question de la catégorisation. La seconde partie de ce chapitre consiste en un examen des choix méthodologiques qui ont sous-tendu les analyses menées dans le reste de cette étude. Largument avancé dans cette section est le suivant : toute exploration linguistique de la fiction nigériane devrait prendre en considération non seulement les multiples stratégies culturellement spécifiques présentes dans la littérature du pays, mais également souvrir aux techniques stylistiques qui ne sont pas directement liées au statut post-colonial des uvres littéraires. Le deuxième chapitre est consacré à Another Lonely Londoner, une uvre rarement traitée par la critique et due à un auteur méconnu : Gbenga Agbenugba. Le roman est rédigé dans un style expérimental mêlant langlais au pidgin nigérian et incorporant des éléments danglais nigérian, danglais parlé par la communauté noire en Grande-Bretagne, de Cockney et de Yoruba. Des analyses approfondies de linteraction entre langlais et le pidgin nigérian sont entreprises selon des perspectives sociolinguistiques et grammaticales, dans le but dévaluer, dans chaque cas, limpact des langues sur les possibles interprétations littéraires du roman. Les autres codes, variétés et influences linguistiques contenus dans le livre font également lobjet dune étude systématique, dont il ressort progressivement que tous ces éléments se combinent de manière à produire un texte complexe et polyphonique. Le troisième chapitre examine une sélection duvres écrites par Chimamanda Ngozi Adichie. Lexploration de ces dernières constitue le point darticulation méthodologique de la présente étude. La première partie suit la voie tracée par lanalyse du roman dAgbenugba, et investigue plus avant certaines questions relatives aux cultures et aux codes linguistiques, parmi lesquelles les thèmes de la langue et de la nourriture dans certaines nouvelles dAdichie, ainsi que la présence de ligbo, lalternance codique et les proverbes dans son roman Purple Hibiscus (2003). La seconde partie du chapitre sécarte des modèles explicitement culturels pour explorer, à laide dun éventail de théories notamment empruntées à la grammaire fonctionnelle et à la linguistique cognitive, lusage que le narrateur fait du langage. Cette combinaison dapproches vise à démontrer que les méthodes littéraire, culturelle, sociale et cognitive peuvent se compléter pour produire une interprétation cohérente de luvre dAdichie. Le chapitre final compare le deuxième roman de Ben Okri, The Landscapes Within (1981), à Dangerous Love (1996), la version du même livre revue par son auteur. Une introduction générale exposant les grandes lignes des changements qui se sont produits dun texte à lautre précède un examen de certains des aspects stylistiques qui distinguent le premier roman dOkri du second. Le chapitre prend ensuite une dimension cognitive, et sefforce de souligner limportance de la métaphore dans les romans, particulièrement dans Dangerous Love. Cette étude de la métaphore mène à la création dun cadre interprétatif sur lequel se fonde lanalyse textuelle de certaines séquences narratives extraites du roman. La conclusion réaffirme que ladoption dune méthodologie éclectique a permis dexplorer la façon dont Gbenga Agbenugba, Chimamanda Ngozi Adichie et Ben Okri abordent la notion didentité. À la lumière de ces résultats, des pistes de recherche possibles sont évoquées.

Daß die Rhetorik für die Literatur und Wissenschaft der Frühen Neuzeit von größter Bedeu-tung ist, gehört seit langem zum Grundbestand der Forschung. Trotzdem ist praktisch keine der großen Rhetoriken dieser Zeit in einer neuen Ausgabe oder gar Übersetzung zugänglich. Die vorliegende Ausgabe ist ein erster Schritt, dieser unbefriedigenden Situation Abhilfe zu verschaffen, indem sie Philipp Melanchthons Elementa rhetorices zum ersten Mal in einer kritischen Ausgabe und Übersetzung zur Verfügung stellt. Neben den De copia verborum ac rerum des Erasmus sind Melanchthon Elementa rhetorices wahrscheinlich das meistgedruckte Lehrbuch des 16. Jahrhunderts. 1531 zum ersten Mal erschienen und bis 1539 mehrmals überarbeitet und erweitert, erscheinen sie bis zum Ende des Jahrhunderts in über hundert Ausgaben. An zahllosen Schulen und Universitäten im protestantischen Raum war ihre Lektüre für Generationen von Schülern Pflicht, die Dichter des 17. Jahrhunderts sind mit ihr zur Schule gegangen. Die vorliegende Ausgabe ist nicht nur die erste kritische Ausgabe des Textes, sondern auch die erste vollständige Übersetzung. Die bisher unbekannten Varianten der Ausgaben 1531, 1532 und 1536 sind in einem Variantenverzeichnis erfaßt. Der teilweise schwer zugänglichen Text wird durch einen umfangreichen Kommentar, ein Nachwort und ein Glossar erschlossen. Dabei wird nicht nur der Text selbst in der Form wiedergegeben, in der er dem Leser des 16. Jahrhunderts vorlag, sondern auch der den Elementa rhetorices ursprünglich beigegebene Anhang. Dieser Anhang umfaßt neben drei Briefen von Seneca und Plinius d. J. vor allem die "Gegensätzlichen Briefe" Giovanni Picos della Mirandola und Franz Burchards, einem Schüler Melanchthons. Burchard übernimmt hier die Verteidigung der Rhetorik gegen den über fünfzig Jahre zuvor geführten, scharfen und spöttischen Angriff Picos della Mirandola, der schnell zu einer gewissen Berühmtheit gelangt war. Melanchthon hielt die Verteidigung Burchards nicht nur der Aufnahme in sein Lehrbuch für würdig, sondern verfaßte auch umfangreiche, interpretierende Marginalien zu beiden Briefen. Indem diese Marginalien von den Herausgebern der Gesamtausgabe von Melanchthons Werken nicht aufgenommen wurden, bietet die Ausgabe mit diesen Marginalien auch die erste Edition eines bisher unbekannten Textes.

The aim of this study is to examine the semantic architecture of the motif complex the four elements, i.e. fire, air, water and earth, in the Swedish poet Gunnar Ekelöf’s poem A Mölna Elegy (1960). The poem belongs to the same polyphonic and quotative-allusive tradition as T. S. Eliot’s The Waste Land and Ezra Pound’s Cantos. The four elements may be regarded both as four separate motifs and as constituting one semantically coherent motif complex. The latter reading has to do with the fact that the phrase the four elements is not itself present in the text. Thus, the thesis includes the assumption that this motif complex, heavily suggested by items in the text but still omitted, might function as a text matrix, from which a number of themes emerge such as life–death and time. The thesis has a theoretical anchoring in ideas about semantic frames (Barsalou) when discussing semantic relations between the different element-related words in the poem, and how these words may be linked to the concepts ‘fire’, ‘air’, water’ and ‘earth’ respectively. Traditional lexical relations such as hyponymy, antonymy and meronymy only catch the more obvious relations such as fire–glow, warm–cold and tree–branch, but are unable to explain pragmatically based relations between words linked to the same conceptual domain, such as sea–jetty, water–sink, fly–air and the like. To some extent, the thesis also draws upon Riffaterre’s theories about a poem’s matrix and how meaning arises in such texts. A major finding of the study is the heavy lexical presence of the four elements in the poem, expressed and suggested by a great number of semantically heterogeneous words. This semantic pattern is analysed in detail with the aid of semantic frame theory. A further discovery is that most of the element words imply dichotomies such as motion–repose, warmth–cold, light–dark or soft–hard. The elements have most of the dichotomies in common, which strongly suggests a union of all the four elements. Such a union is also suggested by several conspicuous compounds never earlier recorded in Swedish, such as glödstänk (‘glowspray’), vindstänk (‘windspray’), eldsus (‘fire sough’) and vågsus (‘wave sough’). The meetings of element are also described at the syntactic level as an explicit amalgamation of all four elements, which suggests a theme not earlier noticed. This theme may tentatively be called the cyclical amalgamation.

In Henry James’s novel "The Ambassadors," James uses axiological language in tropes and in substantives, periphrastically replacing proper names. He also includes valuations in miscellaneous data contained in such differences as the one he makes in "The Ambassadors" between "Europe" (place) and "'Europe'" (concept). As well, James puts adjectival assessments of people and situations in the midst of these constructions and in the mouths of his characters, assessments which vary from those which contradict the value systems posited in the novel by various characters, through those which seem quizzical or ambiguous, to those whose meaning seems obvious under the circumstances. The argument of this critical work is that these attempts at naming tie in fundamentally with the ways in which James means for readers to interpret the identities of the characters and the events and are not merely ornamental. Even when James says that a character "didn’t know what to call" someone or something or when "identity" or a verbal equation for identity occurs in an odd context, James answers his own implied rhetorical question; he is not as problematic to read as is sometimes suggested. Our own valuations are encouraged to be close to the experience of Lambert Strether. Leading the reader through the maze of Strether’s experience, James gives many clear signals from the simplest elements of his complicated language even into the fabrication of his complex metaphors that he, though an explorer of the moral universe, is no relativistic iconoclast. In the examination of these issues, a choice has been made to draw eclectically upon various sources and techniques, from traditional "humanistic" modes of interpretation, rhetorical studies, structuralist and deconstructionist remarks, to existentialism, narratology, and identity studies. This choice is the result of an intention to access as many different "voices" as possible, in the attempt to be comprehensive about the voices of James and "The Ambassadors."

In November 2010, The Swedish Association of Local Authorities and Regions (Sveriges Kommuner och Landsting) distributed a survey where 53 % of the responding municipalities declared that they use Twitter. Out of the municipalities that declared they did not use social media, 49 % answered that they were planning on using it but that they had not gotten started. The purpose with social media was primarily declared to be maintaining dialogue with citizens and a channel for information. The informal “twittersphere” is a new environment for the conventionally formal government communication, and with it comes an entirely new set of demands on the style and content of texts, compared to other media. The purpose of my work was to present a style proposal for the public sector’s communication on Twitter, with the help of theory and empirical data. My methods consisted of text analysis and qualitative interviews. I analyzed eight selected municipalities on Twitter and interviewed four informants who held different perspectives on the subject, to get a deeper understanding. Chosen topics in both methods were e.g. formality, address, dialogue and visibility of the writer.  The analysis results showed that the municipalities were neither present, personal, nor inviting – and my conclusion was that they therefore did not strive for dialogue, at least not on Twitter. The interviews focused mainly on how the municipalities should use Twitter, and what surfaced in the interviews took great part in my style proposal and the accompanying guidelines. From the results of both methods, I created a style proposal consisting of 20 tweets, that formed a tweet style, along with a set of guidelines for good civil-servant tweeting. The style I’m presenting tries to address the purpose of dialogue in a better, more suitable way, by being personal, engaged, present and clear. / I november 2010 skickade Sveriges Kommuner och Landsting ut en enkät där 53 % av de svarande kommunerna uppgav sig använda Twitter. Av de kommuner som uppgav att de inte använde sociala medier svarade 49 % att de planerade att börja men att de inte hade kommit igång. Syftet med sociala medier uppgavs primärt vara att ha en dialog med medborgare och en kanal för nyheter. Twitters informella sfär är en ny miljö för det konventionellt formella myndighetsspråket, och ställer helt andra krav på texters stil och innehåll än andra medier. Syftet med mitt arbete var att, med stöd av teori och empiri, ta fram ett förslag på en stil åt den offentliga sektorns kommunikation på Twitter. Mina metoder var textanalys och kvalitativa intervjuer. Jag analyserade åtta utvalda kommuner på Twitter och intervjuade fyra informanter med olika infallsvinklar på ämnet, för en fördjupad förståelse. Berörda ämnen i båda metoder var bl.a. formalitet, tilltal, dialog och synligt författarskap. Resultatet av textanalysen visade att kommunerna inte var särskilt närvarande, personliga eller inbjudande – och min slutsats av det blev att de därför inte alls strävade efter dialog, åtminstone inte på Twitter. Intervjuerna kretsade främst kring hur kommunerna borde twittra, och det som kom fram där låg till stor del bakom mitt gestaltningsförslag och de tillhörande råden och riktlinjerna. Utifrån båda metodernas resultat skapade jag ett gestaltningsförslag om 20 tweets, som byggde upp en s.k. tweetstil, tillsammans med råd och riktlinjer för gott twittrande. Den stil jag presenterar försöker adressera dialogsyftet på ett bättre, mer anpassat sätt, genom att vara personlig, engagerad, närvarande och tydlig.

<p>The present paper discusses the cultural and stylistic issues in the translation of a part of the 2004 Republican Party Platform. Political text in American English and Swedish is in focus, and translation examples are accounted for and categorised according to Vinay & Darbelnet’s (1995) system theory of translation procedures. The conclusion is that cultural issues caused fewer problems than stylistic ones when the Republican Party Platform 2004 was translated.</p>