Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de si??cle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ G??rard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Si??cle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

Oscar Wilde overshadows the German reception of <I>Salome</I> (1891), yet his text is a problematic one. Wilde's one-act drama is a mosaic text, influenced by the abundance of literary and artistic treatments of the Salome figure during the <I>fin de siècle</I>. Moreover, Wilde did not write <I>Salome</I> in his native tongue, but rather in French, and allowed it to be edited by a number of French poets. Furthermore, the translation of the text proved problematic, resulting in a flawed English rendering dubiously ascribed to Lord Alfred Douglas. <br /><br /> However, there is a German mediator whose translation of Wilde's play is less problematic than the original. Hedwig Lachmann produced a translation of <I>Salome</I> in 1900 that found success despite having to compete with other German translations. Lachmann's translation alters, expands, and improves on Wilde's French original. In contrast to Wilde's underlexicalised original, Lachmann's translation displays an impressive lexical diversity. <br /><br /> In 1903 Insel Verlag published her translation accompanied by ten illustrations by Marcus Behmer. Behmer's illustrations have been dismissed as being derivative of the works of Aubrey Beardsley, but they speak to Lachmann's version of <I>Salome</I> rather than to Beardsley's or Wilde's. Indeed, the illustrations create their own vision of <I>Salome</I>, recasting the story of a <I>femme fatale</I> into a redemption narrative. <br /><br /> In Germany the play proved quite successful, and Lachmann's translation was staged at Max Reinhardt's Kleines Theater in Berlin. It was here that Richard Strauss saw Lachmann's version of the play performed and adapted it for use as a libretto for his music drama <I>Salome</I>. Despite being adapted from Lachmann's translation, Strauss' music drama is often cited as being based directly on Wilde's play, without mentioning the important role of Lachmann's mediation. Moreover, the libretto is often praised as an exact replica of the play put to music. Neither of these assertions is, indeed, the case. Strauss excised forty percent of the text, altered lines, and changed the gender of one of the characters. <br /><br /> I employ Gérard Genette's theory of transtextuality as it is delineated in <I>Palimpsests</I> (1982) to discuss the interrelatedness of texts and the substantial shift that can occur from subtle changes, or transpositions, of a text. Translation, shift in media, excision, the inclusion of extra-textual features including illustrations, and regendering of characters are all means by which a text can be transformed as Lachmann, Behmer, and Strauss transform <I>Salome</I>. Additionally, I will be using Lorraine Janzen Kooistra's term bitextuality, as described in <I>The Artist as Critic: Bitextuality in Fin de Siècle Illustrated Books</I> (1995) to reinforce Genette's notion that extra-textual elements are also significant to a text as a whole. Finally, I employ Jacques Lacan's theory of gaze as outlined in "Seminar on 'The Purloined Letter'" (1956) and "The Mirror Stage as Formative of the <I>I</I> Function as Revealed in Psychoanalytic Experience" (1949) to discuss the function of gaze within the three texts. <br /><br /> In this thesis, I will be addressing these three German intermedial re-envisionings of <I>Salome</I> and arguing for their uniqueness as three distinct representations of <I>Salome</I>. In this thesis, I will argue that Wilde's text is a problematic precursor and that Hedwig Lachmann's text not only alters, but also improves on the original. Additionally, I will argue that Marcus Behmer's images, while influenced by Beardsley, focus more closely on the text they are illustrating and thus provide a less problematic visual rendering of the play. Finally, I will argue that Strauss' libretto for <I>Salome</I> is mediated through Lachmann's translation and that it is further substantially altered. <br /><br /> In order to show the ways in which the texts differ from one another, I have chosen to focus predominantly on the motifs of the moon and gaze. By analysing the way in which each text represents these motifs it is possible to track changes in characterisation, motivation, and various other salient features of the text.

This project examines the ways in which allusion and quotation may be used by playwrights in the composition of play scripts, principally through the writing of two full length stage plays, String and The Talent, accompanied by a supporting exegesis. This exegesis examines how quotation and allusion are used in these works to support particular meanings intended by the author. The project also looks at theories that consider the ways allusion functions, particularly focusing on the debate in the field between the advocates of the theories of influence and intertextuality. It does not attempt to provide an historical overview nor an exhaustive investigation of the development of the major theories and their advocates, but rather to consider more summarily - in outline rather than in detail - the manner in which these ideas have set out to explain how allusion functions in texts. This project suggests its own theory on the way (particularly literary) allusion works. Transtextuality, although itself only a partial and incomplete means of explaining the allusive transaction, refers to the movement of language between texts. Allusion offers a mechanism by which authors of a new text may underscore intended meaning by reference to established texts based on the assumption that the meaning of the quoted text is already understood (or can easily be accessed), and that therefore that meaning is transferable to the new text and can be absorbed into the different context into which it has been placed. The purpose of this study is in part to examine the way allusion works as a practice of intertextuality, transtextuality and the influence of one or more texts upon another. It concludes that allusion to and quotation from one text by another operate as acts of authorship, literary devices employed by the writer as mechanisms for the attempted communication of intended meaning. In doing so, it is hoped that the project may articulate ways in which allusion and quotation can be used by playwrights in the composition of their dramaturgy.

A Tese de doutorado de Sulivan Bressan situa-se está na categoria de Escrita Criativa, dentro da ênfase de Literatura Comparada, do PPG-Let-UFRGS. Procurou-se, nesta tese, elucidar o longo caminho traçado pelo autor, desde a gênesis de sua obra até o resultado final: o romance histórico Imagens invisíveis do passado. Antes do romance propriamente dito, o autor faz a justificativa de seu trabalho, nela narrando como concebeu e desenvolveu seu trabalho ao longo dos últimos oito anos. Após o romance, o autor faz a análise teórica da obra, com base na obra de Julia Kristeva, Jean Bessière, Paul Ricoeur, Gerard Genette e Fronçois Jullien. Os conceitos-chave utilizados nesta análise são “narratividade”, “temporalidade”, “transformação silenciosa”, “transtextualidade” e “transindividualidade”. A quarta parte constitui as conclusões preliminares, nas quais o autor explana a relação do romance com um projeto cultural maior, que inclui a exposição de maquetes das Sete Maravilhas do Mundo Antigo e a realização de palestras sobre este tema. Como anexo, o autor disponibiliza a versão impressa de seu blog, no qual o autor redigiu sobre passatempo que o inspirou a escrever seu romance. / This doctoral thesis, by Sulivan Bressan, is in the Creative Writing category, in the Comparative Literature emphasis, at PPG-Let-UFRGS (Post Graduation Program – Languages Institute – Federal University of Rio Grande do Sul). This thesis aims to elucidate the long path traced by the author from the genesis of his work until its final result: the historical novel The Present of the Past. Before the novel itself, the author makes the justification of his work, narrating how he conceived and developed his work over the past eight years. After the novel, the author makes a theoretical analysis of his novel based on the work by Julia Kristeva, Jean Bessière, Paul Ricoeur, Gerard Genette, and Fronçois Jullien. The key concepts used in this analysis are "narrativety", "temporality", "silent transformation", "transtextuality", and "transindividuality". The fourth part is the preliminary findings, in which the author explains the relationship of the novel with a larger cultural project, which includes the exposition of models of the Seven Wonders of the Ancient World, and lectures on this topic. As an attachment, the author provides a printed version of his blog, in which the author wrote about the hobby that inspired him to write his novel.

MOURA FILHO, Lauro Inácio de. Transtextualidade e hermenêutica na comédia de Aristófanes: o poeta como mestre da cidade. 2012. 166f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-19T16:16:32Z No. of bitstreams: 1 2012_dis_limfilho.pdf: 1958079 bytes, checksum: d7f4ad74f6b6580a7c8b8bbff38a04b6 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-19T17:28:23Z (GMT) No. of bitstreams: 1 2012_dis_limfilho.pdf: 1958079 bytes, checksum: d7f4ad74f6b6580a7c8b8bbff38a04b6 (MD5) / Made available in DSpace on 2014-05-19T17:28:24Z (GMT). No. of bitstreams: 1 2012_dis_limfilho.pdf: 1958079 bytes, checksum: d7f4ad74f6b6580a7c8b8bbff38a04b6 (MD5) Previous issue date: 2012 / Aristófanes é o principal representante da comédia grega antiga. Algumas de suas obras foram as únicas a sobreviver até os nossos dias com textos integrais. Suas peças, seguindo a tradição oral do poeta sábio desde Homero, demonstram possuir uma ampla cultura a respeito de várias esferas do mundo de então: política, música, história, literatura etc. No entanto, de todo esse conhecimento presente na comédia de Aristófanes, a cultura literária se destaca de uma forma especial. Vários poetas são aludidos, citados, parodiados etc. no texto de Aristófanes. Dentre eles, porém, Eurípides ocupa um lugar de destaque. Esse tragediógrafo é eleito pelo poeta cômico como “saco de pancadas” literário. Todo esse conhecimento revelado na comédia aristofânica, especialmente o literário, pode simplificar ou dificultar o entendimento do leitor ulterior. Diante disso, apresentamos dois aportes teóricos que ajudarão o leitor hodierno a entender com menos dificuldade o teatro de Aristófanes. O primeiro deles é a proposta exegética de Schleiermacher, presente em sua "Hermenêutica: arte e técnica da interpretação". A hermenêutica schleiermacheriana servirá de princípio norteador para a compreensão da comédia aristofânica de modo geral. O segundo é a proposta da transtextualidade de Gérard Genette, tratada no livro "Palimpsestos: a literatura de segunda mão". A transtextualidade de Genette servirá de fundamento para o entendimento, especificamente, da cultura literária que encontramos na obra de Aristófanes. Essas duas propostas teóricas têm se revelado como importantes ferramentas de interpretação para a comédia de Aristófanes. Sem elas, o leitor ulterior encontrará dificuldades para entender, de forma satisfatória, o sentido textual proposto por aquele comediógrafo.

A Tese de doutorado de Sulivan Bressan situa-se está na categoria de Escrita Criativa, dentro da ênfase de Literatura Comparada, do PPG-Let-UFRGS. Procurou-se, nesta tese, elucidar o longo caminho traçado pelo autor, desde a gênesis de sua obra até o resultado final: o romance histórico Imagens invisíveis do passado. Antes do romance propriamente dito, o autor faz a justificativa de seu trabalho, nela narrando como concebeu e desenvolveu seu trabalho ao longo dos últimos oito anos. Após o romance, o autor faz a análise teórica da obra, com base na obra de Julia Kristeva, Jean Bessière, Paul Ricoeur, Gerard Genette e Fronçois Jullien. Os conceitos-chave utilizados nesta análise são “narratividade”, “temporalidade”, “transformação silenciosa”, “transtextualidade” e “transindividualidade”. A quarta parte constitui as conclusões preliminares, nas quais o autor explana a relação do romance com um projeto cultural maior, que inclui a exposição de maquetes das Sete Maravilhas do Mundo Antigo e a realização de palestras sobre este tema. Como anexo, o autor disponibiliza a versão impressa de seu blog, no qual o autor redigiu sobre passatempo que o inspirou a escrever seu romance. / This doctoral thesis, by Sulivan Bressan, is in the Creative Writing category, in the Comparative Literature emphasis, at PPG-Let-UFRGS (Post Graduation Program – Languages Institute – Federal University of Rio Grande do Sul). This thesis aims to elucidate the long path traced by the author from the genesis of his work until its final result: the historical novel The Present of the Past. Before the novel itself, the author makes the justification of his work, narrating how he conceived and developed his work over the past eight years. After the novel, the author makes a theoretical analysis of his novel based on the work by Julia Kristeva, Jean Bessière, Paul Ricoeur, Gerard Genette, and Fronçois Jullien. The key concepts used in this analysis are "narrativety", "temporality", "silent transformation", "transtextuality", and "transindividuality". The fourth part is the preliminary findings, in which the author explains the relationship of the novel with a larger cultural project, which includes the exposition of models of the Seven Wonders of the Ancient World, and lectures on this topic. As an attachment, the author provides a printed version of his blog, in which the author wrote about the hobby that inspired him to write his novel.

Orientador: Norma Wimmer / Banca: Paulo Sérgio Nolasco dos Santos / Banca: Giséle Manganelli Fernandes / Resumo: O corpus da pesquisa é composto por três versões de Clara dos Anjos de Lima Barreto. A primeira, datada de 1904, constitui um romance inacabado, incluído em "Diário íntimo"; a segunda surgiu sob a forma de conto inserido em Histórias e sonhos (1920); quanto à terceira, esta constitui o romance Clara dos Anjos (1948). A fim de ir além do reducionismo de julgar que Lima Barreto tenha escrito três obras parecidas e dado a elas o mesmo nome, nosso intuito foi compará-las no que se refere à forma e ao conteúdo. Estendendo a questão à forma dos textos em si, tentamos afirmar ou negar a menção paratextual que foi dada a cada um deles. Estes textos foram comparados e analisados em duas etapas: a primeira consistiu na exploração das relações textuais (ou transtextuais, mais especificamente) existentes nas suas construções, para a qual fomos guiados pela teoria de Gérard Genette exposta em Palimpsestes (1982); a segunda consistiu na verificação dos gêneros literários (conto / romance) como formas escolhidas pelo escritor para cada uma das versões. Nosso estudo fundamentou-se no reconhecimento das formas literárias referidas, bem como na revisão de suas origens e evoluções. Foi necessário, também, introduzir algumas considerações sobre a intertextualidade, para que as diferenças ou proximidades em relação à teoria de Genette fossem esclarecidas. Concluímos, por fim, que o primeiro e o terceiro textos são romances e que o segundo, apesar de inúmeras discordâncias, é um conto devido ao seu tamanho em relação ao romance. Um conto foi escrito em 1920 e, para escrever seu romance, anos depois, mantendo a história de Clara dos Anjos, Lima Barreto lançou mão da expansão do texto anteriormente produzido. / Abstract: This is a study of three versions of Clara dos Anjos, by Lima Barreto. The first one, published in 1904, is an unfinished novel, present in "Diário íntimo"; the second is a short story published in Histórias e sonhos (1920); the third is the novel Clara dos Anjos (1948). In order to go beyond the reductionism of stating that Lima Barreto wrote three resembling works whose names are the same, it was necessary to compare the texts and their subject matters. By analyzing the form of the texts, it was possible to confirm or deny the paratextual feature in each one of them. These texts were compared and examined in two ways: firstly, to explore the textual relation (or transtextual, more specifically) in the construction of the texts, according to Gérard Genette's theory found in Palimpsestes (1982); secondly, to verify the literary genres (short story / novel) chosen by the author to each of the versions. The research was based on the characteristics of the literary forms mentioned above, as well as their origins and developments throughout different periods. Considerations on intertextuality were also essential to clarify the differences and the similarities in relation to Genette's theory. The conclusion is that the first and the third texts are novels and that the second, although there are controversies, is a short story due to its length. The short story was written in 1920 and, years later, Lima Barreto expanded the text that was previously produced to write his novel, keeping the story of Clara dos Anjos. / Mestre

A Tese de doutorado de Sulivan Bressan situa-se está na categoria de Escrita Criativa, dentro da ênfase de Literatura Comparada, do PPG-Let-UFRGS. Procurou-se, nesta tese, elucidar o longo caminho traçado pelo autor, desde a gênesis de sua obra até o resultado final: o romance histórico Imagens invisíveis do passado. Antes do romance propriamente dito, o autor faz a justificativa de seu trabalho, nela narrando como concebeu e desenvolveu seu trabalho ao longo dos últimos oito anos. Após o romance, o autor faz a análise teórica da obra, com base na obra de Julia Kristeva, Jean Bessière, Paul Ricoeur, Gerard Genette e Fronçois Jullien. Os conceitos-chave utilizados nesta análise são “narratividade”, “temporalidade”, “transformação silenciosa”, “transtextualidade” e “transindividualidade”. A quarta parte constitui as conclusões preliminares, nas quais o autor explana a relação do romance com um projeto cultural maior, que inclui a exposição de maquetes das Sete Maravilhas do Mundo Antigo e a realização de palestras sobre este tema. Como anexo, o autor disponibiliza a versão impressa de seu blog, no qual o autor redigiu sobre passatempo que o inspirou a escrever seu romance. / This doctoral thesis, by Sulivan Bressan, is in the Creative Writing category, in the Comparative Literature emphasis, at PPG-Let-UFRGS (Post Graduation Program – Languages Institute – Federal University of Rio Grande do Sul). This thesis aims to elucidate the long path traced by the author from the genesis of his work until its final result: the historical novel The Present of the Past. Before the novel itself, the author makes the justification of his work, narrating how he conceived and developed his work over the past eight years. After the novel, the author makes a theoretical analysis of his novel based on the work by Julia Kristeva, Jean Bessière, Paul Ricoeur, Gerard Genette, and Fronçois Jullien. The key concepts used in this analysis are "narrativety", "temporality", "silent transformation", "transtextuality", and "transindividuality". The fourth part is the preliminary findings, in which the author explains the relationship of the novel with a larger cultural project, which includes the exposition of models of the Seven Wonders of the Ancient World, and lectures on this topic. As an attachment, the author provides a printed version of his blog, in which the author wrote about the hobby that inspired him to write his novel.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / AristÃfanes à o principal representante da comÃdia grega antiga. Algumas de suas obras foram as Ãnicas a sobreviver atà os nossos dias com textos integrais. Suas peÃas, seguindo a tradiÃÃo oral do poeta sÃbio desde Homero, demonstram possuir uma ampla cultura a respeito de vÃrias esferas do mundo de entÃo: polÃtica, mÃsica, histÃria, literatura etc. No entanto, de todo esse conhecimento presente na comÃdia de AristÃfanes, a cultura literÃria se destaca de uma forma especial. VÃrios poetas sÃo aludidos, citados, parodiados etc. no texto de AristÃfanes. Dentre eles, porÃm, EurÃpides ocupa um lugar de destaque. Esse tragediÃgrafo à eleito pelo poeta cÃmico como âsaco de pancadasâ literÃrio. Todo esse conhecimento revelado na comÃdia aristofÃnica, especialmente o literÃrio, pode simplificar ou dificultar o entendimento do leitor ulterior. Diante disso, apresentamos dois aportes teÃricos que ajudarÃo o leitor hodierno a entender com menos dificuldade o teatro de AristÃfanes. O primeiro deles à a proposta exegÃtica de Schleiermacher, presente em sua "HermenÃutica: arte e tÃcnica da interpretaÃÃo". A hermenÃutica schleiermacheriana servirà de princÃpio norteador para a compreensÃo da comÃdia aristofÃnica de modo geral. O segundo à a proposta da transtextualidade de GÃrard Genette, tratada no livro "Palimpsestos: a literatura de segunda mÃo". A transtextualidade de Genette servirà de fundamento para o entendimento, especificamente, da cultura literÃria que encontramos na obra de AristÃfanes. Essas duas propostas teÃricas tÃm se revelado como importantes ferramentas de interpretaÃÃo para a comÃdia de AristÃfanes. Sem elas, o leitor ulterior encontrarà dificuldades para entender, de forma satisfatÃria, o sentido textual proposto por aquele comediÃgrafo. / Aristophanes is the main representative of ancient Greek comedy. Some of his works were the only ones to survive to the present day with full texts. His pieces, following the oral tradition of the wise poet from Homer, shown to possess a wide culture about various world ball then: politics, music, history, literature etc. However, all this knowledge in this comedy of Aristophanes, the literary culture stands out in a special way. Several poets are alluded to, quoted and parodied etc. in the text of Aristophanes. Among them, however, Euripides occupies a prominent place. This tragedian is elected by the comic poet as "punching bag" literary. All this knowledge revealed in Aristophanic comedy, especially the literary, can simplify or complicate the understanding of the subsequent player. Therefore, we present two theoretical contributions that will help the reader today's understand more easily the theater of Aristophanes. The first is the exegetical proposal for Schleiermacher, present in his "Hermeneutics: art and interpretation technique." The schleiermacheriana hermeneutics serve as the guiding principle for understanding the Aristophanic comedy in general. The second is the proposal of transtextuality of GÃrard Genette, treated in the book "Palimpsestos: literature secondhand." The transtextuality of Genette will serve as a foundation for understanding specifically of literary culture that we find in the work of Aristophanes. These two theoretical proposals have been shown to be important tools of interpretation for the comedy by Aristophanes. Without them, the further reader will find difficult to understand, in a satisfactory manner, the textual sense proposed by that comedy writer.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-08-24T16:03:40Z No. of bitstreams: 2 Dissertação - Luiz Eduardo Gonçalves - 2016.pdf: 4108515 bytes, checksum: 475673312eeab094c3335270a2cd256e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Rejected by Luciana Ferreira (lucgeral@gmail.com), reason: Tanto a data de publicação, quanto a de defesa é 2016. on 2017-09-15T12:39:37Z (GMT) / Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-09-15T13:15:16Z No. of bitstreams: 2 Dissertação - Luiz Eduardo Gonçalves - 2016.pdf: 4108515 bytes, checksum: 475673312eeab094c3335270a2cd256e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-15T13:29:16Z (GMT) No. of bitstreams: 2 Dissertação - Luiz Eduardo Gonçalves - 2016.pdf: 4108515 bytes, checksum: 475673312eeab094c3335270a2cd256e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-15T13:29:16Z (GMT). No. of bitstreams: 2 Dissertação - Luiz Eduardo Gonçalves - 2016.pdf: 4108515 bytes, checksum: 475673312eeab094c3335270a2cd256e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / With due attention to the transtextuality of Genette and Harvey, to the postmodern condition of Bauman and Harvey, this research with phenomenological basis investigates the relationship between listening and writing, the subject that quotes, and the composition as a transtextual derivation from listening. Three composers - Pärt, Górecki and Schnittke - and their works are in focus, as well as a work of mine “O Nascimento de Vênus”. These works are analyzed and heard in three chapters that seek to address the syntactic, semantic and ontological aspects of music. In the open listening and the discussions on creation and postmodernity, there was room for the poetic and the singular to manifest, so that the knowledge generated here may integrate the objective and the subjective, the collective and the individual, the self and surpassing by others. / Com devida atenção à transtextualidade de Genette e de Compagnon, à condição pósmoderna de Bauman e de Harvey, esta pesquisa de base fenomenológica investiga a relação entre a escuta e a escrita, o sujeito da citação, e a composição como derivação transtextual da escuta. Três compositores - Pärt, Górecki e Schnittke - e sua obra estão em foco, assim como uma obra de minha autoria “O Nascimento de Vênus”. As obras são analisadas e ouvidas em três capítulos que buscam abordar os aspectos sintáticos, semânticos e ontológicos da música. Na escuta aberta e nas discussões sobre criação e pós-modernidade, houve espaço para o poético e singular se manifestar, de modo que o conhecimento gerado neste trabalho possa integrar o objetivo e o subjetivo, o coletivo e o singular, o eu e o atravessamento do outro.