521 resultados para Literal Paronyms
Resumo:
This paper aims to analyze the Constitutionalist Movement in 1932, trying to understand, more specifically, the political end sought by the Front Unique Paulista, on a literal translation, union of the political parties of São Paulo (Republican Party Paulista and Democratic Party). The research is motivated by the need to understand the political project of FUP with the movement and the existing motivations why it was articulated. The comprehension of the constitutionalists' reasons is relevant to understanding the history of the revolution, from its origin to its outcome. Based on literature and its historical analysis, the paper will demonstrate that the Front, with the advent of the Constitutionalist Revolution of 1932, had as its main purpose regain political control of the state of São Paulo lost with the revolution of 1930. More than the vaunted concern with the implementation of a new constitution for the nation, the FUP leaders had intended to retrieve the lost power with the movement of 30 and the rise of Getulio Vargas to power. Under a banner to fight for a new constitution and the expected change from a totalitarian and centralized state imposed by Vargas for a more autonomous state, the cause of São Paulo enticed sympathy and support from the community, whose social history always harbored separatist ideas, even that they have never been carried out to its ultimate consequences
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In the present thesis, I discuss the role of orality in translation, taking into account the problems arising while translating Russian folk epics. I investigate the meaning of orality in the context of folkloristic translation, trying to define a concept of oral poetry, and exploring its consequences for translation. In the first chapter, I try to identify the main differences between written literature and oral modes of expression, with special reference to folklore. Oral verbal art is performed, sung or recited, and based on a vital and dynamic interrelation between kinesics, sound, speech and gestures. According to Muhawi (2006), performance provides an interpretive frame enabling a correct interpretation of the message conveyed beyond the literal meaning. Transposing certain performance elements into print is one of the most controversial problems in folklore studies. However, formulas and formal stylistic devices may be rendered in transcription, building a bridge between oral and written elements. In the translation of oral poetry in transcription, this interconnection between orality and literacy might be emphasized, thus creating a hybrid dimension where oral and literary features coexist. In the second chapter, I introduce and describe the genre of Russian folk epics, transmitted orally, and transcribed between the 19th and 20th centuries, from a historical, linguistic and stylistic point of view. In the third and fourth chapters, I explore the issue of translation of Russian oral poetry. I first analyse existing Italian translations of Russian epics, and then present and discuss my own translation, based on a philological, scholarly approach. Thus, in my translation, which is followed by a rich commentary, I try to focus on the rendering of formulas as one of the most relevant aspects of Russian epics. At the same time, oral devices combine with literary features, thus creating a sort of frozen orality.
Resumo:
La tesi intitolata "Dalla «postmémoire» alla scrittura dell’oblio nell’opera di Sylvie Germain" si pone l’obbiettivo di analizzare l’opera della scrittrice francese contemporanea Sylvie Germain alla luce di alcune elaborazioni teoriche sulla dialettica memoria/oblio. Basandoci sulle principali teorie-guida relative alla «memoria culturale» teorizzate da Maurice Halbwachs,Pierre Nora,Tzvetan Todorov,Paul Ricoeur e Aleida Assmann,la nostra analisi si è successivamente concentrata sugli studi condotti attorno al concetto di «postmemory» elaborato dalla studiosa americana Marianne Hirsch. Scopo di questa prospettiva critica è quello di leggere l'opera germainiana come espressione di una «affiliative postmemory», risultato della connessione generazionale di coloro che non hanno vissuto direttamente un trauma con la «literal second generation». Attraverso un approccio interdisciplinare che ha coinvolto gli studi sulla memoria culturale in rapporto alla questione del gender, si è inoltre evidenziata la specificità del ruolo rivestito dai personaggi femminili nei romanzi di Germain che assumono un peso determinante nella trasmissione della memoria individuale e collettiva, studio che ci ha permesso di sottolineare la funzione attiva svolta dalle protagoniste delle opere della scrittrice. Nella fase conclusiva sono state esaminate le opere più recenti di Sylvie Germain pubblicate tra il 2008 e il 2011 in cui l’autrice sembra avvertire la necessità di controbilanciare il peso della «troppa memoria» con una giusta dose di oblio. Sono state inoltre affrontate la questione della responsabilità etica e l’idea di debito nei confronti della memoria familiare e collettiva: la scrittura stessa diventa così per Germain lo strumento attraverso il quale l’autrice assume il ruolo di passeuse de mémoire per le generazioni future.
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La pubblicazione si incentra sulla descrizione di un programma generico di disambiguazione di IRI e letterali, in Linked Open Data, fortemente configurabile, quindi applicabile in più contesti. CALID è la sigla di "Customizable Application for Literal and IRI's Disambiguation". Esso è stato creato per risolvere la disambiguazione degli autori di pubblicazioni scientifiche, e in questo articolo viene descritta la parte progettuale, il modo in cui si utilizza e i valori di performance e precisione ottenuti testandolo su diversi datasets.
Resumo:
In this paper I investigate the vivid discussions among Muslim theologians and philosophers about the relationship of reason and religion from the 11th to the 14th centuries – which continue to be used as points of reference today. I argue that the idea of Islam as a religion which is in harmony with reason was one of the key postulates of the dominant thinkers of that period, regardless of their school of thought or their attitude towards literal or allegorical ways of understanding the Coran. In consequence, religion has been rationalized or even intellectualized to a high degree while philosophy in turn has been deeply coloured by religious images and concepts. Yet the understanding of religion as well as of reason and its instruments has been so heterogeneous that rationalization could bear very different, even conflicting meanings, thereby undermining the postulated harmony. In seven theses I foreground several striking similarities and differences between theologians and philosophers who diverge in their usage and understanding of reason as well as of the nature of religion.
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This paper explores the possible contribution of various types of storage to grammaticalization processes, and the description of such processes by means of Construction Grammar(s) (CxG). The grammaticalization processes of French pas and certain complex adpositions in German and Finnish serve to illustrate that storage can background the literal meaning of elements like pas, thus enabling the constructions containing them to grammaticalize. A further form of storage, the emergence of a productive template on the basis of high type frequency, may in turn stand behind their grammaticalization. Two further assumptions about language use are also exploited in the explanation of grammaticalization: the possibility of processing complex units holistically and a human urge to interpret recurring forms as signs.
Resumo:
As is well know, the long-lasting influence in Poland of Hoffmanowa’s conservative pedagogical treatise « Keepsake of a Good Mother » (1819) was criticized by more progressive Polish women writers of the 19th century, such as Narcyza Żmichowska and Eliza Orzeszkowa. But the unexpected success of that book in other Slav countries later in the 19th century, especially in Bohemia, is less well known. Honorata z Wiśniowskich Zapová (1825-1856), a member of the Galician Polish szlachta who moved to Prague after her marriage in 1841 to the Czech writer K. V. Zap, has been recently exhumed as a Czech writer by Czech and Polish literary criticism: apart from her essays in Czech journals on her native country, much emphasis has been laid on the value of her most important work, Nezabudky, dar našim pannám (Forget-me-not: A Gift to Our Young Ladies, published in 1859), which was the first book of pedagogy dedicated to the instruction of young women in Bohemia. In her preface to this book, Zapová mentions Hoffmanowa as being one of her many sources of inspiration. Wishing to know more about what exactly Zapová owes to Hoffmanowa, in this article I compare Hoffmanowa’s book of pedagogy with Zapová’s. I am astonished to discover that Zapová’s book is in fact an almost literal translation from Polish to Czech of „Keepsake of a Good Mother” – in other words, that it is a plagiarism of Hoffmanowa’s book. The main question I ask here is : why did no one until now, either in 19th-century criticism or in our contemporary criticism, mention this literary fraud before?
Resumo:
The word 'palaver' is colloquially associated with useless verbiage and the nuisance of a tediously long, aimless and superfluous debate. At the same time, it insinuates an uncivilized culture of discourse beyond reason. Thus it appears to be of vaguely exotic origin but still firmly set in the European lexicon. Yet behind this contemporary meaning there lies a long history of linguistic and cultural transfers which is encased in a context of different usages of language and their intersections. By tracing the usage and semantics of 'palaver' in various encyclopaedias, glossaries and dictionaries of English, French, German, Portuguese and Spanish, the following article explores the rich history of this word. Moreover, it also regards the travelling semantics of the term 'palaver' as a process of cultural transfer that can be likened to the microcellular workings of a (retro)virus. Viral reproduction and evolution work through processes of transfer that enable the alteration of the host to adjust it to the replication and reproduction of the virus. In some cases, these processes also allow for the mutation or modification of the virus, making it suitable for transfer from one host to another. The virus is thus offered here as a vital model for cultural transfer: It not only encompasses the necessary adoption and adaption of contents or objects of cultural transfer in different contexts. It contributes to a conceptual understanding of the transferal residue that the transferred content is endowed with by its diversifying contexts. This model thereby surpasses an understanding of cultural transfer as literal translation or transmission: it conceptualizes cultural transfer as an agent of evolutionary processes, allowing for mutational effects of transfer as endowment.
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N. T. Wright’s research project “Christian Origins and the Question of God” is characterized by its use of the method of critical realism. Now, “critical realism” is a term that has been used in connection with different epistemo-logical positions because the term has been “constantly reinvented.” It is very easy to make up a term when one wants to distinguish oneself from an assumed naïve approach to reality. As has been observed earlier, the use of a distinct term does not necessarily mean the same if used by another author; the context is important. One has to track literal dependencies to evaluate whether continuity with former uses of a term is intended. That is to say, the term “critical realism” has proven to be equivocal, although this has rarely been noticed . This does not mean that taking such a critical realist stance cannot present a decisive advantage over rather unreflective approaches to whatever sort of reality. Nevertheless, philosophically it can probably only be a start. The purpose of this contribution to this compendium will be to analyze the content claims and the status of N. T. Wright’s critical realism in these regards, with a special emphasis on Paul and the Faithfulness of God, of course.
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Este trabajo ofrece algunos epigramas de Goethe y de Schiller en una versión que puede llamarse rítmica porque ha procurado hacer justicia tanto a la sentencia como a la forma de los mismos. Pero precisamente por ser ésta una versión rítmica, no se ha de encontrar, en todos los casos, una correspondencia literal con los originales. La meta ha sido salvar siempre la idea y el ritmo de cada epigrama, a sabiendas de que ello obligaría a sacrificar, acá y allá, más de una palabra. Los epigramas que pertenecen a dos grupos. El primero, vinculado con el nombre de Goethe, está integrado por doce de ellos, que se dan a conocer aquí por primera vez. El segundo grupo abarca, por su parte, dieciséis de treinta epigramas ya publicados, aunque ahora renovados, con la figura rítmica regular de la que carecían.
Resumo:
Arriba pasa el viento (1959) de Fernando Lorenzo es la novela de los sueños y las pesadillas existenciales de un pueblo errante, sin nombre. En particular, destacamos la significación del espacio, que determina las peripecias de las vidas paralelas de los protagonistas (el narrador y Tibot). Las diversas categorías de la dimensión espacial (cerca/lejos, aquí/allí, adentro/afuera) configuran el entramado discursivo, descifran la simbología y explican su significado profundo. El donde es mucho más que el escenario sobre el cual los personajes actúan: es el interlocutor que les devuelve las preguntas existenciales más importantes (¿quién soy?, ¿qué quiero hacer?). El espacio se convierte en la forma del destino que cada uno está dispuesto a vivir.
Resumo:
La Patrística cristiana recibió la noción veterotestamentaria de asthéneia de la versión griega de los LXX. Entendida como “debilidad" y “falta de fuerza", se la asoció con “enfermedad" o “estado general de debilidad", significado que se conservó tanto en los libros históricos como en los poéticos. El término aparece con frecuencia también en los Evangelios y en los escritos de Pablo, posibilitando así una comprensión de la enfermedad en clave filosófico-teológica por parte de los Padres, entre los que se destaca el Patriarca de Constantinopla San Juan Crisóstomo, quien recurriendo a una exégesis literal de la Escritura según los principios de la escuela antioquena, analiza el concepto en sus comentarios a las Epístolas llamadas “Mayores" de San Pablo y, particularmente, a la Segunda Carta a los Corintios. De esta lectura se desprende la necesidad de considerar la asthéneia de manera inseparable de la antropología cristiana. En los orígenes del cristianismo la concepción de hombre resultaba extremadamente compleja, oscilando desde la antropología tripartita de San Pablo (I Tes. 5, 23) a la quíntuple presentada por ciertos textos gnósticos (Carta esotérica de Santiago 11, 36-12, 17; 14, 24-36) y a la década de Clemente de Alejandría (Strómata VI, 16, 135, 1-2). El estudio de la aplicación del concepto de asthéneia a los distintos componentes del hombre en la polifacética literatura cristiana primitiva, permite comprender la importancia asignada a cada uno de ellos según las distintas corrientes interpretativas.
Resumo:
El presente artículo estudia la relación entre el arte y lo político en la novela El desierto y su semilla, de Jorge Baron Biza (2013), caracterizada por una intencionalidad irónica, porque hace uso de técnicas propias de esta figura del discurso que le permiten decir lo político difiriendo del enunciado literal. Se dejan de lado las lecturas biográficas y acudimos a los aportes de Jacques Rancière acerca de la estética elusiva, que hace al arte político y sus advertencias sobre las diversas formas en que el arte es repolitizado. Por otra parte, se tendrá en cuenta el estudio propuesto por Ana María Amar Sánchez sobre el discurso de los perdedores, para así poder complementar el estudio sobre la novela y la reflexión en torno a lo político. Por último, la intencionalidad irónica del autor se expresa en el uso de la alusión que le permite hablar de lo político, alterando así, en términos de Rancière, el dispositivo estético que vuelve a la obra subversiva.
Resumo:
En los ensayos de un escritor, las nociones que se valen de imágenes o de metáforas no operan de ese modo por pura retórica o para ilustrar ideas un poco abstractas: es el tropo mismo el que trae consigo un sentido preciso. Para Saer, "la selva espesa de lo real", donde el narrador se interna, es el imaginario de la literatura latinoamericana o, mejor, latinoamericanista. Esa selva debe ser atravesada para internarse en la intemperie de lo material: aunque en sus ensayos no la nombra, la llanura, paisaje predominante de sus narraciones, es ese reverso mudo y sin significación al que arriba el narrador luego de atravesar la selva espesa, esto es, la realidad previa, dada. El entenado (1983) interroga el mito del descubrimiento y conquista del Nuevo Mundo figurando, en la historia de su narrador, la génesis de la narración saeriana. Operación doble en donde, por un lado, se impugna cualquier noción esencialista de América Latina (y, por extensión, de cultura, hombre o literatura latinoamericana) y, por el otro, se presenta, de modo literal, el trabajo mismo del narrador que, desembarazado de todo preconcepto de realidad (europeo o americano, que, en el caso de la novela, es el mismo), atraviesa la selva para acceder a la intemperie: el Afuera. La nada de la que parte, para Saer, toda narración, y también todo arte
Resumo:
Los textos académicos a los que los alumnos acuden en busca de información no siempre les resultan fácilmente comprensibles. Se observa que en el nivel pragmático las dificultades son muy importantes y revelan interferencias en la construcción de sentido del texto, a veces por limitaciones de la competencia de los lectores y otras veces por problemas en la organización retórica de los textos. Este trabajo se propone abordar y analizar la incidencia de los conocimientos sobre la distribución de la información de los textos, en las posibilidades de los alumnos para alcanzar la comprensión de los mismos. Se seguirá la concepción de Rosenblatt sobre la lectura como proceso transaccional entre el lector que construye el sentido sobre la base de las pistas literales o inferenciales que el texto le ofrece, y de Kintsch y van Dijk sobre la comprensión como un proceso cognitivo que se desarrolla en tres etapas: decodificación, recuperación del texto base y construcción del modelo de situación. El análisis de la incidencia de los conocimientos previos de los lectores para 'dosificar' la nueva información, se apoyará en las funciones informativas del texto desarrolladas por la Escuela de Praga (especialmente tópico, tema y rema) para analizar de qué manera estas funciones pueden sustentar estrategias de lectura que activen en los lectores los procesos cognitivos correspondientes a la fase más elaborada de la comprensión, denominada construcción del modelo de situación. Para ello se analizarán las respuestas obtenidas frente a dos textos informativos sobre el mismo tema, de distinta complejidad, antes y después de capacitar a los alumnos en conocimientos específicos. Los resultados obtenidos permiten concluir que tales conocimientos favorecen el desempeño de los alumnos, particularmente en el caso de textos en los que la distribución de la información es más compleja