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Parliamentary talk, despite its central place in politics, has not been the focus of many qualitative studies. The present study investigates how parliamentary talk emerges in a dialogue between different arguments in the parliament. At the same time, this is a study of politics, of how human interaction gives birth to laws that regulate life in two contemporary democracies, Slovakia and Poland. It provides a close-reading of two political debates: on the state language in Slovakia and on gender parity in Poland. This study draws on hermeneutic and semiotic thinkers such as Gadamer, Bakhtin and Lotman to elaborate a dialogical understanding of language that can provide the basis for a method of textual analysis. The dialogical understanding of language emphasises that text and talk must be studied in the context of an interaction. The unit of analysis is a pair of utterances, a question and an answer. Until an utterance has been interpreted, it carries only the potential of meaning; its meaning is materialised by the responses it receives. The study further argues that conversation analysis and its tools can usefully be applied to the study of political debate. The method provides for the analysis of the dynamics between micro-scale interaction in the parliament and the macro-scale dynamics of culture. These dynamics assume two different forms that Lotman termed as “translation” and “explosion”. The study shows that parliamentary debate is characterised by a constantly evolving topic of discussion, namely that the meaning of the bill at the start of the debate and at the end of the debate are really two different bills. This is not because the content of the bill has undergone changes, but because in the course of the debate, the bill has generated new cultural connections. Casting a vote in support of the bill does not approve just the bill itself but a whole set of interconnected political, social and cultural values—what Lotman approached as the semiosphere. This study suggests Lotman’s cultural semiotics can provide for “imperfect hermeneutics” that is sensitive to the dynamic and contested nature of tradition in politics whilst acknowledging the inevitability of culture in mediating political talk.

Thesis (M.A.)--Miami University, Dept. of Theatre, 2005. / Title from first page of PDF document. Document formatted into pages; contains [3], 39 p. Includes bibliographical references (p. 37-39).

The ideas of Mexican Machismo have been crystallized in the image of the Macho, a virile man who represents the ideals of masculinity in a determined time and space. This work aims to examine how four Mexican Novels (Juan Rulfo’s Pedro Páramo, Elena Garro’s Los Recuerdos del Porvenir, Yuri Herrera’s Trabajos del Reino, and Fernanda Melchor’s Temporada de huracanes) present their unique macho ideals, and how the male characters fail to fulfill them. Through a textual examination of the four novels, this work asks: how is a macho image formed in each pair of novels? And most importantly how do male characters react when they are unable to uphold the masculine values? Chapter one examines Juan Rulfo’s and Elena Garro’s novels, focusing on the downfall of the machos due to the loss of a loved woman, and the strategies the men use to control their towns. Chapter two analyzes Yuri Herrera’s and Fernanda Melchor’s novels, explaining how masculinity is tied to a social performance, and how the machos lose the approval of their group. Chapter three deals with the reaffirmation of power through isolation of female characters and the concept of emasculation as a social and psychological phenomenon. Emasculation, this work strives to prove, is a key element in the four novels, uniting the texts through the social disgrace of a man who does not perform as expected.

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This diploma thesis Analysis of the Czech translation of Yuri Vynnychuk's collection of short stories Chachacha is devoted to the analysis of translation solutions of selected linguistic features in two short stories - Chachacha and Kulparkiv, aneb Chachacha 2. The goal of this work is to assess translation methods of Rita Kindlerová, describe its possible positives and negatives. Introductory chapters deal with the biography of Yuri Vynnychuk, his classification in a literal context, general characteristics of his work and consequently the stylistic analysis of two excerpted texts. An integral part of the work is definition of theoretical base for translatological analysis. Main parts of the work are focused on the analysis of translation of specific linguistic features, which are the stylistic dominants of selected texts: stylization of speech, style differentiation, phraseme and selected culture- specific items with an emphasis on proper nouns.

O presente trabalho tem como objetivo traduzir para português brasileiro e fazer uma análise semiótica da novela Parque cultural (1983), do escritor russo Serguei Dovlátov. Além disso, pretendemos apresentar aos leitores e pesquisadores brasileiros os traços fundamentais da obra deste, que é um dos principais prosadores russos da segunda metade do séc. XX e um dos maiores representantes da Terceira Onda de emigração russa. Uma das especificidades do método artístico de Dovlátov consiste em uma forte vinculação de sua obra com fatos da cultura, literatura e história da Rússia e da União Soviética. Essa característica permite-nos analisar seus textos como textos de cultura, segundo a concepção semiótica de Iú. Lótman. Na novela Parque cultural, espelham-se tais fenômenos da cultura soviética, como o mito soviético do poeta Aleksándr Púchkin, considerado símbolo da cultura, a existência na União Soviética de duas culturas paralelas (a oficial e a não oficial), o fenômeno da massiva emigração dos anos 1970, entre outros. A tradução da novela Parque cultural (título em russo, Zapoviédnik) para o português do Brasil, com notas e comentários, constitui parte integrante deste trabalho. Praticamente toda a obra de Dovlátov é humorística, e a transmissão dos elementos de humor e marcas culturais, presentes no texto, foi um dos desafios dessa tradução. / This work is aimed at translating the novel Pushkin Hills by Sergei Dovlatov into Brazilian Portuguese (the title in Russian is Zapoviednik, and the title in Portuguese is Parque Cultural, 1983) and analyze this text from a semiotic point of view. We furthermore intend to present the basic features of Dovlatovs work, who is considered to be one of the leading Russian prose writers of the second half of the XX century and one of the greatest representatives of the Third Wave of Russian Emigration, to readers and Brazilian researchers. One of the features of Dovlatovs artistic methods lies in the close connection of his work with the culture, literature and history of Russia and the Soviet Union. This feature allows us to analyze his texts as cultural texts, according to Yuri Lotmans semiotic concept. The themes of the novel Pushkin Hills reflect such phenomena of Soviet culture as, among others, the \"Soviet\" myth of the poet Aleksandr Pushkin, who is considered to be a symbol of culture, the existence in the Soviet Union of two parallel cultures (official and unofficial), the massive emigration of the 1970s. The translation of the novel into Brazilian Portuguese, with notes and comments, is an integral part of this work. Almost all of Dovlatov\'s work is humorous, and conveying elements of humor and cultural references in the text was one of the challenges of this translation.

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The thesis examines American teen dramas on Australian television in the period 1992 to 2004. It explores the use of the genre by broadcasters and its uptake by teenagers in an environment where American popular culture has frequently been treated with suspicion and where there are perennial arguments about the Americanisation of youth and their vulnerability to cultural imperialism. The thesis argues concerns about Americanisation and cultural imperialism in relation to youth culture, young people and the media are misplaced. American teen dramas are investigated as an example of the ways imported programs are made to cohere with national logics within the Australian mediasphere (Hartley, 1996). Utilising Yuri Lotman's (1990) theory of cultural 'translation' this thesis argues teen drams are evidence of dynamic change within the system of television and that this change does not result in a system dominated by imported product, but rather a system that situates foreign programming amongst domestic frames of reference.