O engenho e os ret��bulos de Osman Lins

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

A maldi����o de Eva: vozes femininas nos romances A dan��a dos cabelos, Sombras de julho e O vestido, de Carlos Herculano Lopes

P��s-gradua����o em Estudos Liter��rios - FCLAR

Conflu��ncias entre mito, literatura e direito em ��dipo Rei, de S��focles

P��s-gradua����o em Letras - IBILCE

Lima Barreto: O Brasil sob a ��tica do Dr. Bog��loff

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

A "m��o pronta" e a divina: manifesta����es da justi��a em contos rosianos

P��s-gradua����o em Estudos Liter��rios - FCLAR

A "m��o pronta" e a divina: manifesta����es da justi��a em contos rosianos

P��s-gradua����o em Estudos Liter��rios - FCLAR

Semiotics of Communication: From Semiosis of Nature to Culture

Communication Studies currently undergoes a crisis of paradigms that requires an ontological review that must begin with a debate about the conditions of possibility of every communicational phenomena. In this article we argue that semiosis offers a conceptual framework that allows for the study of communication as qualitative action. Semiosis, or the action of the sign, is here defined as a fundamental process based on perception that models the world of species, creating cognition and culture. At the core of semiosis are dynamic structures that the authors have defined as 'ontological diagrams'. The first purpose of Semiotics of Communication is to understand how these modeling systems evolve ontologically and phylogenically, producing, in the case of human culture, means of communication ever more varied and technologically advanced.

Identification of literary movements using complex networks to represent texts

The use of statistical methods to analyze large databases of text has been useful in unveiling patterns of human behavior and establishing historical links between cultures and languages. In this study, we identified literary movements by treating books published from 1590 to 1922 as complex networks, whose metrics were analyzed with multivariate techniques to generate six clusters of books. The latter correspond to time periods coinciding with relevant literary movements over the last five centuries. The most important factor contributing to the distinctions between different literary styles was the average shortest path length, in particular the asymmetry of its distribution. Furthermore, over time there has emerged a trend toward larger average shortest path lengths, which is correlated with increased syntactic complexity, and a more uniform use of the words reflected in a smaller power-law coefficient for the distribution of word frequency. Changes in literary style were also found to be driven by opposition to earlier writing styles, as revealed by the analysis performed with geometrical concepts. The approaches adopted here are generic and may be extended to analyze a number of features of languages and cultures.

La traducci��n del sentido del humo: limitaciones literarias = Translation of the sense of humor: literary limitations

Doctorado en Traducci��n e Interpretaci��n

Ricezione e Finzione. Una teoria della lettura tra struttura e risposta estetica

Attraverso l���analisi di teorie della lettura ���centripete��� e ���centrifughe���, tra fenomenologia, semiotica e teoria della risposta estetica, questa ricerca punta a definire la lettura come un���esperienza estetica di una variabile e plurale letterariet��, o per essere pi�� precisi, come una relazione estetica ad una funzione nel linguaggio, che di volta in volta diviene immanente e trascendente rispetto al linguaggio, immanente nella percepibilit�� espressiva del segno e trascendente nella sua ristretta finzionalit�� o fittivit��, aperta alla dimensione del senso. Cos��, la letterariet�� �� vista, dal punto di vista di una teoria della lettura, come una funzione che nega o sovverte il linguaggio ordinario, inteso come contesto normale, ma anche una funzione che permette il supplemento di senso del linguaggio. Ci�� rende la definizione di cosa sia letteratura e di quali testi siano considerabili come letterari come una definizione dipendente dalla lettura, ed anche mette in questione la classica dicotomia tra linguaggio standard e linguaggio deviante, di secondo grado e figurativo, comportamento che distinguerebbe la letteratura. Questi quattro saggi vorrebbero dimostrare che la lettura, come una pratica estetica, �� l���espressione di una oscillazione tra una Finzione variabile nei suoi effetti ed una Ricezione, la quale �� una risposta estetica controllata dal testo, ma anche una relazione estetica all���artefatto a natura verbale. Solo in questo modo pu�� essere compresa la caratteristica paradossale della lettura, il suo stare tra una percezione passiva ed un���attiva esecuzione, tra un���attenzione aspettuale ed una comprensione intenzionale. Queste modalit�� si riflettono anche sulla natura dialettica della lettura, come una dialettica di apertura e chiusura, ma anche di libert�� e fedelt��, risposta ad uno stimolo che pu�� essere interpretato come una domanda, e che presenta la lettura stessa come una premessa dell���interpretazione, come momento estetico. Cos�� una teoria della lettura dipende necessariamente da una teoria dell���arte che si presenta come funzionale, relativa pi�� al Quando vi �� arte?/Come funziona? piuttosto che al Che cosa �� Arte?, che rende questo secondo problema legato al primo. Inoltre, questo Quando dell���Arte, che definisce l���opera d���arte come un���arte- all���-opera, dipende a sua volta, in un campo letterario, dalla domanda Quando vi �� esperienza estetica letteraria? e dalla sue condizioni, quelle di finzione e ricezione.

Letteratura postmoderna e comunicazione pubblicitaria, problemi teorici e analisi testuali

Premise: In the literary works of our anthropological and cultural imagination, the various languages and the different discursive practices are not necessarily quoted, expressly alluded to or declared through clear expressive mechanisms; instead, they rather constitute a substratum, a background, now consolidated, which with irony and intertextuality shines through the thematic and formal elements of each text. The various contaminations, hybridizations and promptings that we find in the expressive forms, the rhetorical procedures and the linguistic and thematic choices of post-modern literary texts are shaped as fluid and familiar categories. Exchanges and passages are no longer only allowed but also inevitable; the post-modern imagination is made up of an agglomeration of discourses that are no longer really separable, built up from texts that blend and quote one another, composing, each with its own specificities, the great family of the cultural products of our social scenario. A literary work, therefore, is not only a whole phenomenon, delimited hic et nunc by a beginning and an ending, but is a fragment of that complex, dense and boundless network that is given by the continual interrelations between human forms of communication and symbolization. The research hypothesis: A vision is delineated of comparative literature as a discipline attentive to the social contexts in which texts take shape and move and to the media-type consistency that literary phenomena inevitably take on. Hence literature is seen as an open systematicity that chooses to be contaminated by other languages and other discursive practices of an imagination that is more than ever polymorphic and irregular. Inside this interpretative framework the aim is to focus the analysis on the relationship that postmodern literature establishes with advertising discourse. On one side post-modern literature is inserted in the world of communication, loudly asserting the blending and reciprocal contamination of literary modes with media ones, absorbing their languages and signification practices, translating them now into thematic nuclei, motifs and sub-motifs and now into formal expedients and new narrative choices; on the other side advertising is chosen as a signification practice of the media universe, which since the 1960s has actively contributed to shaping the dynamics of our socio-cultural scenarios, in terms which are just as important as those of other discursive practices. Advertising has always been a form of communication and symbolization that draws on the collective imagination ��� myths, actors and values ��� turning them into specific narrative programs for its own texts. Hence the aim is to interpret and analyze this relationship both from a strictly thematic perspective ��� and therefore trying to understand what literature speaks about when it speaks about advertising, and seeking advertising quotations in post-modern fiction ��� and from a formal perspective, with a search for parallels and discordances between the rhetorical procedures, the languages and the verifiable stylistic choices in the texts of the two different signification practices. The analysis method chosen, for the purpose of constructive multiplication of the perspectives, aims to approach the analytical processes of semiotics, applying, when possible, the instruments of the latter, in order to highlight the thematic and formal relationships between literature and advertising. The corpus: The corpus of the literary texts is made up of various novels and, although attention is focused on the post-modern period, there will also be ineludible quotations from essential authors that with their works prompted various reflections: H. De Balzac, Zola, Fitzgerald, Joyce, Calvino, etc��� However, the analysis focuses the corpus on three authors: Don DeLillo, Martin Amis and Aldo Nove, and in particular the followings novels: ���Americana��� (1971) and ���Underworld��� (1999) by Don DeLillo, ���Money��� (1984) by Martin Amis and ���Woobinda and other stories without a happy ending��� (1996) and ���Superwoobinda��� (1998) by Aldo Nove. The corpus selection is restricted to these novels for two fundamental reasons: 1. assuming parameters of spatio-temporal evaluation, the texts are representative of different socio-cultural contexts and collective imaginations (from the masterly glimpses of American life by DeLillo, to the examples of contemporary Italian life by Nove, down to the English imagination of Amis) and of different historical moments (the 1970s of DeLillo���s Americana, the 1980s of Amis, down to the 1990s of Nove, decades often used as criteria of division of postmodernism into phases); 2. adopting a perspective of strictly thematic analysis, as mentioned in the research hypothesis, the variations and the constants in the novels (thematic nuclei, topoi, images and narrative developments) frequently speak of advertising and inside the narrative plot they affirm various expressions and realizations of it: value ones, thematic ones, textual ones, urban ones, etc��� In these novels the themes and the processes of signification of advertising discourse pervade time, space and the relationships that the narrator character builds around him. We are looking at ���particle-characters��� whose endless facets attest the influence and contamination of advertising in a large part of the narrative developments of the plot: on everyday life, on the processes of acquisition and encoding of the reality, on ideological and cultural baggage, on the relationships and interchanges with the other characters, etc��� Often the characters are victims of the implacable consequentiality of the advertising mechanism, since the latter gets the upper hand over the usual processes of communication, which are overwhelmed by it, wittingly or unwittingly (for example: disturbing openings in which the protagonist kills his or her parents on the basis of a spot, former advertisers that live life codifying it through the commercial mechanisms of products, sons and daughters of advertisers that as children instead of playing outside for whole nights saw tapes of spots.) Hence the analysis arises from the text and aims to show how much the developments and the narrative plots of the novels encode, elaborate and recount the myths, the values and the narrative programs of advertising discourse, transforming them into novel components in their own right. And also starting from the text a socio-cultural reference context is delineated, a collective imagination that is different, now geographically, now historically, and from comparison between them the aim is to deduce the constants, the similarities and the variations in the relationship between literature and advertising.

Il teatro e Derek Walcott. Prospettive postcoloniali e multiculturali

This thesis explores the function of the theatre in Derek Walcott's literary achievements. Focusing on the semiotic theories that characterize the study of drama as a literary text and as a staged text, the initial approach aims at creating a relationship between semiotics and postcolonial theories. In particular Pavis's concept of intercultural semiotics and Peter Brook's innovative visions about the regenerative function of the space of the theatre represent a useful theoretical basis to consider the specificity of postcolonial theatre as an innovative space, where new cultural meanings emerge. Derek Walcott's dramatic production is studied according to this approach, in order to be defined as a new hybrid, syncretic and multicultural space. After considering the development of drama from a postcolonial and Caribbean perspective, this study begins with an insight into Walcott's views on theatre, taking into consideration his linguistic depth, linked to the European tradition, but also his strong concern with the Caribbean public's cultural needs. The double tension characterizing Walcott's cultural identity as well as his art represents an essential element to analyse his dramatic texts. With an ambivalent approach, which takes into consideration language and performance, this thesis offers an insight into Walcott's plays to detect their postcolonial and multicultural elements. The analysis of the different texts are divided into two chapters (third and fourth). The third chapters - mainly focused on postcolonial themes - explores issues such as language, identity and space, whereas the fourth chapter centers on multiculturalism in text and performance. Dealing with interracial interactions, issues like re-writing classical texts and the manipulation of personal and collective memory as a way to re- establish new historical perspectives, the last part of the thesis aims at demonstrating the idea that Walcott has created a new space in the theatre made by the harmonic fusion of different and opposed cultural elements, which are visible in the literary as well as in the staged text. The textual perspective of Walcott's drama fits into Pavis's definition of intercultural semiotics, as the faithful representation of a multicultural creole society: that of the West Indies.