Thèses sur le sujet « Paratesti »
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1
Modolo, Elia. « Videogiochi, cinema e narrazione Le cut scene come paratesti ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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I videogiochi sempre più spesso raccontano delle storie, usando gli strumenti che gli sono propri ma anche il linguaggio di media differenti. La loro natura è ibrida, sono testi audiovisivi che racchiudono in sé materiali interattivi e non interattivi di tutti i tipi, dalle immagini ai suoni, per passare a testi scritti e simulazioni motorie. Questa complessità li rende unici nel proprio genere, ma allo stesso tempo simili agli altri media. E il paragone più frequente è quello con il cinema, con cui condivide la natura multimediale. I videogiochi e il cinema sono sempre più legati tra loro nei modi espressivi, nella convergenza transmediale e nella rappresentazione estetica. In particolare, le cut scene sono spesso accusate di essere un riempitivo inutile, se non dannoso, per i videogiochi, che non necessitano della presenza di elementi non interattivi ma anzi ne trovano uno svantaggio: l’esperienza di gioco viene interrotta e il giocatore non può intervenire nella creazione di significato del gioco, prerogativa che sta alla base della sua esperienza.
2
Emanuele, Valerio. « Le discours préfaciel des dictionnaires bilingues : l’exemple des dictionnaires français-italien italien-français (XVIe-XXIe siècles) ». Thesis, Cergy-Pontoise, 2018. http://www.theses.fr/2018CERG0937.
Texte intégralRésumé :
Notre recherche a pour objet l’analyse du discours préfaciel des dictionnaires bilingues italien-français français-italien depuis les origines jusqu’à nos jours (du XVIe au XXe siècle). À partir de l’analyse approfondie des principaux dictionnaires bilingues italien-français français-italien diffusés sur le marché international depuis le XVIe siècle jusqu’au début du XXIe siècle, notre recherche vise à atteindre plusieurs objectifs :• Pallier une lacune de la recherche lexicographique et métalexicographique, où l’on observe un manque d’études d’ensemble sur les préfaces des dictionnaires bilingues I-F F-I.• Comprendre le rôle et la fonction du discours préfaciel relativement aux dictionnaires bilingues français-italien / italien/français.• Établir une typologie de thèmes récurrents abordés au sein du discours préfaciel des dictionnaires franco-italiens.• Comprendre les intentions du préfacier et les circonstances qui l’incitent à s’exprimer.• Déterminer les objectifs annoncés dans la préface et vérifier l’écart éventuel entre le programme et la réalisation concrète du projet.• Vérifier la présence de constantes et de variables par rapport aux choix lexicologiques et lexicographiques.• Identifier et décrire le parcours évolutif du genre « préfaces des dictionnaires bilingues I-F F-I ».• Comparer les discours préfaciels des dictionnaires bilingues I-F F-I avec ceux appartenant aux dictionnaires unilingues français, de manière à mettre en relief les similitudes et les dissemblances entre ces deux types de discours d’introduction dictionnairique.Notre recherche est organisée en deux parties. Dans un premier temps, on a analysé les sources bibliographiques disponibles et on a sélectionné le corpus, constitué des principaux dictionnaires bilingues italien-français français-italien publiés entre la fin du XVIe siècle et le début du XXIe siècle.Dans un deuxième temps, nous avons analysé les préfaces ainsi que les textes qui les complètent ou les remplacent : Avis au lecteur, Avant-propos, Éclaircissement, Avertissement, Discours Préliminaire, Note de l'Éditeur, Présentation, etc. On a essayé, dans cette phase, d’identifier les stratégies discursives du préfacier à travers une analyse méthodique de ses procédés et de son vocabulaire. Notre méthodologie de recherche se base sur la recension et les commentaires des préfaces dans leur intégralité, dans le but d'identifier les sujets les plus récurrents abordés par les préfaciers. Cela nous a permis, deuxièmement, de mettre en lumière toutes les fonctions qui particularisent l'appareil préfaciel au sein des dictionnaires bilingues franco-italiens. On a employé à la fois une perspective diachronique (analyse au fil du temps des différentes éditions du même dictionnaire) et transversale (comparaison des différents dictionnaires entre eux en vue de comprendre les stratégies adoptées par les auteurs relativement à certaines thématiques). Cette approche nous a permis de suivre l'évolution de l'appareil préfaciel au fil des siècles et d'effectuer des parallèles entre des discours de présentation tirés de différents dictionnaires.En définitive, notre recherche vise à identifier et à examiner les divers types de renseignements contenus au sein des préfaces des dictionnaires bilingues italien-français français-italien, dont on fournira également une description formelle générale. Nous allons détailler, en employant une perspective diachronique, les principales étapes évolutives des discours introductifs dictionnairiques et les caractéristiques qui particularisent le discours préfaciel des dictionnaires bilingues F/I – I/F par rapport à celui des dictionnaires unilinguesOur thesis aims at analysing the prefaces of bilingual dictionaries italian-french french-italian (XVI-XXI century). In our corpus we selected the mains bilingual I/F F/I dictionaries in the international market in order to have at our disposal the prefaces written by the most important authors in the franch-italian lexicography. Our purpose is to underline the recurrent topics mentioned by the lexicographers in their introduction texts as well as the differences concerning the monolinguals and bilingual prefaces. We will adopt a diachronic and transversal perspective of analysis, in order to identify and examine the different types of prefaces of the I/F F/I dictionaries. We will provide a general description of bilingual dictionaries I/F F/I prefaces, describing their origins as well as their evolution in order to increase the knowledge of a not enough explored field in the bilingual lexicography research
3
Eyang, Essono Raymonde. « Sémiotique des formes journalistiques. Reportages et évènements : entre petites mythologies et spectacularisation ». Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0074.
Texte intégralRésumé :
Les professionnels de l’écriture journalistique s’investissent dans de formes et stratégies de mise en page de l’information. Cette stratégie de mise en page vise une meilleure visibilité et lisibilité, et une hiérarchisation de l’information. Ce travail, propose de voir la construction et le fonctionnement sémiotique de la spectacularisation dans la presse écrite (imprimée) gabonaise. Perçu comme un processus de reformulation, de reprise d’une situation d’information dans un contexte nouveau, la spectacularisation appelle à une stratégie de mise en spectacle. Celle-ci passe par un dispositif d’éléments qui concourent à la monstration d’une information. Nous relevons dans ce travail que l’évènement est pris en charge par une instance qui le met en forme et le met en discours à partir d’un certain nombre de procédés. A l’aide des analyses portant sur les stratégies énonciatives, le déploiement du discours rapporté dans les publications gabonaises, le visuel à travers une instance de la perception, nous avons fait ressortir la manière par laquelle se fait la reconstruction d’un évènement dans les journaux gabonaisProfessionals journalists reporters are involved in forms and strategies for and layout information. This layout strategy aims for better visibility and readability, and a hierarchy of information. This work proposes to see the construction and the semiotic functioning of spectacularizing in Gabonese print paper. Perceived as a process of reformulation, of the recovery a enlever information situation in a new context, the spectacularizing calls for a strategy of putting on stage. It passes through expedient elements that contribute to the demonstration of information. We note in this proposal that the event is supported by an instance that a enlever in shape and puts it into speechless from several processes. Using the analyzes of enunciative strategies, the deployment of the discourse reported in Gabonese publications, the visual through an instance of perception, we have highlighted the way in which the reconstruction of an event in Gabonese newspapers works
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Moreira, Mariana GonÃalves. « à uma verdade universalmente conhecida que nem tudo à verdade : estudo do universo narrativo e paratextual da websÃrie The Lizzie Bennet Diaries ». Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=20049.
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nÃo hÃO presente trabalho busca analisar a estrutura narrativa da websÃrie "The Lizzie Bennet Diaries", considerando suas caracterÃsticas transmÃdiaticas e por se tratar de um produto de entretenimento adaptado. âThe Lizzie Bennet Diariesâ Ã uma websÃrie adaptada do romance britÃnico âOrgulho e Preconceitoâ, de Jane Austen, escrito no sÃculo XVII. Um estudo de narrativa a partir de pesquisas de ABBOTT (2009), CAMPOS (2016), STAM (2003), dentre outros, foi realizado para compreender as particularidades de cada elemento narrativo analisado e sua relaÃÃo com os paratextos, sob o olhar de GENETTE (2009), ALVARADO (1994) e GRAY (2010), encontrados em TLBD. Com o objetivo de verificar as funcionalidades dos paratextos na narrativa transmÃdia, concluÃmos que as relaÃÃes intertextuais dessa modalidade dentro da narrativa adaptada tÃm um carÃter essencial no qual o paratexto agrega ao processo transmÃdiatico da obra, tornando clara sua necessidade de acompanhar a narrativa, tanto em conteÃdo quanto em processos de divulgaÃÃo.
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Stanton, Renee Jane. « Pilgrimage and its paratexts ». Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6495/.
Texte intégralRésumé :
This thesis analyses the paratexts of Dorothy Richardson’s long modernist novel sequence, \(Pilgrimage\). Peritexts, such as the prefaces to \(Pilgrimage\), and epitexts, such as letters written by Richardson and others about \(Pilgrimage\), are explored alongside other paratextual material such as the front covers of different editions, peritextual blurbs and epitextual reviews. I consider the paratexts of \(Pilgrimage\) to be as worthy of study as the anchoring text itself and seek to explain the recurrence of particular paratextual themes which have served to cast doubt on \(Pilgrimage\)’s status and Richardson’s qualities as a writer. Linguistic markers of tentativeness and reservation circulate in \(Pilgrimage\)’s paratextual space, inscribing a dominant tone that has served, at times, to undermine \(Pilgrimage\) and its author. This thesis, by using a range of interdisciplinary, contextualist approaches from narratology, stylistics and modernist studies, traces the links between \(Pilgrimage\)’s paratexts. In so doing it seeks to explain the prominence and liminality of certain paratexts and analyses the collisions and collusions that have characterised \(Pilgrimage\)’s paratextual space.
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Geminiani, Luca. « Tradurre la pubblicità Il paratesto grafico nella traduzione pubblicitaria ». Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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La traduzione di un testo pubblicitario richiede competenze che vanno oltre la semplice traduzione testuale e che spesso trascendono la formazione accademica tradizionale dei traduttori. Nel cap.1 verrà analizzata l’importanza dell’elemento paratestuale, che rende la pubblicità uno strumento di comunicazione multimediale e la sua traduzione uno sforzo di paratraduzione. È quindi necessario saper riconoscere il valore comunicativo di suoni e immagini per poter creare, o meglio transcreare, una pubblicità altrettanto accattivante e persuasiva per il pubblico straniero. Nel cap.2 verranno messi a confronto vari tipi di paratesto - soprattutto grafico - e verrà analizzata la loro relazione con l’elemento testuale. In questo capitolo si affronterà anche il tema del grado di iconicità di un’immagine, che determina non solo la sua efficacia comunicativa, ma anche la facilità con cui essa si presta ad essere adattata nello sforzo transcreativo. Le immagini a bassa iconicità risultano estremamente versatili e facili da tradurre, mentre quelle ad alta iconicità, cariche di informazioni e facilmente riconoscibili, sono più efficaci nella comunicazione ma più difficili da tradurre. Nel cap. 3 verranno messe a confronto le informazioni dei capitoli predecenti con una proposta di traduzione pubblicitaria: verrà realizzata una traduzione in lingua spagnola di un flyer digitale con una forte componente grafica. La traduzione verrà poi commentata analizzandone l’elemento paratestuale.
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Pittin-Hédon, Marie-Odile. « Alasdair Gray : paratexte, métatexte et intertexte ». Grenoble 3, 1998. http://www.theses.fr/1998GRE39035.
Texte intégralRésumé :
La diegese grayienne peut etre qualifiee de super-diegese, incorporant, sinon a part egale, en tout cas de facon ostentatoire et persistante des paradigmes relevant de textualite, de paratextualite, d'intertextualite et enfin de metatextualite. Le principe directeur, mettant en mouvement les diverses composantes du super-texte grayien, est celui de l'hesitation, ce que milan kundera designe par l'expression la +sagesse de l'incertitude;. L'incertitude, l'hesitation sont en partie obtenues par la combinaison, la fusion des fonctions examinees. On trouvera par exemple dans l'oeuvre de gray des instances de ce que l'on pourrait baptiser +para(inter)texte;, ou encore de +meta(para)texte;. L'objet de cette these est donc de tenter de definir, non seulement ce que le non-texte (paratexte, metatexte, intertexte) nous dit sur le texte, mais egalement comment ce qu'il dit sur le texte, dans un mouvement de retour sur soi, constitue le texte. . . .
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Spaak, Sofia, et Blom Frida Misker. « Vad berättar bilderbokens paratext ? : En studie om hur bilderbokens paratext överensstämmer med handlingen i bilderboken ». Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71419.
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The purpose of this study is to investigate what the picture book's paratext tells us. The study focuses on aspects such as whether the cover and the story match, and whether the paratext text gives a true and fair view of the contents of the picture book. The study also includes a gender aspect that highlights whether the paratext is different depending on whether it is a male or female illustrator, and a time aspect based on differences in paratexts depending on the year of publication. The method used to carry out the study is a text and image analysis of ten different picture books for children.The survey shows that the picture book's paratext informs the reader about the action in the picture book as well as how the book of the picture book and the story have been related to each other. The survey also shows that the text of the picture book differs depending on the year in which it is published.Syftet med denna studie är att undersöka vad bilderbokens paratext berättar. Undersökningen fokuserar på aspekter som om omslag och handling stämmer överens och om paratexten ger en rättvisande bild av bilderbokens innehåll. Studien innefattar även en genusaspekt som belyser huruvida paratexten skiljer sig beroende på om det är en manlig eller kvinnlig illustratör, samt en tidsaspekt utifrån skillnader i paratexter beroende på utgivningsår. Metoden som har använts för att genomföra studien är en text- och bildanalys av tio olika bilderböcker för barn.Resultatet av undersökningen visar att bilderbokens paratext informerar läsaren om handlingen i bilderboken samt hur bilderbokens paratext och handling har förhållit sig till varandra. Undersökningen visar också att bilderbokens paratext skiljer sig beroende på under vilket år den är utgiven.
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Lane, Philippe. « Le paratexte éditorial : Analyse pragmatique et textuelle ». Rouen, 1989. http://www.theses.fr/1989ROUEL094.
Texte intégralRésumé :
Le paratexte éditorial désigne un ensemble de productions discursives qui accompagnent le texte ou le livre, comme la couverture, la jaquette, l'argumentaire ou encore la publicité, le catalogue, la presse d’édition. Cet accompagnement relève de la responsabilité privilégiée de l'éditeur et de ses collaborateurs. Notre travail illustre la rencontre entre cet objet d'étude et une démarche d'analyse, la pragmatique linguistique et textuelle ; cette rencontre s'effectue dans le cadre d'un domaine plus vaste, celui de la communication d’édition. Pour mener à bien cette entreprise, nous avons organisé la recherche en deux grandes parties : la première partie, intitulée "pour une analyse du paratexte éditorial", tente de jeter les bases théoriques de l'étude de ce genre discursif; la seconde partie, intitulée "les formes textuelles du paratexte éditorial", aborde plus directement l'approche des différents éléments du paratexte éditorialThe editorial paratext refers to a group of productions in the discursive field which come with a text, a book, such as the cover, the jacket, the various devices aiming at promoting the book (such as argument, pleas to insert. . . ) Or even the advertizing material, the book list, the edition press. These extensions of the discourse depend on the publisher's and his staff's will. Our work aims at illustrating the meeting between this object of study and an analytical process, the linguistic and textual. Pragmatics. This meeting takes place in a larger context, the one of editorial communication. To achieve this goal, we have organised the research work into two parts : the first part : "for an analysis of the editorial paratext," tries to set theoretical bases for the study of this discursive genre; the second part : "the textual forms of the editorial paratext", more closely deals with the study of the various elements of the editorial paratext
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Magaldi, Carolina Alves. « Paratextos das traduções brasileiras da Kalevala e do Popol Vuh ao longo do espaço e do tempo ». Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/1043.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A Kalevala finlandesa e o Popol Vuh guatemalteco têm inúmeras e surpreendentes similaridades, bem como uma quantia equiparável de diferenças marcantes. Algumas questões, entretanto, ressaem sobre as outras: suas origens orais, transpostas para o universo escrito em momentos de crise; suas numerosas retraduções e os extensos prefácios, posfácios e introduções escritos por teóricos-tradutores especialistas nas obras, contendo informações sobre o texto-fonte e seu contexto, a respeito do processo de tradução, além de dados sobre os povos e territórios nos quais as narrativas se originaram. Tais paratextos se constituem como ―zonas de transação‖ (GENETTE, 2009), nos quais as negociações de sentido entre tradutores anteriores, versões atuais, editoras e universidades se tornam visíveis em meio ao fazer tradutório, movimentando as obras em seus polissistemas literários e culturais. O ingresso brasileiro neste processo é recente, com a tradução de Sérgio Medeiros para o Popol Vuh (Iluminuras, 2007) e de José Bizerril e Álvaro Faleiros para a Kalevala (Ateliê Editorial, 2009). Nessas edições brasileiras, os temas mais recorrentes nas versões internacionais também se fazem presentes, com destaque para a história e a tradução, saberes esses voltados ao passado, os quais contribuem sobremaneira para a construção do imaginário espacial. Detalhamos, portanto, as obras e seus paratextos para que possamos nos dedicar ao estudo da história e da tradução a partir dos eixos temporal e espacial, optando, sempre que possível, por contemplar teóricos que discorressem sobre ambos os saberes, em especial Walter Benjamin, Paul Ricoeur e Itamar Even-Zohar. Concluímos que a literatura e tradução são polissistemas, ou seja, conjuntos relacionais e hierárquicos em eterna construção de conexões, desenvolvidas e renovadas ao longo do tempo. Os paratextos, tão ―híbridos‖ quanto os textos que vêm a apresentar, são parte integrante das grandes negociações interculturais, políticas e literárias operadas pela tradução. Por esse motivo propomos a noção de prisma, de forma a oferecer uma possibilidade de interpretação que demonstrasse os discursos que atravessam a Kalevala e o Popol Vuh, e de que forma as obras se configuram tanto como bens simbólicos quanto como produtoras de sentido.
The Finnish Kalevala and the Guatemalan Popol Vuh have countless and surprising similarities, as well as a somewhat equal amount of remarkable differences. Some matters, however, must be highlighted: their oral origins, transfigured into a written world in moments of crisis; their numerous retranslations and the extensive prefaces, postfaces and introductions written by theorist-translators specialized on the books, containing information about the source-text and its context, the process of translation, besides data regarding the peoples and territories where the narratives originated. Such paratexts constitute ―zones of transaction‖ (GENETTE, 2009), in which negotiations of meaning between past translators, present versions, publishing houses and universities become visible amid the translating activity, moving the works in their literary and cultural polysystems. The Brazilian point on entry in this process is recent, with the translation of the Popol Vuh by Sérgio Medeiros (Iluminuras, 2007) e of the Kalevala by José Bizerril and Álvaro Faleiros (Ateliê Editorial, 2009). In these Brazilian editions, the most recurrent themes in the international versions are also made present, i.e., history and translation, both forms of knowledge facing the past, which contribute greatly to the construction of a concept of space. We detailed, therefore, the works and their paratexts so that we could, then, dedicate ourselves to the study of history and translation on the axes of time and space, choosing, whenever possible, to contemplate authors who discussed both fields, especially Walter Benjamin, Paul Ricoeur and Itamar Even-Zohar. We concluded that literature and translation are polysystems, that is, relational and hierarchical gatherings eternally building connections, developed and renewed as time passes. The paratexts, as hybrid as the texts they aim to present, are part of the great intercultural, political and literary negotiations operated by translation, which is the reason why we proposed the notion of the prism, so as to offer a possibility of interpretation that demonstrated the discourses run through the Kalevala and the Popol Vuh, and in which manner the works are configured both and symbolic goods and as producers of meaning.
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Capildeo, S. V. P. « Reading Egils saga Skallagrímssonar : saga, paratext, translations ». Thesis, University of Oxford, 2000. http://ora.ox.ac.uk/objects/uuid:182b199f-3222-4610-81fa-6e36814bbb1c.
Texte intégralRésumé :
This thesis is concerned with how a set of different texts, all titled with various English or Icelandic versions of Egils saga, exists, can be interrelated, and may be read. The first level of interpretation, before reading of the text even begins to occur, is a response to the book as a physical object whose ordering encourages and excludes certain interpretations. The first two chapters analyze the six English translations of Egils saga: W.C. Green (1893), E.R. Eddison (1930), Gwyn Jones (1960), Christine Fell and John Lucas (1975), Hermann Palsson and Paul Edwards (1976), Bernard Scudder (1997): together with the Icelandic editions used as their source texts, in terms of paratext, as developed by Gerard Genette. The third chapter consists of translation analyses. These use some of the methods of traditional translation criticism, together with more liberal methods of analysis associated with 'Translation Studies', as established by Susan Bassnett, among others. I conclude that the reader of translations who intends to move between 'target language' (language of translation) and 'source language' (language for translation), or who is in the process of getting the freedom to make transitions between these languages, is a special case, and that there is a literature which exists for them. By this I mean that, while it can be liberating to read literary translations as works 'in their own right', there are areas in some literary translations where it is best, or possible, to manipulate several languages and culture levels. There are also literary translations where the play between source language and target language, texts and paratexts, is necessary to their existence. Although I retain the 'source' and 'target' terminology of Translation Studies, I begin the chapter by questioning the direction of the vector: "target" texts are in some senses the 'source' texts for the 'source' texts subsequently encountered by readers between languages. The final chapter studies processes of transformation in Egils saga, following the Islenzk fornrit text. It shows how the saga itself is concerned with the meaning and powers of language and processes of transmission: it translates itself, not in a modern self-reflexive sense, but with its own, historically particular aesthetic.
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PESSOA, MARILUCE FILIZOLA CARNEIRO. « THE PARATEXT AND THE TRANSLATOR`S VISIBILITY ». PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16281@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEste trabalho tem como objetivo valorizar o paratexto como espaço de visibilidade do tradutor. Baseia-se na abordagem teórica dos estudos descritivos da tradução, com especial ênfase no conceito de normas tradutórias elaborado por Gideon Toury. A partir do estudo das normas, pode-se compreender e explicar o comportamento do tradutor e as diretrizes que regeram sua tarefa, o que torna especialmente visível o processo de mediação e o agente mediador. Segundo Toury, as normas tradutórias podem ser depreendidas a partir de duas fontes: a tradução em si e as formulações semiteóricas de tradutores, editores ou críticos. Para este estudo, selecionou-se um corpus constituído de prefácios, posfácios, introduções e notas do tradutor, que se insere nesse segundo tipo de fonte. Ao analisar o discurso do tradutor, procurando explicitar as normas que regeram seu trabalho, esta pesquisa contrapõe-se à defesa feita pelo teórico norte-americano Lawrence Venuti da estratégia estrangeirizadora que implica uma escrita de resistência ao texto fluente como forma de promover a visibilidade do tradutor. Levando-se em conta que, no Brasil de hoje, a fluência é a marca por excelência de uma boa tradução, constituindo não somente uma expectativa por parte dos leitores como um requisito por parte das editoras, propõe-se que o tradutor se torne visível no paratexto e, não, por meio de intervenções explícitas no texto traduzido, destacando que ambientes culturais diferentes requerem abordagens diferentes, e que teorias desenvolvidas em um dado sistema não devem ser aplicadas em outros sistemas sem os devidos ajustes aos respectivos contextos.
The purpose of this dissertation is to stress the role of the paratext as a space of visibility for the translator. The study is based on the theoretical approach of Descriptive Translation Studies, emphasizing the concept of translation norms developed by Gideon Toury. From the study of norms, it is possible to understand and explain the translators’ behavior and the guidelines that govern their tasks, which makes the process of mediation as well as the agent of this mediation especially visible. According to Toury, translation norms may be reconstructed from two major sources: the translated texts themselves and the semi-theoretical and critical formulations made by translators, editors and publishers. From the second of these sources, a corpus comprised of translators’ prefaces, introductions and notes was selected. The analysis of the translators’ discourses aims at reconstructing the norms that govern their tasks. Lawrence Venuti has argued that the translator disappears behind a fluent text that erases the foreignness of the original text. Accordingly, he proposes an approach to translation that resists fluency, stylistic and idiomatic norms as a way of promoting the translators’ visibility. In contrast, the present study argues that it is in the paratext, rather than in the translated text itself, that the translator may become visible in society. This study seeks also to show that different cultures require different approaches and that theories developed in a particular system should not be applied to other systems without the proper adjustments to their specific contexts.
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Skare, Roswitha. « Christa Wolfs "Was bleibt" : Kontext - Paratext - Text / ». Münster, Westf : LIT, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3172152&prov=M&dok%5Fvar=1&dok%5Fext=htm.
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Fouet, Jeanne. « Aspects du paratexte dans l'œuvre de Driss Chraïbi ». Besançon, 1997. http://www.theses.fr/1997BESA1015.
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Après avoir rappelé quelques grandes étapes de la constitution de la critique, cette thèse se propose de vérifier dans quelle mesure l'étude du paratexte trouve sa place dans la description des faits littéraires, et ouvre de nouvelles pistes de réflexion. L'auteur retenu, Driss Chraïbi, appartient au domaine de la littérature francophone maghrébine, dont l'historique est retracé. Le corpus rassemble l'œuvre romanesque de l'écrivain, de 1954 à nos jours. La valeur heuristique de l'outil est testée dans deux grandes directions. Tout d'abord, l'étude du paratexte auctorial permet de vérifier la portée des dédicaces, qui témoignent du poids de l'histoire collective, individuelle, et des aspects constitutifs de l'imaginaire de l'écrivain retenu, avant de conclure sur ce que les dédicaces apportent à la compréhension du statut des personnages. L'analyse des formes et des fonctions des épigraphes révèle un désir pédagogique, un besoin de dénonciation, et la création d'effets de relais entre divers cycles narratifs. Le travail sur les notes de pages permet de préciser le rapport de l'auteur à l'exotisme, à l'oralité, au bilinguisme. Enfin, l'attention accordée à certains aspects du paratexte éditorial, titres, intertitres. Tables des matières, prières d'insérer et couvertures, révèle l'existence possible d'écarts entre le projet de l'écrivain et les intérêts de l'éditeur. Une réflexion finale sur le genre indique sur les premières de couvertures autorise à dégager le sentiment de l'histoire a l'œuvre dans les textesAfter recalling a few of the main stages of the literary critic, this thesis proposes to verify how the study of the paratext finds its way in the description of literary facts and opens new ways of reflexions. The chosen author, Driss Chraïbi, belongs to the french speaking literature from the maghreb, literature which history is related. The corpus incluses the novelistic works of the writer, from 1954 to nowadays. The heuristic value of the device is tested through! Two main directions. First of all, the study of the paratext made by the author allows to verify the reach of the dedicaces, which bespeaks the weight of collective and individual history, and the setting-up of the writer's imaginative capacity, before concluding about the status of the characters. The analysis of shapes and functions of the epigraphes reveals a desire for pedagogy, a need for denunciation, and the creation of go-betweens among several narratives cycles. The work about indications allows to precise the author's taste for exotism, for oral character, for bilinguism. Afterwards, the study of a part of the editorial paratext, titles, intertitles, contents, please inserts, book-covers, reveals possible differences between the writer's projects and the editor's interests. A final reflexion about the indicated genre on the first book-cover allows to bring out the feeling of history which is present in the texts
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Howard, Nicole Marie. « Irrational paratext : manipulated paratext in the gothic postmodern novels house of leaves, the adventuress, and the three incestuous sisters ». Thesis, University of Canterbury. English, 2015. http://hdl.handle.net/10092/10092.
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Mark Z. Danielewski's House of Leaves and Audrey Niffenegger's two visual novels The Three Incestuous Sisters and The Adventuress all contain examples of manipulated paratext - paratexts being the devices involved in the presentation of the text such as titles, author names, font, introductions, illustrations, appendices, advertising, and interviews. The emphasis these authors place on these usually inconspicuous devices is an expression of the irrational themes contained within these texts. The irrational is an underlying theme of the Gothic genre and through examining the use of manipulated paratexts this thesis demonstrates how these texts make use of the irrational Gothic elements that are present within the postmodern. While Danielewski and Niffenegger both have these similar themes, the effects they create are extremely different. Niffenegger creates écriture feminine, or feminine writing as described by Hélène Cixous, by prioritising illustrations that feature marginalised bodily expression in order to convey the narrative rather than text. Danielewski, on the other hand, produces a text that is a pure pastiche of Gothic and postmodern devices in order to emulate the postmodern media in its creation of hyperreality and to reproduce the sensation of a media that possesses and changes its consumers. House of Leaves is the instigator for a number of similar texts that have been published since the turn of the millennium which will be considered an emerging literary movement.
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Rodrigues, Leonardo Paiva do Monte. « A divulgação da história nos livros de Eduardo Bueno e Laurentino Gomes ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-13122016-123826/.
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Este trabalho tem como proposta analisar algumas obras de divulgação da história. Centraliza-se a pesquisa nos trabalhos dos mais bem-sucedidos jornalistas-historiadores brasileiros: Eduardo Bueno, autor da Coleção Terra Brasilis e Laurentino Gomes, autor de 1808, 1822 e 1889. Uma das hipóteses centrais da dissertação é que dentro do campo da história, essas obras participam de uma luta pelo monopólio das representações do passado. Por isso, investigam-se os distanciamentos e as aproximações entre a escrita histórica e a escrita jornalística, estabelecendo uma relação entre textos e paratextos para entender sua produção e as condições socioculturais que permitiram sua emergência. Além disso, analisam-se os papéis que são interpretados pela mídia, pela crítica especializada, pelas editoras e pelos próprios autores na composição e repercussão daqueles livros.The purpose of this dissertation is to analyze some historical divulgation books. The research has focused on the most successful brazilian journalists-historians: Eduardo Bueno, author of the Coleção Terra Brasilis and Laurentino Gomes, author of 1808, 1822 and 1889. One of the most important hypothesis of this dissertation is that inside the fields of history, divulgation works have participated in a contest for monopoly of representations of the past. This study has been exploring the approach and the gaps between historical writing and journalistic writing. It establishes a relation between texts and paratexts to understand the production of those publications and the sociocultural conditions for their emergence. The roles interpreted by media, by experienced book reviews, by publishing companies and by the authors are analyzed in the composition and repercution of those books.
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Bismuth, Nadine. « Le jeu du paratexte, Le second enfer d'Étienne Dolet ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64131.pdf.
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Böhnke, Alexander. « Paratexte des Films : über die Grenzen des filmischen Universums / ». Bielefeld : Transcript, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015439218&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Bismuth, Nadine 1975. « Le jeu du paratexte : le Second enfer d'Etienne Dolet ». Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30149.
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In this master's paper, the author analyses some paratextual elements of the original editions of Le Second Enfer by Etienne Dolet published in Lyon and Troyes in 1544. On the one hand, she studies the title of the work, particularly the wide connotation field he alludes to and, on the other hand, the set of themes that links the poetical defence of Dolet to the texts that are added to it. On the basis of that analysis, the author tries to demonstrate the essentially argumentative function of the paratext and she explains how the Second Enfer, in his original architecture, relates to the infernal tradition.
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Weidenhöffer, Jessica [Verfasser]. « Schriftsprachliche Positionierungen : Eine pragmalinguistische Untersuchung historischer Paratexte / Jessica Weidenhöffer ». Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2019. http://d-nb.info/1199773425/34.
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Hobbs, Simon. « Extreme art film : text, paratext and DVD culture ». Thesis, University of Portsmouth, 2014. https://researchportal.port.ac.uk/portal/en/theses/extreme-art-film(409abfaf-1fb0-4501-9461-9b2d19f5deb6).html.
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Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. Through this methodological direction, the thesis is able to assess how the films are sold to an audience, how this relates to the historical progression of extreme art cinema, and the way the entire practice is informed by an ongoing tradition of taste fluidity.
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McLean-Fiander, Kimerley R. D. « Liminal Lives : Paratext in Lanyer, Cary and Speght ». Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522759.
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Ataide, Antonio Marcio. « \'Più famoso che conosciuto\' : panorama da recepção de I promessi sposi no Brasil (1843-2012) ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-10082016-105016/.
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A presente pesquisa tem por objetivo principal organizar a recepção do romance I Promessi Sposi (Os Noivos), de autoria de Alessandro Manzoni (1785-1873), no Brasil. A narrativa tem como protagonistas os jovens Renzo e Lucia que enfrentam as maiores dificuldades de seu tempo (a carestia, a fome, o domínio estrangeiro, as guerras e a peste no norte da Itália durante o século XVII) para realizar seu matrimonio e é uma das obras-primas da literatura italiana e mundial. Este trabalho estuda as maneiras pelas quais o romance manzoniano aporta em terras brasileiras, é acolhido e permanece como argumento de debates críticos, desde o primeiro registro encontrado por esta investigação até o ano de 2012, data da publicação da última tradução brasileira. Neste sentido, estudaram-se as diversas traduções, edições e adaptações publicadas deste romance no Brasil, atentando seja para a forma como se dá o transporte do texto original italiano para a língua portuguesa, seja para as questões relacionadas ao paratexto, isto é, o cuidado editorial empregado nesses textos. Organizou-se a também a recepção da crítica brasileira a I Promessi Sposi que se deu em forma de livros, capítulos, artigos em jornais, revistas e periódicos científicos, verbetes de enciclopédias e nos Boletins do Instituto Brasileiro Estudos Manzonianos. Da coleta e análise desse material buscou-se traçar o perfil que a recepção a I Promessi Sposi conferiu a Manzoni e sua obra-prima no Brasil.The present research has as the main objective of organizing the reception of the novel The Betrothed, from Alessandro Manzonis authorship (1785-1873), in Brazil. The narrative presents as protagonists the young Renzo and Lucia who encounter the greatest difficulties of their time (inflation, hunger, the foreigner domination, the wars and the plague in the north of Italy during the XVII century) to make their wedding happen and it is one of the masterpieces of the world and Italian Literature. This thesis studies the manners by which the Manzonian novel arrives in Brazilian lands, is accepted and remains as argument of critic debates, since the first record found by this investigation until the year 2012, the publishing date of the last Brazilian translation. In this sense, diverse translations, editions and adaptations published of this novel in Brazil were studied, noticing the way the original Italian text was transferred into the Portuguese language, and the issue related to the paratext, namely, the editorial care used in these texts. The Brazilian critic reception of the Betrothed that happened in book form, chapters, newspaper articles, magazines and scientific journals, encyclopedia entries and the newsletters of the Manzonian Studies Brazilian Institute were also organized. From the gathering and analysis of these materials we searched to outline the profile that the reception of The Betrothed granted Manzoni and his masterpiece in Brazil.
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Bunia, Remigius. « Faltungen : Fiktion, Erzählen, Medien / ». Berlin : Schmidt, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2913071&prov=M&dok_var=1&dok_ext=htm.
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PIGNAGNOLI, VIRGINIA. « Paratexts 2.0 : New Perspectives on Twenty-First Century Literary Narrative ». Doctoral thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10278/41342.
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In this study, I argue for the need to extend Genette’s typology of the paratext to analyze twenty-first century literary narratives. “Paratexts 2.0” are formalized in a model that presents the new categories of material peritexts and digital epitexts and their main functions. The new model provides a heuristic for contemporary narratives whose authors exploit various semiotic modes in their printed books, and the affordances of Web 2.0 technologies in the digital world. My dissertation is therefore also an attempt to complement the rhetorical approach to narrative with investigations on mediality and modality, and a discussion on the extra-textual dimension of authorial agency. Finally, according to a diachronic perspective, this study explores the ethical values embedded in the choice of using paratexts 2.0 as resources of narrative communication in relation to post-postmodern American literature.
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Pignagnoli, Virginia <1984>. « Paratexts 2.0 : new perspectives on twenty-first century literary narrative ». Doctoral thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/3974.
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In this study, I argue for the need to extend Genette’s typology of the paratext to analyze twenty-first century literary narratives. “Paratexts 2.0” are formalized in a model that presents the new categories of material peritexts and digital epitexts and their main functions. The new model provides a heuristic for contemporary narratives whose authors exploit various semiotic modes in their printed books, and the affordances of Web 2.0 technologies in the digital world. My dissertation is therefore also an attempt to complement the rhetorical approach to narrative with investigations on mediality and modality, and a discussion on the extra-textual dimension of authorial agency. Finally, according to a diachronic perspective, this study explores the ethical values embedded in the choice of using paratexts 2.0 as resources of narrative communication in relation to post-postmodern American literature.In questo lavoro, si tenta di dimostrare la necessità di estendere la categorizzazione di paratesto di Genette per analizzare narrazioni letterarie del ventunesimo secolo. I “paratesti 2.0” vengono formalizzati in un modello che presenta due nuove categorie, quella dei peritesti materiali e quella degli epitesti digitali, con le rispettive funzioni principali. Il nuovo modello si propone di offrire una chiave di lettura per narrazioni contemporanee i cui autori fanno uso di diversi modi semiotici nel libro stampato e sfruttano le proprietà del Web 2.0 nel mondo digitale. La mia dissertazione è pertanto un tentativo di completare l'approccio retorico alla narrazione attraverso studi su medialità e modalità, e con una discussione circa la dimensione extra-testuale dell'autore. Infine, da una prospettiva diacronica, questo studio esamina i valori etici determinati dalla scelta di usare i paratesti 2.0 come una risorsa narrativa in relazione alla letteratura americana post-postmoderna.
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Birkett, Audrey. « The influence and association of paratext in Caroline drama ». Thesis, Royal Holloway, University of London, 2011. http://repository.royalholloway.ac.uk/items/8c8331b5-9d81-32ca-0b22-07e44afd20f3/10/.
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This thesis is an in-depth analysis of the alliances, reputations, and meanings that were created within the Caroline dramatic community as a result of the playwrights' meticulous use of paratext. By scrutinizing the paratexts (including prologues and epilogues, commendatory verses, and dedications to patrons and readers) of three different Caroline authors (William Davenant, Richard Brome, and John Ford), I have provided a picture of the divided and conflicting political and social landscapes of the professional theatre during the reign of Charles I. Through the use of such framing material, playwrights situated themselves in coteries that promoted very distinct outlooks on the purpose and place of drama. Within the commercial theatre, the desire to please, as well as shape diverse and complicated audience tastes, was forwarded in both printed and performed ancillary material. Playwrights used paratext to attract a specific audience to their published plays and explain the motives and meanings embedded in these texts. This material, while promoting one set of values, also worked to condemn competing ideals, as authors criticized peers in order to advance their own reputations and their own plays. Paratext was included as a matter of course in the era, to explain the author's intentions in writing the play and to advertise the author in a specific and bespoke light. The paratexts that accompanied the plays of Davenant, Brome, and Ford helped shape and expand the reputation each man tried to form for himself. It also conditioned the reading of his plays, both in terms of meaning and message, as well as in how the play reflected the attitudes each held in relation to the theatre, his contemporaries, and his own public image. Davenant, Brome, and Ford had very different ideas on the role of the theatre and drama in society. These ideas were made known in the ancillary material and paratexts that accompanied their performed and printed plays. This thesis looks at how paratext and ancillary material were used in different ways by these men to shape their authorial reputations and temper audience reactions to their plays. It analyses how important and necessary paratext became to these playwrights writing from 1625 to the close of the theatres in 1642. Through these three playwrights, a wider investigation of how paratext was used to situate playwrights in the theatrical and literary communities of the Caroline era emerges.
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Choufani, Concettina. « A la périphérie du texte : essai sur l'évolution de l'écriture péritextuelle (textuelle) à partir de trois romans autobiographiques d'Abdelkébir Khatibi : La mémoire tatouée, Le livre du sang, Amour bilingue ». Paris 13, 1989. http://www.theses.fr/1989PA131007.
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Morvan, Malo. « Définir la "langue bretonne" : discours concurrentiels d'origination et d'identification dans les paratextes des dictionnaires bretons ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCB118/document.
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Si l'on connaît les dictionnaires comme lieu des définitions, ils en fournissent une que l'on ne perçoit pas toujours : celle de la langue elle-même. Au sein de l'hétérogène et du mouvant des usages linguistiques quotidiens, ceux-ci en circonscrivent et délimitent un certain nombre, qui se verront alors consacrés, dotés d'une certaine officialité. Les critères de sélection par lesquels les éléments lexicaux sont retenus ou écartés dépendent, entre autres contraintes, des convictions de leurs auteurs concernant les usages linguistiques qu'ils considèrent comme plus représentatifs de la langue que d'autres. Souvent conscients tant du pouvoir social de tels ouvrages que de la sélection qu'ils impliquent, leurs auteurs s'en justifient parfois dans des paratextes introductifs où sont alors explicités leurs convictions linguistiques. Les discours que l'on y trouve peuvent se fonder sur des définitions, associations d'idées, et valorisations que les auteurs peuvent tenir pour acquis, ou au contraire les détourner, subvertir, contester ; quoiqu'il en soit, ils tentent souvent de fonder performativement une définition de la langue que la liste lexicale mettra ensuite en pratique. Dans certains contextes de conflictualité politique où la définition de la langue ne va pas de soi, les préfaces de dictionnaires peuvent alors devenir de véritables arènes où s'affronteront des définitions concurrentes de la langue que chacun tentera de faire reconnaître. En travaillant sur un corpus constitué des paratextes de dictionnaires bretons publiés de 1499 à 2015, nous analysons l'évolution des discours sur la langue en fonction des situations historiques, sociales, et politiques, où se trouvent les auteurs. Nous mettons l'accent en particulier sur différents processus discursifs, notamment ceux d'identification et de différenciation, par lesquels les auteurs délimitent les frontières entre les pairs et les autres, ainsi que ceux d'origination, par lesquels ils ancrent leur situation actuelle au sein de continuités et ruptures perpétuellement redessinées. Nous abordons ainsi en particulier la manière dont la définition des "Celtes" a évolué en fonction des différents contextes discursifs : désignant d'abord, dans le discours celtomane, une langue mère de toutes les autres dont la bretonne était la seule forme restée pure, l'usage du terme s'orientera progressivement vers une fonction distinctive envers leurs voisins français, ceci en accord avec l'émergence d'un cadre de pensée nationaliste. C'est à la même période, vers le XIXe siècle siècle, qu'apparaîtra l'interceltisme, comme thèse d'un cousinage ethnique entre les populations de certains territoires en petite et Grande-Bretagne. Nous étudions la manière dont ce discours, né de nécessités de différenciation politique, se transfère dans les catégorisations savantes, véhiculant en même temps son lot de concepts et méthodes implicites concernant la définition de la langue. Par ailleurs, les changements sociaux survenant au XXe siècle en Bretagne auront également pour conséquence un progressif clivage entre différents profils de locuteurs : à ceux pratiquant la langue dans un contexte surtout oral, pratique, et quotidien, dont le nombre diminue, se substituent progressivement des locuteurs l'apprenant dans une démarche volontariste et militante, à partir d'un rapport scriptural-scolaire à la langue. Cette cohabitation de locuteurs ayant appris et pratiquant la langue dans des situations différentes aura mettra en concurrence les définitions de la langue. Si les différents courants auront en commun une volonté de distinction envers le français héritée du discours différentialiste ayant émergé au XIXe siècle, chacun investira la nécessité de s'en distinguer dans des dimensions différentes de la langue, cohérentes par rapport à leurs modes de socialisation linguistique. (...)Dictionaries are often seen a the place of the definitions, but very often the most important definition they give is not seen : the one concerning the language itself. Thus, while making their work, the authors have to make a selection of the words which will be retained and those which will not be taken in account. These choices rely on broader stances, related to their own convictions about what is "correct" language and what is not. The authors' convictions are themself influenced by the socio-historical context in which the dictionary is written, but they also shape the further definitions of the language, given the reliability granted to those kind of books. This work aims to seek the way in which the definition of breton language is given in the paratext (forewords, introductions, prefaces, postfaces) of breton dictionaries published between 1499 and 2015. In particular, we focus on some discursive processes such as identifications, differentiations, and originations, which are used by the authors in order to reconfigure the language's definition. A particular importance is given to the evolving use made of "Celts" in those definitions, and to the conflictuality in which they are set
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Hubert, Gwenaelle. « L’acte de commencer : étude comparée de débuts d’œuvre dans plusieurs genres poétiques de la période augustéenne ». Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040211.
Texte intégralRésumé :
Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiairesThis thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books
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Mezhoudi, Fayçal. « Le malentendu dans l'oeuvre d'Albert Camus ». Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100061.
Texte intégralRésumé :
Cette thèse étudie dans l’oeuvre d’Albert Camus, les formes que prend un thème récurrent, le malentendu. Cette omniprésence pourrait s’expliquer d’abord par la vie de l’auteur, particulièrement par les traumatismes de l’enfance : une étude comparative des deux oeuvres autobiographiques montre bien le douloureux malentendu avec la mère. Mais l’incompréhension se situe aussi sur le plan politique et moral, car les positions ambiguës de l’écrivain sur la question algérienne ont suscité de violentes polémiques avec les intellectuels, alors que Camus n’a cessé de dénoncer l’injustice dont étaient victimes les autochtones. La réception de l’oeuvre n’a pas échappé à cette difficulté. Camus a été « mal-entendu » par la critique, tant en France métropolitaine qu’en Algérie, si bien qu’il met en place un imposant paratexte afin d’éviter toute « mauvaise » lecture. Ainsi, toutes les expériences vécues par l’auteur (le malentendu avec la mère, avec les intellectuels, avec les critiques…) nourriront son oeuvre qui sera marquée par l’incompréhension entre ses personnages, par un déchirement dans leurs relations dû à une différence au niveau de la pensée, de la culture, de la raceThe following thesis studies the forms that the recurrent theme of misunderstandingtakes in the writings of Albert Camus. This omnipresence could be explained first bythe author’s life, especially his childhood trauma: a comparative study of twoautobiographical works shows the painful misunderstanding with the mother. But themisunderstanding is also located on the political and moral levels, as the writer’sambiguous positions on the Algerian question started up violent controversies withintellectuals although Camus has always denounced the injustice whose victims werethe aboriginal. The reception of his writings has not escaped this difficulty. Camuswas "poorly understood" by critics, both in France and Algeria, so he sets up animposing paratext to avoid "bad" reading. Thus, all the author’s experiences of(misunderstanding with the mother, with intellectuals, with critics ...) feed up hiswritings - which will be marked by misunderstanding between the characters - with atear in their relationship caused by a difference at the level of thought, culture, race
32
Oloruntoba, Ifeoluwa. « Représentation de l’autre : les paratextes des œuvres nigérianes traduites en français ». Thesis, Orléans, 2019. http://www.theses.fr/2019ORLE3017.
Texte intégralRésumé :
Des études sur la traduction des oeuvres nigérianes rédigées en anglais, de même que d’autres oeuvres africaines, ont conclu que les spécificités culturelles des oeuvres sont souvent conservées lorsqu’elles sont traduites en langues européennes, afin de préserver leurs éléments typiques. Cette thèse élargit ce champ d’analyse aux éléments qui se trouvent autour des oeuvres. Elle explore les paratextes (mises en page, titres, images de couverture, textes de présentation et préfaces) de romans nigérians rédigés en anglais et traduits en français de 1953 à 2013 pour découvrir comment les romans sont présentés au public français, en d’autres termes, comment le public cible est supposé recevoir les oeuvres. L’hypothèse de la thèse est que les perceptions du Nigéria ont influencé la présentation la commercialisation des oeuvres.Le concept des études descriptives de la traduction a été appliqué. Les différentes perceptions du Nigéria ont été définies. Par la suite, les paratextes des romans sources et des romans cibles ont été extraits et comparés pour découvrir des pratiques récurrentes dans les paratextes cibles et établir s’il y a eu des références aux images du Nigéria.Les résultats de l’étude révèlent que, tout comme la traduction d’oeuvres nigérianes (africaines) dans laquelle les spécificités culturelles sont souvent conservées dans le texte cible, les spécificités culturelles des oeuvres sont également conservées dans les paratextes des textes cibles et celles-ci indiquent que les romans sont présentés comme une documentation narrative de la culture et des valeurs nigérianes. Elles sont commercialisées en mettant en avant leur aspect exotique. En outre, les images du Nigéria ont non seulement influencé la présentation et la commercialisation des romans, mais ont également joué un rôle décisif lors du choix d’une oeuvre nigériane à traduire en français.Cette manière de présenter les oeuvres nigérianes au public français renforce les images négatives du Nigéria. Elle minimise les aspects esthétiques de ces romans et oblige le lecteur de s’engager avec les romans nigérians uniquement de ce point de vueResearch on the translation of Nigerian literary texts written in English, and even other African texts, has demonstrated that the cultural specificity of the texts is often retained when they are translated into European languages in order to preserve their local colour. This thesis adds to the scholarship by examining the elements that surround the texts. It explores the paratexts (layouts, titles, cover images, blurbs, synopses and prefaces) of Nigerian novels written in English and translated into French from 1953 to 2013 to determine how the novels are presented to the target audience, in other words, how the French audience is envisaged to receive the works. The hypothesis of the thesis is that the images of Nigeria influenced the presentation and promotion of the novels.The framework of descriptive translation studies was applied. Different perceptions of Nigeria were defined. Afterwards, the paratexts of the source and target novels were extracted and compared in order to find recurrent patterns in the target paratexts and to establish if there were references to Nigerian images in the paratexts.The findings of the research revealed that, like the translation of Nigerian (African) works in which the cultural specificity is preserved in the target texts, the cultural specificity of the works is also retained in the target-text paratexts, and it indicates that the novels are construed as narrative documentation of Nigerian culture and values. The works are marketed for their exoticism, which is emphasised in the paratexts. Furthermore, the images of Nigeria in France did not only shape the construal and marketing of the novels but also played a role in the selection of the works for translation.The presentation and promotion of these novels as documentation of Nigerian culture and values reinforce the negative images of Nigeria. It downplays the aesthetic qualities of the novels and can prevent a reader from engaging with Nigerian works from a different standpoint
33
Mumbal'Ikie, Namupot Mas. « Le théâtre congolais contemporain édité en langue française : contenus idéologiques ». Thesis, Metz, 2010. http://www.theses.fr/2010METZ019L.
Texte intégralRésumé :
Notre dissertation poursuit deux objectifs : faire un inventaire ds pièces de théâtre congolaises éditées en langue française de 1965 à 1997 ; étudier la matière contenue dans ces pièces et les motivations des dramaturges à travers les thèmes soulevés. Cette recherche nous incite à nous poser des questions ci-après : Que nous propose le théâtre congolais dans une conjoncture contraignante et rivée sur les préoccupations essentiellement économiques et où les efforts de l'homme concourent à trouver des solutions adéquates pour se libérer politiquement et économiquement? Que peut-il aux mieux-être des Congolais? Son impact sur leur comportement ? Ses perspectives d'avenir ? Pourquoi le théâtre ? Pourquoi le théâtre congolais contemporain édité en langue française ? Pourquoi les contenus idéologiques? Nous voudrions saisir la substance, les idées véhiculées dans ce théâtre. Car, sa matière constitue la quintessence et la substantifique moelle de notre dissertation. Les contenus idéologiques expliquent les motivations des dramaturges. Ils projettent par conséquent les différents enseignements et réflexions. La thèse décortique la philosophie, les idées tant politiques, sociales, culturelles qu'économique que renferme ce théâtre. Nous sommes persuadé que sa pratique, ses enseignements et ses réflexions apporteront, mutatis mutandis, de grands changements au sein des sociétés congolaises croupissant dans une misère indescriptible. Changements et reconversion des mentalités devant contribuer par ricochet à la reconstruction de la République démocratique du Congo, notre cher paysOur esay has two objectives : make an inventory of plays published in French Congo in 1965-1997 ; study the material in these parts and motivations of playwrights through the themes raised. This research leads us to ask ourselves the following questions : What we propose the congolese theater in an environment binding and riveted on essentially economic concerns and where human efforts contribute to finding appropriate solutions to free themselves politically and economically? What can the well-being of the congolese? Its impact on their behavior? His future? Why theater ? Why congolese contemporary theater edited in french ? Why the ideological content? We take the substance, the ideas conveyed in this theater. For his material is the very substance and quintessence of our essay. The ideological content explain the motivations of playwrights. The plan accordingly different teachings and reflections. The thesis dissects the philosophy, ideas, political, social, cultural and economic contained in this theater. We are confident that his practice, his teachings and reflections bring, mutatis mutandis, major changes in congolese companies wallowing in misery indescribable. Changes and change of attitude in tum should contribute to the reconstruction of the democratic republic of Congo, our dear country
34
Caetano, Rodney. « Paratexto e poesia : a descida de Sant'anna aos infernos da modernidade / ». oai:ufpr.br:211464, 2005. http://200.17.209.5:8000/cgi-bin/gw_42_13/chameleon.42.13a?host=localhost%201111%20DEFAULT&sessionid=VTLS&function=CARDSCR&search=KEYWORD&pos=1&u1=12101&t1=211464.
Texte intégralRésumé :
Orientador: Édison José da CostaDissertaçăo (mestrado) - Universidade Federal do Paraná, Setor de Cięncias Humanas, Letras e Artes, Programa de Pós-Graduaçăo em Letras. Defesa: Curitiba, 2005
Inclui bibliografia e anexos
Área de concentraçăo: Estudos literários
35
FONTOURA, MARINA BURDMAN DA. « EDITORIAL PARATEXTS IN THE AGE OF MEDIA CONVERGENCE : MIGRATIONS AND DESCENTRALIZATIONS ». PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30686@1.
Texte intégralRésumé :
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
O texto literário pode hoje ser encontrado em diferentes plataformas, tornando-se acessível no computador, em tablets e até em celulares. Os paratextos editoriais, definidos por Gérard Genette como aparatos que giram em torno do texto principal de um livro, têm acompanhado estes deslocamentos. Sem deixar de exercer suas antigas funções, eles assumem outros formatos e proliferam no ambiente virtual, tendo muitas vezes mais acessos do que o texto da própria obra, considerado principal, veiculado frequentemente na plataforma impressa. Nesta dissertação, abordaremos os paratextos não só como um fenômeno de mercado que concede uma importância crescente à figura do autor, mas também à luz das quebras na hierarquização dos discursos provocadas pela tecnologia digital. Com este propósito, discutiremos o trailer do livro Todos nós adorávamos caubóis, de Carol Bensimon; a coluna As 15 coisas que sei sobre meu próximo livro, de Luisa Geisler, veiculada no Blog da Companhia; a hashtag Vida de escritor, no Instagram da editora Rocco; o folhetim Delegado Tobias, de Ricardo Lísias, publicado pela editora E-galáxia; e o blog da revista Peixe-elétrico.
Nowadays, the literary text can be found in different platforms, including computers, tablets and even mobile phones. Editorial paratexts, defined by Gerard Genette as devices which gravitate around the body text of a book, have followed this shift. Not abandoning their former purposes, they have taken on other formats and have spread around the web. These paratexts are often more accessed than the actual text of the literary work, which is considered the principal part, frequently published and made available in print. This dissertation approaches paratexts not only as a market phenomenon, which grants the image of the author a growing importance, but also as a breach of discourse hierarchy, fueled by digital technology. Bearing that in mind, this study discusses the book trailer for Carol Bensimon s Todos nós adorávamos caubóis (We all loved cowboys); Luisa Geisler s column called As 15 coisas que sei sobre meu próximo livro (The 15 things I know about my next book), published online on Blog da Companhia; the hashtag Vida de escritor (Writer s life) on the Instagram account of the publishing house Rocco; the serial by Ricardo Lisias, Delegado Tobias (Tobias, chief of police), published by the e-book publishing house E-galaxia; and the Peixe-elétrico review s blog.
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Câmara, Elisa Oliveira 1987. « O paratexto na tarefa do tradutor : uma análise de elementos paratextuais ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269517.
Texte intégralRésumé :
Orientador: Maria Viviane do Amaral VerasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-24T23:26:04Z (GMT). No. of bitstreams: 1 Camara_ElisaOliveira_M.pdf: 1043195 bytes, checksum: 7a0c6a4a4d6c9134a5cfa8f2d2156f4d (MD5) Previous issue date: 2014
Resumo: As capas dos livros ¿ incluindo todos os elementos que as compõem: título, subtítulo, ilustrações, orelhas, quarta capa ¿, juntamente com os textos sobre o autor, a sinopse do livro, os trechos de críticas, e, mais recentemente, a cinta, em maior ou menor medida, alimentam as expectativas dos leitores em relação ao texto base. Pode-se dizer que eles funcionam como uma porta de entrada ¿ na realidade, um limiar ¿ para o leitor, ou ainda, como uma extensão do texto base com a função de apresentar a obra, garantindo sua presença e sua recepção. Pensando nessa função de extensão e na importância que os elementos paratextuais têm no produto final da tradução editorial, isto é, na obra literária, surge a questão: não deveriam os tradutores ter mais voz nas decisões editoriais relacionadas aos paratextos? Sabendo que os títulos e as capas, incluindo seu design, escolhas tipográficas, normas ortotipográficas, ilustrações e fotografias, cores e todas as significações que essas escolhas implicam na relação desses elementos com o texto base, parece justificável que haja um diálogo mais aberto entre os profissionais envolvidos, incluindo editores, capistas, ilustradores, autores e também os tradutores, para que nenhuma tradução seja publicada sem sua correspondente paratradução. Assim sendo, a presente pesquisa analisa o papel fundamental desempenhado por esses elementos e por todos os recursos que os compõem, sejam eles imagéticos, gráficos, tipográficos ou ortotipográficos, e sua relação com os textos de partida e de chegada, de forma a relacioná-los também com a tarefa do tradutor e verificar as possíveis perdas para os leitores da obra literária traduzida. A obra escolhida para análise é Relato de um certo Oriente, de Milton Hatoum, a qual se mostra de grande interesse tanto pela mistura de elementos culturais e por levar o exotismo a todo tipo de leitor, trazendo à tona questões ideológicas relevantes, como pelo próprio background do autor, com sua vida entre culturas
Abstract: Book covers ¿ including all elements they comprise, such as title, subheading, illustration, front and back flaps, back cover ¿ along with texts about the author, synopsis, reviews¿ excerts and, most recently, the wrap-around band, to a greater or lesser extent, create expectations for the readers regarding the base text. One can say those elements work as a doorway ¿ actually, a threshold ¿ for the reader, or yet, an extent of the base text, with a function to present the literary work, guaranteeing its presence and its reception. Considering that extention function and the importance of paratextual elements for the final product of the editorial translation, that is, the literary work, a question presents itself: shouldn¿t translators have more space to express their opinion about the editorial decisions regarding paratexts? Aware that titles and covers, including their design, typographical choices, typographical sytax¿s rules, illustration and photography, colors and all the meanings implied by those choices in the relation of those elements with the base text, it seems rational that the professionals involved in that process have a more open dialogue, including editors, cover designers, illustrators, authors, and translators as well, so that a translation never gets to be published without its corresponding paratranslation. That being said, this research analyses the essential role played by those elements and by our their resources, may they be images, graphics, typhographics or some typographical syntax choice, and their relation to the source and target texts, in such a way as to also relate them to the translator¿s task and to verify potential losses for the literary work¿s readers. The literary work chosen to be analysed here is the book Relato de um certo Oriente, by Milton Hatoum, which presents itself with a great interest, not only because of the mix of cultural elements and for bringing exoticist to all kinds of readers, eliciting relevant ideological matters, but also for the author¿s background, having himself been living between cultures
Mestrado
Linguagem e Educação
Mestra em Linguística Aplicada
37
Firmino, Marylin Lima Guimarães 1983. « De Deaf Sentence a Surdo Mundo : diálogos entre teorias e práticas da tradução ». [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269518.
Texte intégralRésumé :
Orientador: Maria Viviane do Amaral VerasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-23T04:18:06Z (GMT). No. of bitstreams: 1 Firmino_MarylinLimaGuimaraes_M.pdf: 2150279 bytes, checksum: 7bdaf99c773b277bb5c4eb2b95bf358d (MD5) Previous issue date: 2013
Resumo: David Lodge aborda a temática da surdez de forma bastante inusitada no romance Deaf Sentence (2008). O protagonista é Desmond Bates, um professor de Linguística Aplicada aposentado, que está ficando surdo e passa por mal-entendidos decorrentes de suas dificuldades em distinguir sons de palavras similares, o que confere ao romance tons humorísticos e irônicos. Por meio da escrita de um diário, o personagem relata sua rotina, abalada pela jovem Alex, e introduz o leitor a uma visão especializada sobre questões de linguagem e literatura, além de expressar com lucidez suas impressões sobre a surdez, dando voz, de forma singular, a essa questão, ainda invisível para muitas pessoas. Os desafios de tradução se apresentam de pronto pelo título (um trocadilho entre deaf e death e polissemia da palavra sentence) e perpassam a narrativa, revelando uma forte ligação entre alguns aspectos paratextuais do romance e a história em si. Deaf Sentence coloca o tradutor diante de trocadilhos e articulações intertextuais que tornam o romance aparentemente intraduzível, ao mesmo tempo, convoca a transposição de fronteiras de forma obrigatória, como exige a tradução do humor. Nesse sentido, as soluções adequadas para os diversos desafios de tradução do romance estão intimamente ligadas às estratégias e recursos utilizados pelo tradutor. A partir do conceito de paratexto cunhado por Genette (2009), são apresentadas análises do título, dedicatória, epígrafe e agradecimentos, presentes no texto original, com o objetivo de expor seus possíveis efeitos sobre leitores e tradutores e, consequentemente, o recente conceito de paratradução (Yuste Frías, 2010) é abordado com o intuito de endossar a importância da tradução de paratextos para a recepção de obras literárias. As análises de capas de algumas traduções permitem o estabelecimento de relações entre imagens do original e de diferentes versões do romance, além de revelarem (ou não) relações com o seu conteúdo. A tradução brasileira Surdo Mundo, de Guilherme da Silva Braga (2010), foco das análises, divide o palco com as traduções A vida em surdina, de Tânia Ganho (Portugal, 2011), La vida en sordina, de Jaime Zulaika (Espanha, 2010), e La vie en sourdine, de Maurice e Yvonne Couturier (França, 2008). É possível estabelecer diálogos entre essas traduções, e a utilização ou não de notas mostrou-se um elemento evidente da singularidade das decisões tomadas pelos tradutores diante dos desafios. A partir das discussões em torno da (in) traduzibilidade de textos humorísticos feitas por Brezolin (1997), Schmitz (1996, 1998) e Possenti (1991), abordam-se possibilidades de tradução criativa desses gêneros discursivos. Levando-se em conta as especificidades de Deaf Sentence, é proposto um diálogo entre algumas vertentes teóricas aplicáveis à tradução do humor: Rosas (2002), Campos (1970) e Reiss e Vermeer (1996). O cotejo entre trechos selecionados de Deaf Sentence e de Surdo Mundo revela que a tradução criativa, processo de negociação amplo entre texto original e tradutor, parece justificar tranquilamente a ausência de notas, enquanto a sua presença nas demais traduções analisadas, em alguns casos, parece advir da aceitação da intraduzibilidade de determinados desafios
Abstract: David Lodge approaches the topic of deafness in a very unusual manner in the novel Deaf Sentence (2008). The protagonist is Desmond Bates, a retired professor of Applied Linguistics who is going deaf and is subject to some misunderstandings arising from his difficulties in distinguishing sounds of similar words, granting the novel ironic and humoristic riffs. By writing a journal, the character reports his routine, shaken by Alex, a young woman, introducing the reader to a specialized view on issues of language and literature, as well as lucidly expressing his impressions regarding deafness, giving voice, in a singular manner, to this issue, still invisible to many. The challenges of translation are immediately presented in the title (a pun regarding deaf and death and the polysemy of the word sentence), and continue throughout the narrative, revealing a strong connection between some paratextual aspects of the novel and the story itself. Deaf Sentence presents the translator with puns and intertextual articulations, which make the novel seemingly untranslatable, while at the same time mandatorily summoning the transposition of frontiers, as is required in the translation of humour. To this end, the adequate solutions for the several challenges in translating the novel are intimately linked to the strategies and resources used by the translator. Based on the paratext concept coined by Genette (2009), this thesis analyses the title, dedication, epigraph, and acknowledgements in the original. The objective is to show their possible effects on readers and translators, and consequently the recent concept of paratranslation (Yuste Frías, 2010) is used in order to stress how important the translation of paratexts is for the reception of literary works. This thesis also analyses the book covers chosen for different translations, establishing relations between images of the original and the different versions of the novel, besides revealing (or not) relations with its content. The Brazilian translation, entitled Surdo Mundo, by Guilherme da Silva Braga (2010), is the main focus of the analysis, sharing the stage with the translations A vida em surdina, by Tânia Ganho (Portugal, 2011), La vida en sordina, by Jaime Zulaika (Spain, 2010), and La vie en sourdine, by Maurice e Yvonne Couturier (France, 2008). It is possible to establish dialogic relationships among these translations, and, the choice of whether or not to use notes proved to be a clear element of how singular the decisions made by the translators were before the challenges. Based on the discussions around the (un)translatability of humoristic texts made by Brezolin (1997), Schmitz (1996, 1998) and Possenti (1991), this thesis deals with the possibilities of creative translation of these discursive genres. Taking into account the specific aspects of Deaf Sentence, a dialogue is proposed between some theoretical perspectives applicable to the translation of humour: Rosas (2002), Campos (1970) and Reiss and Vermeer (1996). The comparison between selected passages of Deaf Sentence and Surdo Mundo reveals that the creative translation - the ample negotiation process between the original text and the translator - seems to easily justify the absence of notes, while their presence in the other translations analyzed, in some cases, seems to be generated by the acceptance that certain challenges were untranslatable
Mestrado
Teoria, Pratica e Ensino da Tradução
Mestra em Linguística Aplicada
38
Barut, Benoît. « Un Spectacle dans un fauteuil. Poétiques et pratiques didascaliques d'Axël à Zucco ». Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030134.
Texte intégralRésumé :
Parce qu’elle se donne comme un discours ancillaire chargé d’actualiser le dialogue et de construire la représentation, parce qu’elle semble empiéter sur le terrain réservé du metteur en scène mais ne peut égaler la magie du spectacle, parce qu’elle n’est ni vraiment littéraire ni réellement scénique, la didascalie est longtemps restée le parent pauvre des études théâtrales. Depuis quelques années, elle fait l’objet d’un engouement relatif. D’une part, des études linguistiques décrivent le fonctionnement standard du discours didascalique en synchronie.D’autre part, des études critiques éclairent les poétiques didascaliques d’auteurs en s’intéressant particulièrement aux infractions par rapport à une pure fonctionnalité supposée.Dans cette thèse, nous cherchons à dépasser cette approche clivée en fournissant une poétique générale de la didascalie et, afin de lui donner sens, poids et nuance, nous l’ancrons résolument dans l’histoire en nous fondant sur le théâtre du XXe siècle, de Villiers à Koltès, soit un XXe siècle élargi, solidement ancré dans le XIXe et les yeux déjà tournés vers le XXIe. C’est le moment où la didascalie se redéfinit du fait de l’avènement et de la prise de pouvoir du metteur en scène, le moment où elle sort spectaculairement de son ornière sans pour autant pouvoir ou vouloir se débarrasser totalement d’un fond utilitaire. Elle apparaît alors sans conteste comme une parole boitant "un pied dans le devoir, un pied dans le désir", une parole icarienne tendue entre des catégories théoriquement exclusives. Dans une première partie, nous posons le format du discours didascalique, son territoire,son fonctionnement énonciatif (c’est-à-dire la place exacte qu’il occupe dans la communication dramatique) et ses caractéristiques graphiques (ponctuation, typographie, mise en page). Dans une seconde partie, c’est la fabrique même de l’écriture didascalique qui est étudiée, c’est-à-dire sa tension constitutive entre le pacte qui la régit (clarté, économie) et sa fondamentale aspiration à devenir (devenir-spectacle, devenir-poème, devenir-roman…)Because they seemingly have to make the dialog work as well as to construct theperformance, because they seem to encroach upon the director’s grounds and yet cannot level with the magic of the actual staging, because they are not a real piece of literature nor do they belong to the show, the stage directions have long been overlooked by theater studies. In the past few years, a mild interest has arisen. On the one hand, linguists describe in a synchronic fashion the generic features of this particular type of discourse. On the other hand, critics wish to seize the specificity of each author’s stage directions, with an emphasis on the breaches of their theoretical functional purity.In this thesis, we intend to go beyond this fragmented approach by offering an overall poetics of stage directions and, in order for it to carry meaning, weight and nuance, we choose to base it on history and, specifically, on XXth century theater, from Villiers to Koltès, an enlarged century, deeply rooted in the XIXth and already glancing at the XXIst. It is then that stage directions redefine themselves as a result of the advent of the director and his coming to power ;it is then that they spectacularly travel out of joint but appear, nonetheless, incapable or unwilling to get rid altogether of their fundamental usefulness. Unequivocally, they prove to be a form of speech limping “one foot in duty, on foot in desire”, an icarian discourse reconciling what is theoretically opposed.This study starts with the format of the stage directions, their territory, their enunciation (i.e. the exact role they play in the dramatic communication), their graphic characteristics (punctuation, typography, lay-out). Then, we investigate the very fabric of stage directions writing, the perpetual tension between the pact that rules them (clarity, economy) and a fundamental drive to become something else (to become stage, to become poem, to become novel…)
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Bernier, France. « Du paratexte au texte, lire l'Amérique dans Volkswagen blues de Jacques Poulin ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq26161.pdf.
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Abraham, Sylvie Glanzberg. « Sous couvert de couverture, un angle de vision du paratexte de couvertures ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56662.pdf.
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Dénommé-Beaudoin, Maude. « L'homosexualité dans la littérature jeunesse québécoise (1988-2003) du paratexte au personnage ». Mémoire, Université de Sherbrooke, 2003. http://savoirs.usherbrooke.ca/handle/11143/2356.
Texte intégralRésumé :
Soixante ans après Orage sur mon corps, comment l'homosexualité adolescente est-elle représentée dans la littérature au Québec? Basée sur la presque totalité des romans et nouvelles pour la jeunesse qui ont abordé le thème de l'homosexualité au Québec ces 15 dernières années, cette analyse se veut d'abord et avant tout un tour d'horizon des romans et nouvelles jeunesses québécoises ou éditées dans une collection jeunesse québécoise, qui présentent un ou plusieurs personnages homosexuels"actifs". Il m'apparaît pertinent de voir, dans un premier temps, par qui ces textes ont été écrits, comment ils sont présentés, dans quelles collections et chez quels éditeurs ils ont été publiés, dans quelles circonstances ils ont pris ou non une place enviable dans la production jeunesse et quelles voies ils ont utilisées pour parvenir à leurs fins. Chaque texte est donc soumis à une analyse systématique de ses auteur, éditeur, directeur de collection, collection, titre et couverture (première et quatrième de couverture). Les informations du paratexte éclairent, dans un second temps, les personnages homosexuels qui sont présentés dans les titres retenus. L'examen du personnage s'effectue autour de points spécifiques: description (physique et psychologique), auxiliaires, références à des éléments ou personnages publics homosexuels, sexualité, autonomie et fonctionnalité dans le texte, principe de l'écart minimal, etc., tout en débordant à l'occasion sur certains éléments dignes d'attention. Cette analyse se veut un premier regard sur ces oeuvres, pour comprendre d'où elles sortent, â quoi elles répondent, dans quel courant elles s'inscrivent et comment elles s'y sont prises pour aborder un sujet délicat dans une société où l'on fait une grande place au roman-miroir tout en éprouvant un malaise évident lorsqu'il est question de sexualité adolescente."--Résumé abrégé par UMI.
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Lezcano, Tosca Hugo. « Los Soliloquios de Lope de Vega : paratexto, genero, intertextualidad y edicion critica ». Grenoble 3, 2004. http://www.theses.fr/2004GRE39047.
Texte intégralRésumé :
La thèse se compose d'une édition critique des Soliloquios de Lope de Vega, précédée d'une copieuse étude. L'édition se fonde sur la collation de tous les témoignages disponobles. L'étude est divisée en trois parties, dédiées respectivement au paratexte, au genre et à l'intertextualité. Dans le maniement de ces notions, les fondements théoriques et la terminologie sont empruntés principalement à Gérard Genette. L'analyse du complexe paratexte des Sololoquios est réalisée à l'aide d'une comparaison méthodique avec des paratextes d'œuvres similaires d'autres auteurs, et surtout d'œuvres sacrées et profanes de Lope de Vega. On étudie les différentes stratégies de Lope de Vega dans les paratextes des Cuatro soliloquios (1612) et des Soliloquios (1626). L'étude du genre "soliloque" remonte à une œuvre authentique de Saint Augustin, et surtout à une œuvre médiévale attribuée à ce même saint. La description d'une quinzaine d’œuvres religieuses espagnoles permet de tracer les contours d'un genre littéraire dénommé "soliloque". La troisième partie de l'étude, dédiée à l'intertextualité des Soliloquios, permet une analyse de l'écriture du texte. On y voit tout ce que l'invention et la disposition de l'œuvre de Lope doit aux techniques de méditation développées à partir des exercices spirituels jésuitiques. On suit la manière dont les conceptos développent un répertoire de motifs, de correspondances et de constructions symboliques d'origine biblique, élaborés par les Pères de l’Eglise et retravaillés par l'emblématique religieuse.
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Séité, Yannick. « La Nouvelle Héloïse et son paratexte : Rousseau, le livre et la lecture ». Paris 7, 1994. http://www.theses.fr/1994PA070059.
Texte intégralRésumé :
Cette these evalue, a travers l'etude de la premier edition du roman de jean-jacques rousseau julie ou la nouvelle heloise (1761). Les effets, sur l'interpretation que nous pouvons produire d'un texte, de tous les elements materiels (format, typographie. . . ) ou textuels (titre, prefaces, notes. . . ) qui l'accompagnent ou servent a le vehiculer et dont gerard genette a federe certains aspects sous le vocable de <>. Apres une introduction qui jette une passerel le entre etude du paratexte. << histoire des pratiques culturelles >> (roger chartier), histoire du livre et << sociolog ie des textes >> (d. F. Mckenzie), la premiere partie restitue les circonstances de la publication dejulie et analyse les textes publicitaires qui l'ont annoncee. La deuxieme s'attache a des objets paratextuels compris dans l'espace meme du livre et a leur retentissement sur la lecture du texte. On voit, au teme de ces deux premieres etapes, comment rousseau s'implique non seulement dans l'ecriture de son texte mais aussi dans l'elaboration du livre qui va porter ce dernier. De meme. Sa pratique des prefaces et des notes - c'est l'objet de la troisieme partie - est originale et aboutit a faire du lecteur un exegete constamment contraint au travail par un paratexte pense pour destabiliser. La quatrieme partie dessine la conception et les usages du livre et de la lecture qui sont ceux de rousseau puis verifie la validite des donnees theoriques ainsi mises au jour en les appliquant au reste des elements paratextuels presents dans l'edition : illustrations, table des matieres. . . La conclusion pose les bases d'une << histoire litteraire du livre au xviiie siecle >>. Si rousseau et le plus pur exemple d'un siecle durant lequel les auteurs chassent sur le terrain des formes et effets de sens du livre-objet, d'ordinaire devolu a l'editeur, voltaire, retif de la bretonne, beaumarchais. Bernadin. . . Ses contemporains ont, du lvire, une pensee et une pratique originale qu'il importe d'etudierThis thesis deals with the first of jean-jacques rousseau's novel julie ou la nouvlle heloise (1761) and studies the way our interpretation of a text can be influenced by the many differents types of textual (title, prefaces, footnotes. . . ) or material (format, paper, typography. . . ) elements that accompany or <> it. The introduction demosntrates the ne cessity of a pluri-subjects - book history, << paratextual >> studies. . . - approach to texts. The first two parts show how rousseau wanted to control not only the writing of his text but also the making of the book which carried it and which was conceived according to a litterary project. The third part proves that rousseau devised the prefaces and footnotes to his novel in order to disturb the reader and to constrain him to think by himself. The fourth and last part first of all brings to light rousseau's conception of book and reading, then tests the validity of the theorical elemen ts thus obtained by applying them to the rest of the paratextual objects present in the first editions of julie : plates , table of contents. . . The conclusion insists on the necessity to elaborate a <> : if rousseau is probably, with his novel, the most meaningful exemple of a writer implication into what is nowadays usually considered as a pure publisher concern, many of his contemporaries - voltaire, retif de la bretonne, beaumarchais, bernardin de saint pierre. . . - did expres the interest they took in the material dimension of a book conceived as capable to influence the meaning of the text it carries; that is to say as a litterary object
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Dion, Damien. « Récits, fictions, descriptions : l'ekphrasis comme pratique artistique ». Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H315.
Texte intégralRésumé :
L’ekphrasis est traditionnellement définie comme la description verbale d’un objet artistique réel ou fictif. Elle est ainsi représentative d’un phénomène d’interférence entre le factuel et le fictionnel, mais également entre le verbal et le visuel. C’est avec le développement de démarches artistiques qui émergent dans les années 1960 que va s’opérer un véritable tournant linguistique et narratif de l’art où l’œuvre, sa documentation, son commentaire ou son récit vont se croiser, se fondre parfois, pour voir émerger des entités hybrides, parfois ambiguës. Par ailleurs, les stratégies de dis-cours, de commentaire et de récit par les artistes sur leur propre travail participent d’une volonté de réappropriation de l’artiste vis-à-vis, notamment, du critique d’art. C’est à partir des années 1950 qu’émergent ce que Jean-Marc Poinsot nomme des récits autorisés, c’est-à-dire ces discours dont les artistes accompagnent leurs prestations esthétiques, formes de commentaires par l’artiste, désireux de donner lui-même les clés de lecture de sa propre œuvre. Le discours sur l’art tend ainsi à se confondre avec un discours de l’art, au point d’être parfois intégré à la pratique elle-même. Repenser l’ekphrasis à l’aune de ces notions permet d’étudier des pratiques artistiques qui brouillent volontairement les pistes entre art, paratexte et contexte et génèrent des fictions. Cette question de la fiction artistique sera ainsi développée, notamment dans sa capacité à se disséminer dans le réel par le recours à la métalepse, une figure de style qui transgresse la frontière mouvante entre deux mondes : celui où l’on raconte et celui que l’on raconteEkphrasis is traditionally defined as the verbal description of a real or fictional artistic object. Thus it is representative of a phenomenon of interference between the factual and the fictional, but also between the verbal and the visual. It is in particular with the development of artistic approaches that emerge in the 1960s that a veritable linguistic and narrative turn of art will take place where the work, its documentation, its commentary or its narrative will cross, melt together sometimes, to see emerging hybrid entities, sometimes ambiguous. Moreover, the strategies of discourse, commentary and narrative by the artists on their own work are part of an artist’s desire to reappropriate the discourse on art. It is from the 1950s that what Jean-Marc Poinsot calls authorized narratives, that is to say, these dis-courses whose artists accompany their aesthetic performances, forms of comments by the artist, wish to give himself the keys to reading his own work. The discourse on art thus tends to be confused with a discourse of art, to the point of being sometimes integrated into the practice itself. Rethinking ekphrasis by means of these notions allows us to study artistic practices that deliberately blur the lines between art, paratext and context, and generate fictions. Thus, this question of artistic fiction will be developed, particularly in its capacity to spread itself in the real through the use of metalepse, a figure of speech that transgresses the moving boundary between two worlds: the one where we tell and the one that we tell
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Ancona, Alexis Faith. « King Arthur as Transcendent Rhetoric of Anxiety : Examining Arthurian Legends as Sociopolitical Paratexts ». University of Dayton / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1525102970057973.
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Le, Moigne Claire. « Texte, paratexte et intertexte : le cas du roman policier italien des années 2000 ». Paris 10, 2007. http://www.theses.fr/2007PA100119.
Texte intégralRésumé :
L'affirmation croissante du roman policier sur la scène littéraire italienne pose la question du renouvellement et de l'identité d'une production hétérogène. Dans les années 2000, le phénomène de contamination des genres et l'influence du progrès technique ou scientifique cohabitent avec quelques ingrédients traditionnels comme le crime, l'enquête. La tension entre nécessité d'innover et exigence de lisibilité détermine l'horizon d'attente du destinataire de l'oeuvre. Les expectatives de ce dernier s'intègrent aux divers éléments qui élargissent la communication autour des récits et forment le paratexte. Ces données situées à la périphérie des textes facilitent l'appréhension d'une évolution générique car elles rapprochent processus créatifs, données descriptives et discours critiques. Elles permettent également une confrontation entre fiction et monde de référence du lecteur. La mise en perspective d'un tel processus implique en outre l'intensification des pratiques intertextuelles. Ainsi, les citations et allusions abondent dans un univers romanesque caractérisé par sa dimension autoréflexive. Il s'agit d'accroître les potentialités combinatoires de l'oeuvre indépendamment de la résolution d'une affaire criminelle à travers l'enchâssement des textes et la mise en abyme de l'écriture. La recherche causale qui incombe aux héros des récits de Marcello Fois, Carlo Lucarelli, Loriano Macchiavelli, Andrea Camilleri, Massimo Carlotto ou encore Giorgio Todde, contribue à resituer la personnalité de l'auteur au coeur d'un réseau de connaissances factuelles et littéraires à l'image d'un référent polymorpheThe growing popularity of detective fiction on the Italian literary scene brings up the question of the renewal and the identity of a very diverse production. In the first decade of the twenty-first century, the phenomenon of genre contamination and the influence of technological or scientific progress co-exist with traditional elements such as the crime and the investigation. The tension between the need to innovate and the demand for readability determine the horizon of expectation of the reader. The reader's uncertainties are integrated with the different elements Chat extend the communication around the narratives and that form the paratext. These elements situated on the periphery of the text make it easier to grasp the evolution of a genre as they bring together the creative processes, issues related to description, and critical discourses. Likewise, they make it possible to bring into relation fiction and the referential world of the reader. Putting such a process into perspective also entails the intensification of intertextual practices. Thus, citations and allusions abound in a fictional universe characterized by its self-reflexive dimension. It is a matter of increasing the combinatorial potential of the work, independently of the resolution of the criminal plot, by means of embedded texts and the mise en abyme of writing. The quest for a cause that is the responsibility of the heroes of the stories of Marcello Fois, Carlo Lucarelli, Loriano Macchiavelli, Andrea Camilleri, Massimo Carlotto or Giorgio Todde, helps to situate a new the personality of the author at the centre of a network of factual and literary knowledge that constitutes a polymorphic referent
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Dembeck, Till. « Texte rahmen : Grenzregionen literarischer Werke im 18. Jahrhundert (Gottsched, Wieland, Moritz, Jean Paul) / ». Berlin : W. de Gruyter, 2007. http://catalogue.bnf.fr/ark:/12148/cb41224235j.
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Povidisa-Nerowski, Ingrida [Verfasser], et Christian [Akademischer Betreuer] Begemann. « Forensik zwischen Krimi und Sachbuch : Falltexte - Paratexte - Kontexte / Ingrida Povidisa-Nerowski. Betreuer : Christian Begemann ». München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2012. http://d-nb.info/1054598967/34.
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El-Basri, Hassan. « Du paratexte au texte : thèmes et écritures du livre du sang de A. Khatibi ». Paris 13, 1993. http://www.theses.fr/1993PA131043.
Texte intégralRésumé :
Cette recherche se veut une lecture de la pensee et de l'ecriture khatibiennes a travers l'analyse d'un recit : le livre du sang. L7intitule de la these traduit un mouvement allant du general (les preoccupations litteraires et extra-litteraires de l'auteur) au specifique: l'ecriture et le fonctionnement d'un texte. La premiere partie prend en charge l'examen de certains elements partextuels : titres, illustrations et dedicaces. Elle sert a mettre en place les jalons necessaires a l'exploration de l'espace scriptural de khatibi. La deuxieme partie s'interesse a la structure globale du recit et analyse les differents genres investis dans son ecriture. La troisieme partie tente d'elucider le chois et les fonctions des personnages et analyse conjointement quelques configurations thematiques. La quatrieme partie met en relief les strategies d'ecriture mises en oeuvre dans ce recite. L'intratexte revele des "obsessions scripturales" chez l'auteur. L'intertextualite insiste sur les rapports de cette ecriture avec le conte populaire et sa liberte d'imagination, le langage mystique et ses paradoxes, la langue coranique et son imagerie. La reference a des textes grecs et la convocation de la pensee extreme-orientale ouvrent la fiction a d'autres espaces de la difference. Le brassage de toutes ces formes scripturales et culturelles dans le meme espace d'ecriture fait du livre du sang un texte polyphonique en harmonie avec la conception khatibienne de la litteratureThe present dissertation is a tentative reading of the writings of khatibi through the analysis of his narrative : the book (a literal translation of le livre du sang). The title of the dissertation translates a move from the general (literary and extre literary aspects) to the specific : the writing and the functioning of the text. The first part is an analysis of "paratextual" elements (titles, illustrations and dedications). It aims at setting up the necessary steps for the ekporations of khatibi's writing space. The second part is concerned with the architecture of the blood book. It highlights the different forms of writings vested in the text. The the third part elucidates the choices and the functions of the characters involved in the work and analysis certain basic paradigms. The fourth part demarcates the strategies at stake in khatibi's writing. The analysis of the intratextual aspects reveal the obsessions in his scriptural space. The intertextuality focuses on the relationship of the said narrative with the folktale and its freedom of imagination, the mystic language and its paradoxes, the koranic language and its imagery. Reference to greek texts and the conjuring up of oriental thought opens it to other spaces of difference. The merger of these scriptural and cultural forms within the same space makes of. .
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Gharehgozlou, Bahareh. « A Study of Persian-English Literary Translation Flows:Texts and Paratexts in Three Historical Contexts ». Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1532555559014889.
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