Literatura académica sobre el tema "Interdiscursivity"

After we have specified why in this paper we will not make a distinction between the concepts of intertextuality and interdiscursivity, the author proposes to analyse this question in a socio-communicational discourse model within which first of all he will specify the basic parameters. Firstly, it is shown by an example that the interdiscursivity depends on an inference mechanism, and that the interpretation of a text demands multiple inferences. Secondly, this interdiscursivity mechanism is described through a triangular interconnectedness of "I – third person – You" around shared knowledge. This leads the author to the definition of "socio discursive imaginary". Finally, this interdiscursivity mechanism that rests on the socio-discursive imaginary is demonstrated on the basis of several examples taken from media discourse.

The article explores the category of interdiscursivity from a perspective of its realization in films. As a point of departure, the historical ties of the avant-garde and cinema are ana­lyzed in terms of interdiscursivity. Literary and artistic works of the representatives of the Russian avant-garde are characterized by a number of innovations that are relevant for the understanding of the interdiscursivity in cinematography as art. The established avant-garde foundations of interdiscursivity make it possible to define it as a linguocreative appropriation of discourses and to elaborate a methodology of its study in films. The film “Stalker” is select­ed as an object of research due to the fact that Andrey Tarkovsky’s innovative cinematic ap­proach makes his works akin to the approaches of art innovators of the avant-garde epoch. The specificity of the interdiscursivity of “Stalker” is determined both by a significant degree of transformation of its literary basis and by a varied appropriation of certain types of discourse in the process of making a film as an original artistic-aesthetic object. Elements of different types of discourse act as linguistic and creative means that influence the heuristic potential of the verbal system of a film.

Malaysian corporations have to disclose corporate social responsibility (CSR), and a typical genre for disclosure is CSR reports. These reports incorporate other discourses which indicate the presence of interdiscursivity. The article examines interdiscursivity in Malaysian CSR reports. It selects the CSR reports of 10 major corporations and pursues an interdiscursive analysis which involves four sequential stages. CSR reports contain discourses of public relations, sustainability, strategic management, compliance and financial accounting. Although the discourses are often multisemiotic, language maintains primacy in content, while image tends to exemplify or simplify content. These discourses constitute an interdiscursive profile, and it has central and auxiliary discourses. The central discourse is public relations discourse, and it promotes corporations helping and not harming society. The auxiliary discourses are sustainability, strategic management, compliance and financial accounting discourses, and these discourses mitigate the promotional focus. Interdiscursivity enables the primarily promotional CSR reports to not seem overtly promotional. The choice of discourses is probably influenced by coercive, mimetic and normative reasons. These discourses enhance the reliability of CSR reports because their disclosure is anchored to various CSR aspects, international or reporting practices and professional domains. Interdiscursivity helps to build stakeholders’ confidence in disclosure and, therefore, in corporations. It joins other functions in CSR reports to convey corporations as agents of positive social change. The article also probes the relationship between interdiscursivity and intertextuality and advances a matrix of intertextual–interdiscursive use.

Abstract The traditional simplistic understanding of legal genre as homogeneous texts of legalese is recently confronted by researches focusing on the contextual aspects of legal communication, i.e. the production, circulation, and consumption of legal genres in diverse institutional contexts (Candlin and Maley 1997; D’hondt and Van Der Houwen 2014). It is, according to these researches, more reasonable to think of legal genres as a hybrid combining the operation of different heterogeneous discourses. This article takes the broad contextual perspective, draws on the theory of critical genre analysis (Bhatia 2016) and attempts to explore the discursive heterogeneity in one of the Chinese legal genres – the lawyers’ defense opinions. Both textual and interpretative analysis are conducted in order to identify specific discourses that underline Chinese lawyers’ preparation of defense opinions, and to look at how Chinese lawyers linguistically construct the different discourses to fulfill the ultimate purpose of justifying the defendant’s actions.

AbstractThis article explores how transnationalism can be understood as an interdiscursive process. By making connections with chronotopes of past places along a transmigrant's trajectory, interdiscursivity allows for the emergence of complex indexical meaning associated with different speakers and different ways of speaking, imbuing the transmigrant's mobility with specific social significance. This article demonstrates this point through an analysis of how South Korean mid-level managers of multinational corporations in Singapore imagined their positioning in the global workplace. By tracing the ways the managers employed metapragmatic discourse associated with multiple chronotopes to make sense of their reasonably successful but limited careers, it offers an account of how interdiscursivity shaped their understanding of their own positionality as Koreans working beyond the time-space of Korea. (Interdiscursivity, transnationalism, chronotope, Korea, English, intercultural communication)*

Religion and politics have a complicated relationship in the Arab world. Interdiscursivity within political speeches between religious and political discourses is a manifestation of this complexity. This article argues that this sort of interdiscursivity imposes hard restrictions on the responses of Muslim addressees. Muslims’ responses to Islamic sacred texts are inherently restricted because disagreement with divine texts amounts to heresy. Accordingly, their responses to political speeches that present themselves as semi-religious texts are highly restricted as well. I will analyze a speech by the late Egyptian president Sadat to show how potential and actual responses could be controlled by creating intertextual links with the Qur’an and adopting the genre of Islamic religious sermons. I combine analytical tools from critical discourse analysis and what I refer to as “addressee rhetoric” to investigate the relationship between interdiscursivity and addressee response.

The article examines the concept of marking interdiscursiveness / intertextuality from the standpoint of cognitive linguistics, in particular, it defines four terms: a) “interdiscursiveness” is a phenomenon that demonstrates the interaction between discourses; it is an indicator of the residue in the discourse of previous discourses, which provide a kind of “preparation “, “raw material” for another discourse; b) “interdiscourse” is a discourse and ideological space in which discourse formations unfold with their relation of dominance, subordination and contradiction; c) “intertextuality” is the interaction of texts not only in terms of content, but also in terms of expression; it acts as a means by which one text actualizes another in its internal space; d) “intertext” is a product of secondary textual activity as a result of processes of secondary categorization of information, its new conceptualization and new representation. The concept of the triad “markedness – marking / mark – marker” is characterized in the context of (inter-)discursive and (inter-)textual processes, where the former consists in the fact that if markedness is a phenomenon, marking / mark is a process, then a marker is a result. At the same time, the definition of the concept of “linguistic marker” is proposed as a clear system of language units of different levels, which expresses the interlevel status of the category of communicative intention and enables the selection of the most optimal among them for expressing the intentional needs of a linguistic personality. Linguistic markers are represented by: (a) discursive markers responsible for non-linguistic knowledge (discourse level), (b) language markers responsible for linguistic knowledge (text level).

<p>The research aims at investigating the mechanisms which lie behind <em>interdiscursivity </em>, the force that prompts language users to choose it in communication and the effects it can achieve on the basis of Sperber &amp; Wilson 's Relevance Theory.</p><p>This is an attempt to show the situational, social, and mental dimensions of the role of <em>nterdiscursivity </em>using a number of Relevance Theory concepts, including ostensive behaviour,cognitive environments and implicatures treating <em>interdiscursivity </em> as an ostensive or marked form of communication.</p>

Pro-anorexia (or pro-ana) is an intertnet-based eating disorder (EiD) movement committed to supporting and encouraging or advising those who wish to initiate or maintain (Gavin et al. 2008) an ED, i.e. those who are not yet ready to recover (Dias 2003). The aim of this thesis is to explore interdiscursivity (ID) in pro-ana discourse, showing how members of the pro-ana community draw on the discourse of Evangelical Christianity in their online interactions. The analysis examines two bodies of data. The main focus is on the data taken from a proana website, comprising 219 message threads collected over a period of 47 days from a proana message board. The data taken from the discussion fora of several Christian websites serves as the evidence base, or empirical defence, for the study. By drawing on discursive psychology (DP) and the concept of ID, the analysis considers the way in which pro-ana site users display a marked orientation to each of the main aspects, or components, of Evangelical Christian discourse in their interactions on the website. Part of the thesis is also dedicated to reviewing current research in ID and explaining the rationale behind the use of both ID and c)'P. The primary analytical focus is on the construction of Ana as god(dess), and so the first empirical chapter considers orientations in the data to the notions of committing to Ana, following Ana and failing Ana with respect to the ways Christians orient to their relationship with God. It examines the construction of Ana's voice, and it deals with the contradictory depiction of Ana as both a loving and a cruel god(dess), drawing parallels with the orientation to the voice of God in the Christian discourse, and the construction of the Old Testament God of wrath and the New Testament God of love. It also accounts for potentially competing constructions of Ana, noting their place in the data and the impact they have on the construction of Ana the deity. The secondary analytical focus is on the construction of all the other religious components in the discourse, and so the second empirical chapter considers how speakers construct food as the devil, hunger or craving as temptation, and eating as sinning. It also explores the speakers' orientation to fat as punishment (or the wages of sin), and to cutting/selfharming, exercising, fasting and purging as penance (or atonement) for sin.

En rédigeant des récits rétrospectifs sur leurs vies, les mémorialistes du XVIIe siècle prétendent davantage rendre compte de leur vie publique et des événements historiques que de témoigner sur leur vie privée, sur leur intériorité et sur les aspects de leur personnalité. Peut-on dès lors dire dans les Mémoires ce qui fait mal ? Quelles sont les modalités scripturales de l’expression de l’émotion ? Quels effets narratifs un tel récit a-t-il sur la composition générale de l’oeuvre ?Cette thèse s’interroge sur l’écriture de l’affectivité dans un contexte de la tradition mémorielle du XVIIe siècle dont le discours sur l’émotion fait l’objet d’un double contrôle. D’une part, les interventions éditoriales posthumes des Mémoires, informées par une vision historiographique du genre, modifient les textes originaux pour qu’ils paraissent moins personnels et moins partiaux en vue de contribuer à l’Histoire. D’autre part, l’écriture des Mémoires se réalise dans un contexte social et culturel qui veut que le discours émotionnel, aussi bien écrit que parlé, soit soumis à un régime de la modération des émotions et à une autocensure quand il s’agit de parler de soi. L’écriture de l’émotion dans les Mémoires doit dès lors être comprise dans ses conditions culturelles de production en tant que dépendante d’une situation sociale spécifique du mémorialiste.L’expression du désarroi est le produit d’une incessante négociation entre le silence et la parole, entre le dicible et l’indicible, entre ce qu’il convient de dire et ce qu’il convient de taire. C’est ce point de tension qui apparaît dans les récits de l’expérience personnelle des auteurs entre l’expression de l’émotion ressentie par les narrateurs à la première personne, d’une part, et l’effort pour atténuer leur sensibilité dans le geste de l’écriture, d’autre part, qui fait le noyau principal de cette recherche
One of the most significant characteristics of the seventeenth century French Memoirs is their proximity to the historiographical practice. Rather than being accounts of the author’s inwardness, or stories about the evolution of their personality and private life, Memoirs are narratives whose main focus is witnessing historical events. These texts showcase author’s public life, career and participation in political events. However, it is not rare for these authors to personally witness bloodshed, the horrors of war, rejection, exile, injustice or grief, and remembering those experiences does not seem to leave them indifferent. Is it possible for these historical narratives to express emotional distress, pain and trauma, given that the personal discourse in Memoirs is often subjected to layers of censorship?This dissertation examines the expression of affectivity in the specific context of seventeenth-century memorial tradition in which the emotional discourse is subdued by two main types of control and regulation. On the one hand, editors profoundly modify original texts so that they seem less personal and, hence, less partial, subsequently increasing their status as credible historical sources. On the other hand, the practice of Memoir writing is taking place in a social and cultural context which is hostile to the uninhibited emotional discourse and self-expression.The expression of emotional distress is a result of a continuous dialogue between silence and the written word, between what can and cannot be expressed, between what is appropriate to say and what is appropriate to stay silent about.We studied discourses and narrative practices which allow authors to witness about their emotional distress and to express, voluntarily or involuntarily, what they feel. We insisted on the discourses which elude both social control and editorial interventions; in other words, parts of the Memoirs where affectivity is expressed despite all odds

Aquesta tesi és una etnografia sociolingüística crítica d’un moviment social transnacional. Investiga la construcció discursiva i lingüística d’una identitat comuna així com de la diferència social dintre del moviment Emmaús des del punt de vista de dues comunitats de pràctica. Emmaús és un moviment de solidaritat fundat per l’Abbé Pierre durant la post-guerra que (re)insereix persones marginades que viuen i treballen amb d’altres en “comunitats” de vida que es dediquen al reciclatge i als projectes socials. La meva etnografia en múltiples contextos se centra en dues comunitats Emmaús, una en l’àrea metropolitana de Barcelona i una altra a Londres. Aquest estudi contribueix a la sociolingüística de la globalització (Blommaert, 2010) i a l’antropologia lingüística des d’una perspectiva etnogràfica crítica (Heller, 2011). La metodologia combina l’etnografia tradicional basada en l’observació-participació amb l’anàlisi narratiu de les interaccions observades i la genealogia discursiva dels dos contextos estudiats. L’anàlisi es basa en notes de camp, entrevistes, enregistraments d’assemblees, textos institucionals i materials audiovisuals. A partir del concepte de la comunitat imaginada transnacional (Anderson, 1983), aquesta tesi investiga processos sociolingüístics més enllà, en tensió i dintre de diferents estats-nació. Més concretament, investiga (a) l’articulació transnacional de moviment Emmaús a través de recursos narratius, semiòtics, discursius i comunicatius, (b) la localització dels textos, símbols i narratives comuns en diferents règims discursius i socioeconòmics, i (c) les pràctiques situades de socialització en i a través de la llengua que impliquen estratificació social. La primera troballa és que les comunitats Emmaús estudiades s’articulen a través de la història fundacional d’Emmaús (Linde, 2009). Aquesta història donava forma a les històries que explicaven, amb clars elements intertextuals i cronotòpics (Bakhtin, 1981), i a la disposició dels membres a recrear aquesta narrativa diàriament (Agha, 2007). Malgrat el diferent pes discursiu en les seves construccions d’Emmaús, les dues comunitats compartien un tipus de persona marcat per l’auto-transformació, el valor moral de la solidaritat, i trobar “raons per viure” en la trobada amb l’altre. Quan la història fundacional d’Emmaús es trasllada en el temps i l’espai, es recontextualitza i es corda (Gal, 2007) amb altres discursos situats en comunitats locals a diferents estats. La segona troballa mostra que Emmaús permet un ampli ventall de pràctiques discursives (Foucault, 1972) en comunitats locals. Emmaús Barcelona se centrava en la trobada amb l’altre dintre de la comunitat encarnada en l’icona del fundador, que s’articulava amb els discursos polititzats de l’altermundialisme i de l’alliberament cristià. Emmaús Londres, en canvi, emfatitzava el valor de la solidaritat amb l’altre en connexió amb una ètica individualista del treball, que promovia el voluntariat en l’estat britànic. Les dues comunitats Emmaús (re)produïen les corrents discursives centrípetes i centrífugues dintre del moviment (Brodiez-Dolino, 2008) que han localitzat la missió de solidaritat de manera diferent durant dècades. La tercera troballa qüestiona la connexió naturalitzada entre els moviments socials transnacionals i el multilingüisme, així com la participació horitzontal. La socialització en el moviment Emmaús en comunitats de pràctica (Wenger, 2008) inclou discursos i narratives comuns que conformen identitats comunicatives legítimes que alhora estratifiquen els membres. Les ideologies lingüístiques modernistes feien de l’anglès a Londres, i del català i el castellà a Barcelona, requisits per a la plena participació local. En contrast amb la invisibilització nacionalista del multilingüisme a Emmaús Londres, Emmaús Barcelona acceptava les pràctiques híbrides català-castellà en interaccions quotidianes i l’ús de llengües franques com el castellà, el francès i l’anglès. En conclusió, l’entramat dels moviments socials és la intertextualitat entre les apropiacions locals que fan diferents connexions discursives amb altres àmbits i adopten pràctiques lingüístiques diverses, que alhora creen heterogeneïtat de base i una pertinença transnacional en una comunitat de pràctica estratificada.
This thesis is a critical sociolinguistic ethnography of a transnational social movement. It investigates the situated discursive and linguistic construction of a common identity as well as social difference within the Emmaus movement from the viewpoint of two communities of practice. Emmaus is a post-war transnational movement of solidarity founded by the Abbé Pierre that (re)inserts formerly marginalised people who live and work with other privileged people in live-in “communities” dedicated to recycling and social projects. My multi-sited ethnography mainly explores two Emmaus communities, one located in the Barcelona metropolitan area and another one in Greater London. This study contributes to the fields of the sociolinguistics of globalisation (Blommaert, 2010) and linguistic anthropology from a critical ethnographic perspective (Heller, 2011). The methodological design combines traditional ethnography, retaining participant-observation as the core, with narrative inquiry emerging from observed interactions and discursive genealogy of the two focal sites. The analysis draws on fieldnotes, interview data, assembly recordings, institutional texts and audiovisual materials. Departing from the concept of a transnational imagined community (Anderson, 1983), this thesis explores sociolinguistic processes beyond, in tension and within different nation-states. In particular, it investigates (a) the transnational articulation of the Emmaus movement through narrative, semiotic, discursive and communicative resources, (b) the localisation of common texts, symbols and narratives in different discursive and socioeconomic regimes, and (c) the situated practices of socialisation through and into language resulting in social stratification. My first finding is that the two Emmaus communities investigated were articulated through the movement’s founding story (Linde, 2009). This common story shaped not only the stories told, with recognisable intertextual and chronotopic elements (Bakhtin, 1981), but also the members’ dispositions to reenact this narrative in the local communities daily (Agha, 2007). The two communities shared the person-types marked by self-transformation, the moral worth of solidarity, and finding “reasons to live” in the encounter with others. These chronotopic elements had different weight in local constructions of the movement. When the shared Emmaus founding story gets transposed across time and space, it is recontextualised, recycled and clasped (Gal, 2007) with other situated discourses in local communities in different nation-states. My second finding is that Emmaus allows for a wide range of discursive practices (Foucault, 1972) in multiple communities of practice. Emmaus Barcelona centered on the encounter with others in the community epitomised by the Abbé Pierre icon, clasped with politicised altermondialiste and Liberationist Christian discourses. Emmaus London, by contrast, emphasised the value of solidarity with others in connection to individualist work ethics, which promoted voluntary work in top-down charities in the British state. The two Emmaus communities (re)produced centrifugal and centripetal discursive trends within Emmaus (Brodiez-Dolino, 2008) that have localised the shared transnational mission of solidarity differently for decades. My third main finding is a denaturalisation of the commonsensical connection between transnational social movements and multilingualism, on the one hand, and horizontal participation, on the other. Socialisation into the Emmaus movement in communities of practice (Wenger, 1998) encompassed shared discourses and narratives to craft legitimate communicative identities that stratified members. In addition, modernist language ideologies positioned English in London, and Catalan and Spanish in Barcelona, as requisites for full participation in local communities. In contrast with the nationalist erasure of multilingualism in Emmaus London, Emmaus Barcelona accepted Catalan-Spanish hybrid practices in daily interactions and the use of Spanish, French and, to a lesser extent, English as linguae francae. In conclusion, the everyday fabric of social movements is intertextuality between local appropriations that have different discursive clasps with other social arenas and linguistic practices, which simultaneously creates grassroots heterogeneity and a common transnational belonging within a stratified community of practice.

A tese tem por objetivo primordial observar a construção identitária de mestiças fidalgas nos romances Wide Sargasso Sea (1966), de Jean Rhys, True Women (1993), de Janice Windle, e Rosaura: a enjeitada (1883), de Bernardo Guimarães, considerando três fatores distintos: o multiculturalismo e a interracialização no século XIX; a tentativa de as protagonistas se passarem como caucasianas perante elites locais; a reprimida identificação das mestiças escravocratas com classes menos abastadas. Observam-se os pontos de convergência e divergência entre as obras estudadas, uma vez que o autor brasileiro discute a identidade como fator hereditário e nacional, enquanto as demais autoras a interpretam como construto cultural subjetivo. De modo geral, a pesquisa demonstra como estes autores resistem ao cientificismo que vislumbra o mestiço como ser degenerado, metabólica e ontologicamente desequilibrado, procurando advogar-lhe a imagem de modo distinto. Visto que Wide Sargasso Sea e True Women são releituras de obras oitocentistas, o trabalho também contempla relações intertextuais em dois vetores: o primeiro, voltado para relação entre hipertexto e hipotexto, e o segundo, voltado para a eventual relação entre Guimarães e as obras relidas por Rhys e Windle
At first hand, this thesis aims at observing the identitary construction of landowning multiracial women in Jean Rhyss Wide Sargasso Sea (1966), Janice Windles True Women (1993) and Bernardo Guimarãess Rosaura: a enjeitada (1883), considering three distinct aspects: the emphasis on Multiculturalism in novels concerning interracialization in the 19th century; the protagonists attempt to pass as Caucasians before local elites and their repressed identification with the culture from lower classes. In this realm, I highlight interceptive and disjointing points between Bernardo Guimarães and the other authors, once the former discusses identity as a hereditary and national factor, and the latter ones interpret it as a free-willing and cultural construct. On the whole, this research shows how these three authors resist an 18th and 19th-century scientific discursive formation which envisaged the mestizo as a degenerated creature, with metabolic and ontological unbalance, and how they strive to advocate the image of the miscegenated on the world very idiosyncratically. Considering that Wide Sargasso Sea and True Women are rereadings of 19th century novels, the thesis also encompasses intertextuality in two different manners: on the one hand, it focuses on the intrinsic relations between the hypertext and the hypotext; on the other hand, it points out the likely relation between Guimarães and the authors Rhys and Windle revisit

TITOLO TESI IN ITALIANO: Posizionamenti discorsivi nel dibattito pubblico sul fine vita: Variazioni attraverso generi discorsivi tra (inter)soggettività e interdiscorsività. I discorsi che circolano nelle diverse arene – fisiche e digitali – dello spazio pubblico sono il risultato della percezione parziale della realtà da parte del soggetto locutore, che la esperisce e la verbalizza a partire dalla sua prospettiva personale, ricorrendo a una varietà di risorse linguistiche e, più in generale, semiotiche. Il posizionamento discorsivo del locutore è dunque un fenomeno complesso ed eterogeneo, che necessita di un approccio socio-discorsivo che metta in relazione la manifestazione linguistica del fenomeno con i fattori extralinguistici che lo influenzano. La nostra ricerca si fonda su una visione fenomenologica dell’attività verbale che evidenzia la relazione (inter)soggettiva con la realtà stabilita attraverso il linguaggio. Iscrivendosi nell’ambito dell’analisi del discorso francese, questa tesi aspira a descrivere la variabilità delle caratteristiche discorsive e delle implicazioni socio-pragmatiche dei posizionamenti discorsivi dominanti, attraverso vari contesti e generi discorsivi che alimentano il dibattito pubblico francese. Il nostro studio si basa sull’analisi di un corpus seguendo i principi fondamentali della linguistica dei corpora e dell’analisi del discorso francese. Costituito in funzione di un’unità tematica, il nostro corpus rappresenta un campione dei discorsi prodotti nel dibattito pubblico francese sul fine vita, i quali appartengono a tre diversi spazi discorsivi: il dibattito parlamentare, la stampa online e Twitter. A livello metodologico, vengono articolate analisi quantificate e contestualizzate, grazie al supporto di strumenti informatici. L’esplorazione testometrica del corpus mira a oggettivare l’accesso ai dati, favorendo l’estrazione efficace di informazioni morfosintattiche, enunciative e semantiche. Questi risultati sono poi interpretati alla luce del cotesto e del contesto (inter)discorsivo, attraverso un ritorno costante ai dati nel loro ambiente nativo, al fine di coglierne le specificità discorsive, le sfumature di significato e le implicazioni pragmatiche.
The discourses circulating in the different arenas of the public space – either physical or digital – are the result of the speaker’s partial perception of reality. The speaker can only grasp it and put it into discourse from her/his own perspective, by resorting to a variety of linguistic and, more broadly, semiotic resources. The discursive positioning of the speaker is thus a complex and heterogeneous phenomenon, which requires a socio-discursive approach to relate its linguistic manifestation to the extralinguistic factors influencing it. This research is rooted in a phenomenological vision of language, which highlights the (inter)subjective relation to reality established by language. Within the framework of French discourse analysis, this dissertation aims to describe the variability of the discursive characteristics as well as the socio-pragmatic implications of dominant discursive positionings across various discursive contexts and genres, which contribute to the French public debate. By following the fundamental principles of corpus linguistics and of French discourse analysis, the study is based on the analysis of a corpus constituted according to a thematic unity. The corpus represents a sample of the discourses produced in the public debate on end-of-life issues and belonging to three different discursive spaces: the parliamentary debate, the online press and Twitter. A tool-based approach is adopted with the purpose of articulating quantified and contextualized analyses. The textometric exploration of the corpus aims at objectifying the access to the data, favouring the efficient extraction of morphosyntactic, enunciative and semantic information. These results are then interpreted in the light of the cotext and of the (inter)discursive context, through a constant return to the data in their original environment, in order to grasp their discursive specificities, their meaning constructions as well as their pragmatic implications.

Magister Artium - MA (Linguistics, Language and Communication)
Fairy tales have been changing continuously. From the likes of the Greek and Chinese versions of the Cinderella tale, Cinderella has been transformed into other versions. Charles Perrault and The Brothers Grimm had their way with the story of Cinderella with both parties putting their own mark on the tale. Disney made the story notorious as the consumers mostly tend to remember Disney's version and not earlier writers of the story (Zipes, 1999). Since then, various other versions in the current sphere of story-telling, especially through movie-making, have had a series of re-telling of the story. James Finn Garner's "Politically Correct Bedtime Stories" has made its mark in the world of politically correct, versions of fairy tales. He has graced readers with his satire and thereby challenged the more traditional versions of the story of Cinderella (and others) by posing a dry, humorous twist and facing the 'issues' which underlie the social problems in Cinderella such as equality, sexism and patriarchal, inappropriate gender biased terminology. Garner takes it upon himself to remediate the story of Cinderella through transformations of events and socially structured power relations, reworking the plot and characters and reformulation of gender-biased terminology. This results in a witty politically correct remodelling of the story which upholds a general moral in line with the contemporary socio-political ethos, championing usage of politically correct language.

Cette étude répond à l’intitulé suivant : La fiction romanesque de la postmodernité et ses labyrinthes. L’exemple des textes d’Alain Robbe-Grillet (France, 1922-2008), de Juan José Saer (Argentine, 1937-2005) et de Boubacar Boris Diop (Sénégal, 1947-). Elle se propose de cerner, sous l’autorité méthodologique de la poétique textuelle, les diverses modalités par lesquelles le motif du labyrinthe s’impose comme substrat privilégié de la poétique du récit chez trois écrivains appartenant à des aires linguistiques et culturelles différentes. Le choix et l’examen des textes de ces trois écrivains reposent sur la volonté de montrer le déploiement de ce motif dans l’organisation interne de la fiction romanesque postmoderne. En effet, intégré dans la dynamique interne de l’oeuvre de manière très diversifiée, le motif du labyrinthe surgit dans toutes les problématiques qui traversent l’écriture romanesque postmoderne. Par commodité méthodologique et rigueur scientifique, cette étude se déploie suivant trois axes complémentaires. Tandis que le premier qui s’intitule « Le labyrinthe comme invariant obsessionnel de la fiction romanesque de la postmodernité » s’attache à faire ressortir les diverses facettes sous lesquelles ce motif se déploie dans la dynamique textuelle du récit fictionnel postmoderne ; le deuxième qui a pour titre « Le labyrinthe comme modalité constitutive de la narrativité du récit : la fiction romanesque de la postmodernité à l’épreuve de la discontinuité », s’attèle quant à lui, à examiner en quoi ce motif participe d’un projet d’écriture qui revendique la discontinuité comme principe narratif ; enfin, le troisième qui a pour intitulé « Le labyrinthe comme modalité caractéristique de l’interdiscursivité et de l’intergénéricité de la dynamique textuelle : la fiction romanesque de la postmodernité à l’épreuve de la polyphonie », entreprend pour sa part de démontrer en quoi ce motif est constitutif de la polyphonie qui gouverne la dynamique textuelle du récit fictionnel postmoderne
This study answers the following title: Romantic fiction of postmodernity and its mazes. The example of the texts of Alain Robbe-Grillet (France, 1922-2008), of Juan José Saer (Argentina, 1937-2005) and of Boubacar Boris Diop (Senegal, 1947-). It intends to identify, under authority methodological of poetic text the various modalities by which the pattern of the labyrinth becomes established as privileged substrate of the poetic narrative in three writers belonging to different linguistic and cultural areas. The choice and examination of the texts of these three writers rest on the will to show the deployment of this pattern in the internal organization of the postmodern romantic fiction. Indeed, integrated in the internal dynamic of writing in a very diversified way, the pattern of the maze appears in all the problems which cross the romantic writing. For methodological convenience and scientific rigour, this study deploys according to three complementary axes. While the first is entitled "The labyrinth as obsessive invariant of the romantic fiction of postmodernity" sets out to bring out the different aspects in which this pattern unfolds in dynamic textual postmodern fictional narrative, the second which is entitled "The labyrinth as constitutive modality of the narrativity of the story : romantic fiction of postmodernity to the test of discontinuity", gets down to examine how this pattern is part of a writing project that claims the discontinuity principle as narrative, and the third which is entitled "The labyrinth as a characteristic modality of interdiscursivity and intergenericity textual dynamic : romantic fiction of postmodernity to the test of polyphony" undertakes to show how this pattern is constitutive of polyphony which governs the dynamic of textual postmodern fictional narrative

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The purpose of this paper is to analyze and relate verbal and nonverbal texts with each other. We observe the resources that stimulate readings, and also the constitutive elements of meaning found in the elaboration of the short stories: "Leite empedrado", by Fabrício Carpinejar, and "Apenas eco", by Flávio Izhaki, both published in the book Contos sobre tela, by Marcelo Moutinho. We also study the paintings "As gêmeas", by Alberto da Veiga Guignard, and "Moças", by Di Cavalcanti, that are included in the book abovementioned as reference of intertextuality and interdiscursivity. Therefore, we examine the intentions, assumptions and implicit elements registered in the discourses of verbal and visual texts, based on the theoretical aspects of the philosophy of language studied by Bakhtin and the French semiotics of Greimas. In the analysis of the texts, we intend to discuss the question related to the materiality of the language used in the short stories, as well as the effects of meaning that this textual choice produces from a new field of description and analysis of the nonverbal. At first, we do not assume the transfer of the nonverbal to the verbal, but we present an instrument to interpret the images. With this study, we aim to find a way to analyze, elaborate meanings and show the relations in the reading of the verbal sign and also of the pictorial text.
Este trabalho tem como propósito analisar e relacionar entre si textos verbais e não verbais. Observamos os recursos propiciadores de leituras, assim como os elementos constitutivos de sentido encontrados na construção dos contos Leite empedrado , de Fabrício Carpinejar, e Apenas eco , de Flávio Izhaki, publicados na obra Contos sobre tela, de Marcelo Moutinho. Também estudamos as pinturas As gêmeas , de Alberto da Veiga Guignard, e Moças , de Di Cavalcanti, presentes na obra supracitada como referência de intertextualidade e interdiscursividade. Dessa forma, analisamos as intenções, os pressupostos e os implícitos inscritos nos discursos dos textos verbais e visuais, com base nos fundamentos teóricos da filosofia da linguagem de Bakhtin e da semiótica francesa de Greimas. No exame dos textos, pretendemos ainda discutir a questão relativa à materialidade da linguagem utilizada nos contos, bem como os efeitos de sentido que essa escolha textual produz de um campo novo de descrição e de análise do não verbal. Em primeira instância, não pressupomos o repasse do não verbal pelo verbal, mas apresentamos um instrumental de interpretação das imagens. Por meio deste estudo, acreditamos encontrar uma forma de analisar, construir significados e mostrar as relações da leitura do signo verbal e do texto plástico-pictórico.

FundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
A presente tese âPrÃtica intersemiÃtica no Discurso ImagÃtico-Cancional de Adriana Calcanhotto: uma proposta de anÃliseâ estuda e define o discurso imagÃtico-cancional como uma prÃtica discursiva que mobiliza, atravÃs de procedimentos discursivos, linguagens de diferentes modalidades (tanto de natureza verbal quanto nÃo-verbal) para, num processo intersemiÃtico, compatibilizarem-se com a produÃÃo literomusical e, a partir disso, propiciarem a construÃÃo de sentidos. O alicerce teÃrico no qual fincamos esse conceito procede da AnÃlise do Discurso de linha francesa, considerando, sobretudo, as reflexÃes de Maingueneau (1999), Costa (2012), dentre outros. Com base nisso, a questÃo norteadora da pesquisa: Que proposta de abordagem teÃrica e metodolÃgica para uma anÃlise do discurso imagÃtico-cancional pode ser elaborada a partir das categorias discursivas? A operacionalizaÃÃo dessa questÃo e do objetivo se deu por meio da metodologia exploratÃria, em que, a partir de um corpus especÃfico â a produÃÃo literomusical de Adriana Calcanhotto compreendida entre 1990 e 2000, cuja delimitaÃÃo se deu por ordem cronolÃgica, a fim de se perceber como as respectivas produÃÃes se organizam de acordo com o inÃcio e o encerramento da dÃcada; a partir da apropriaÃÃo das categorias discursivas, cancionais e visuais, elaboramos um guia que propÃe um percurso que viabilize a construÃÃo dos sentidos do texto. à luz dessa metodologia, procedemos o exercÃcio de anÃlise dos dados o qual nos permitiu a conclusÃo de que a natureza interdiscursiva do discurso imagÃtico-cancional propicia sentidos tais que sà os sÃo possÃveis devido ao fenÃmeno da intersemioticidade que se estabelece e que . Essa conclusÃo nos possibilita afirmar que, em virtude disso, hà que promover um letramento verbo-visual; tais construÃÃes discursivas requerem do leitor uma aprendizagem acerca do modo de ler determinadas produÃÃes discursivas.
This thesis " intersemiotic Practice in Speech - Cancional imagery of Adriana Calcanhotto: a proposed analysis " studies and sets the image- cancional discourse as a discursive practice that mobilizes through discursive procedures , languages of different modalities (both verbal nature as nonverbal) to, in intersemiotic process compatibilizarem with the literomusical production and , from that , they encourage the construction of meaning. The theoretical foundation on which fincamos this concept comes from the analysis of French Discourse, considering especially the reflections of Maingueneau (1999), Costa (2012), among others. Based on this, the guiding research question: What proposal for theoretical and methodological approach to an analysis of image- cancional speech can be compiled from the discursive categories? The operationalization of this issue and the goal was through the exploratory methodology, in which, from a specific corpus - the literomusical production of Adriana Calcanhotto between 1990 and 2000, whose limits given in chronological order, in order to realize as their productions are organized according to the opening and closure of the decade; from the appropriation of discursive and visual cancionais , categories prepared a guide that offers a path that makes possible the construction of meanings of the text . In light of this methodology , we proceed to the performance analysis of the data which allowed us to conclude that the nature of the image- interdiscursive cancional speech provides such meanings that are only possible due to the phenomenon of intersemioticidade that is established and that. This conclusion allows us to state that, because of this, there is a verb that promote visual literacy; such discursive constructions require the reader learning about the way of reading certain discursive productions.