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Barnaby, Paul. "Superuomini e no: Dannunzian hypotexts in Capuana’s Rassegnazione". Forum Italicum: A Journal of Italian Studies 51, nr 2 (4.04.2017): 432–51. http://dx.doi.org/10.1177/0014585817698402.
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Parallels have long been noted between Luigi Capuana’s novel Rassegnazione (1907) and D’Annunzio’s Le vergini delle rocce (1895), both of which recount an attempt to breed a Nietzschean superuomo. There is disagreement, however, as to whether Capuana parodies or emulates his source. This article argues that previous analyses err in seeing both D’Annunzio’s aesthetics and Capuana’s response to them as unchanging. It shows that Rassegnazione polemically contrasts the protagonists of D’Annunzio’s early Romanzi della Rosa with his later superuomini, and reacts not to a monolithic dannunzianesimo but to D’Annunzio’s evolving thought and practice. Reading the novel against Capuana’s intense critical engagement with D’Annunzio’s fiction from Il piacere (1889) to Il fuoco (1900), and charting the presence of several significant Dannunzian hypotexts, it concludes that while Capuana clearly debunks superomismo, he does not definitively reject D’Annunzio’s ideal of art-in-life.
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Goodrich, Jaime. "Translation and Genettean Hypertextuality: Catherine Magdalen Evelyn, Catherine of Bologna, and English Franciscan Textual Production, 1618–40". Renaissance and Reformation 43, nr 2 (28.09.2020): 235–61. http://dx.doi.org/10.33137/rr.v43i2.34798.
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Drawing on the ideas of Gérard Genette, this article argues for the value of reading translations as “hypertexts,” or as works grafted onto earlier texts (“hypotexts”), on the basis of the intriguing case study of The Admirable Life of the Holy Virgin S. Catharine of Bologna (1621), translated by Catherine Magdalen Evelyn of the Gravelines Poor Clares. Little-known today despite Evelyn’s importance as the most prolific female translator of the early Stuart period, this publication sublimates the voice of the translator through its laconic paratextual materials and its misattribution of Evelyn’s work to another nun. In spite of this carefully engineered authorial opacity, the stakes of Evelyn’s translation become clearer when it is read as part of a hypertextual system of Franciscan writings published in English, French, Italian, and Portuguese over the course of the sixteenth and seventeenth centuries. An analysis of how her text is grafted onto this series of hypotexts through bibliography, intertextuality, and translation results in a detailed, albeit speculative, account of Evelyn’s motivations for reading, translating, and publishing The Admirable Life. This seemingly modest publication is thus revealed as a rich hypertext that participated in a wider European project to chronicle the history of the Franciscan order. A concluding discussion of hypertextuality in early modern England briefly gestures more broadly toward the relevance of this method for studies of Renaissance literature.
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Potapova, Natalia Vadimovna, i Veronica Alexandrovna Kameneva. "AGE OF ADDRESSEE AS A FACTOR DETERMINING STRUCTURAL, LINGUISTIC AND TEMPORAL FEATURES OF NEWS HYPOTEXTS". Политическая лингвистика, nr 4 (2018): 130–36. http://dx.doi.org/10.26170/pl18-04-15.
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Clemente, Frances. "‘Negletta prole’: Leopardi’s legacy in Morante’s Aracoeli". Cuadernos de Filología Italiana 28 (15.07.2021): 323–46. http://dx.doi.org/10.5209/cfit.70476.
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This contribution addresses Giacomo Leopardi’s so far neglected legacy in Elsa Morante’s Aracoeli (1982), by unveiling the existence of two direct Leopardian hypotexts in the novel: the ‘Ultimo canto di Saffo’ (1822) and the ‘Dialogo della Natura e di un Islandese’ (1824). Focusing, in particular, on the correspondences between Aracoeli and Leopardi’s ‘Ultimo canto di Saffo’, the contribution points to the mourning aspect of the two œuvres, in which the narrative and lyrical voices (respectively, Manuele and Saffo) chant a cathartic elegy through which their wretchedness, far from being erased, leaves space for a resolving conciliation.
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Potapova, Natalia Vadimovna, i Veronica Alexandrovna Kameneva. "THE ADDRESSEE OF AMERICAN NEWS HYPOTEXTS AS A FACTOR IN THE DECONSTRUCTION OF THE "NEWS" CONCEPT". Политическая лингвистика, nr 3 (2018): 128–34. http://dx.doi.org/10.26170/pl18-03-17.
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Suppia, Alfredo, i Ewa Mazierska. "Aliens in an Alien World: The Portrayal of the Aliens and Humans in the Man Who Fell to Earth by Nicholas Roeg and Under the Skin by Jonathan Glazer". Open Cultural Studies 2, nr 1 (1.10.2018): 285–95. http://dx.doi.org/10.1515/culture-2018-0026.
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Abstract The article examines The Man Who Fell to Earth by Nicholas Roeg and Under the Skin by Jonathan Glazer, comparing them with each other and their respective literary originals (hypotexts), in order to establish how aliens and humans are represented in these films and how these representations reflect their respective ideologies. The authors argue that while Roeg’s film, in common with its original, uses the story of Newton to criticise corporate capitalism, Glazer’s film plays down the political aspect of the film, concerning industrial farming and exploitation of the underclass by the political elites, pertaining to neoliberalism, to focus on the problems of identity.
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Weeden Sr., Theodore. "Polemics as a Case for Dissent: A Response to Richard Bauckham's Jesus and the Eyewitnesses". Journal for the Study of the Historical Jesus 6, nr 2 (2008): 211–24. http://dx.doi.org/10.1163/174551908x349699.
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AbstractContra Richard Bauckham's thesis that the Gospels of Mark, Luke and John were based upon original eyewitness testimony—in the case of Luke, the preface declaration; in the case of Mark, Peter's testimony; in the case of John, the testimony of Papias' John the Elder—I submit here evidence to the contrary, focusing my response on Luke and Mark With respect to Luke, I propose, drawing upon the works of Loveday Alexander and Joseph Tyson, that the Lukan preface is a second-century anti-Marcionite appendage to ‘original’ Luke. In the case of Mark, apart from any Petrine testimony, I argue that Mark created the passion narrative in large part from Davidic-saga and Josephan hypotexts.
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Lallinger, Franziska. "Die ›Imitatio Christi-Kompilation von Natur und Gnade‹". Beiträge zur Geschichte der deutschen Sprache und Literatur 145, nr 2 (1.06.2023): 251–307. http://dx.doi.org/10.1515/bgsl-2023-0014.
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Abstract This article analyzes and edits a vernacular compilation on the ›discernment of spirits‹, which was written in the second half of the 15th century by an anonymous writer from Tegernsee for lay brothers and sisters in the context of the Melk reform. The text deals with the inner influence of grace and nature on man and compiles the chapter ›De diversis motibus naturae et gratiae‹ from Thomas à Kempis’ ›De imitatione Christi‹, as well as excerpts from Henry of Friemar’s treatise ›De quattuor instinctibus‹. The author aims to maintain proximity to the Latin texts and theological terminology, and achieves a hybridization of the compiled hypotexts in terms of style and content.
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Potapova, Natal’ya, i Veronika Kameneva. "Variability of the Structure of Electronic English-Language News Hypotexts Depending on the Age of the Target Audience". Vestnik of Northern (Arctic) Federal University. Series "Humanitarian and Social Sciences", nr 2 (20.04.2018): 113–20. http://dx.doi.org/10.17238/issn2227-6564.2018.2.113.
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Kowalczyk-Cantoro, Daria. "Renesansowy poemat "Sarca" jako "aemulatio" z autorami antycznymi". Collectanea Philologica, nr 24 (28.12.2021): 141–53. http://dx.doi.org/10.18778/1733-0319.24.09.
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The aim of this article is to analyse the Renaissance poem Sarca, whose authorship is attributed to the Italian humanist Pietro Bembo, and to indicate the ancient inspirations of the work. The main model for the work is Carmen 64 by Catullus, although the author also refers to other Roman poets. The intertextual relations between Sarca and the hypotexts are presented on various levels. The analysis focuses on showing parallel elements of the setting and takes in consideration the few similarities at the linguistic and stylistic level. Genre-wise Sarca is classified as an epithalamium of an aythiological character. Its characteristics typical of the Renaissance era are also highlighted. The article also brings up the history of the poem and the topic of its attribution, presenting an extensive state of research.
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Cieślak, Magdalena. "Adaptation in the digital era: The case of Robert Zemeckis’ Beowulf". Journal of Adaptation in Film & Performance 14, nr 1 (1.03.2021): 41–51. http://dx.doi.org/10.1386/jafp_00041_1.
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From fidelity discourse, through medium specificity discourse, to intertextuality and remediation approach, adaptation studies have dynamically evolved and recently have responded with particular flexibility to the advent of the digital era. Even adaptations of classical literary texts, confronting the authority of their hypotexts, have daringly broken away from their fidelity constraints and ventured onto paths facilitated by the development of new media. This article discusses Robert Zemeckis’ 2007 adaptation of Beowulf and examines this film’s potential for illustrating the manifestations of digitality in adaptation discourses. A film that did not make it (in)to the box office, and an adaptation that makes literary fans cringe, it is still a fascinating cultural intertext: a radical reinterpretation of the Old English heroic poem, a star-studded special-effect cinematic extravaganza of an adventurous director, an illustration of adaptation going remediation and an inclusive transmedia hybrid.
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Kujawska-Kot, Anna. "Podmiot transseksualny w kulturze – oswajanie, tragizm, tekstualizacja". Przestrzenie Teorii, nr 31 (6.12.2019): 312–42. http://dx.doi.org/10.14746/pt.2019.31.17.
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The article presents the issue of the representation of a transsexual subject’s experience in various discourses. Pointing to the need for dialogical openness, the author proposes a transdiscursive perspective on transsexuality. By referring to the literary and historical discourses, the author proves that transsexual characters are constantly present in culture, but there is lack of textological reflection on this issue in studies on transsexual individuals. The author puts forward the thesis that these transsexual characters are searching for hypotexts in which they can find confirmation of their internal gender identity. As a result, during the process of transistion, they externalize themselves through intertextual bodywriting. On the one hand, they textualize themselves, but on the other hand, they create textual narrations about themselves. They want to exist socially throughout the text. The article is an attempt to open up theoretical reflections on transsexuality.
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Tronchet, Gilles. "À la croisée des chemins (Ovide, Métamorphoses : livre XIV)". Vita Latina 185, nr 1 (2012): 3–31. http://dx.doi.org/10.3406/vita.2012.1729.
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In Ovid’s works we can find a lot of duplicated structures, but Metamorphoses XIV provides a special case. That’s the time when Greekmythology crosses the path of Roman origins. So Ovid doubles Virgil’s invention of Achaemenid, adding as an embedded narrator another member of Ulysses’s crew, Macareus. By means of this duo, he combines two hypotexts, the Aeneid and the Odyssey, giving to the Cyclops and Circe a major role in an overall architecture based on duality. With consistency the poet, by accumulating various instances of reduplication, builds a network of textual connections. Such phenomena appear both in large structures and fine details of the book (a typology is outlined at the end of this paper). So, through his sophisticated way of writing, Ovid shows how the fictional imagination can result from devices based on analogy.
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Hodkinson, Owen. "Attic Idylls: Hierarchies of Herdsmen and Social Status in Alciphron and Longus". Journal of Hellenic Studies 132 (6.09.2012): 41–53. http://dx.doi.org/10.1017/s0075426912000043.
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AbstractThe ‘hierarchy of herdsmen’ in pastoral (cowherd > shepherd > goatherd) as discussed by ancient critics of Theocritus and Virgil was an important facet of ancient readers' engagement with this literature; it was known to imperial authors of prose pastoral Longus (1.16.1) and Alciphron (2.33.1-2), who each allude to it and adapt it to their own unique receptions of the pastoral tradition. Alciphron is concerned with hierarchies of wealth and status among his ‘low’ characters; he uses his readers' awareness of hierarchy as a theme of his pastoral hypotexts to sustain a theme of social status throughout his Letters and to order his four books according to their protagonists' position in the hierarchy. His relocation of ‘Idylls’ to a Classical Attic setting, and transposition into the Sophistic Atticizing prose valued by contemporary authors, follows up Longus' attempt to reclaim the pastoral tradition from Virgil for Greek literature. Menander is proposed as an authorial figure for Alciphron in Letters 4.18–19.
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Afolayan, Sola. "Literary Hypotexts, Filmic Intertexts and Histriographic Hypertexts: Money and Power Problematized in Tunde Kelani’s Ti Oluwa Ni Ile and Saworo Ide". Annals of Language and Literature 3, nr 3 (2019): 21–32. http://dx.doi.org/10.22259/2637-5869.0303004.
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Vasilyeva, N. V. "Teaching schoolchildren to work with electronic hypertext in the context of culture-oriented linguistic methodology: the issue and its possible solutions". Russian language at school 84, nr 5 (16.09.2023): 19–28. http://dx.doi.org/10.30515/0131-6141-2023-84-5-19-28.
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Modern society is undergoing digitisation that affects the formation of schoolchildren as representatives of Generations Z and Alpha. One feature of such learners is clip or mosaic thinking. Modern science considers rhizomatic thinking as an alternative to clip thinking. Based on the comparison between the electronic hypertext structure and a rhizome, the paper concludes that electronic hypertext is a rhizome. Following rhizomatic thinking researchers, I propose to shape this type of thinking in schoolchildren when working with electronic hypertext. The research has identified the benchmarks for teaching generations Z and Alpha to work with electronic hypertext within the framework of culture-oriented linguistic methodology. The article highlights the significance of students’ learning and research activity in comprehending electronic hypertext as a reflection of the conceptosphere of culture. It has been suggested that the linguocultural concept can be considered as a rhizomatic network «node» or an intersection of meanings transmitted by hypotexts in electronic hypertext. This confirms the potential of studying concepts in the Russian language school course for introducing students to the culture of the people through language.
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Ibrahim Esan, Olaosun. "Patriarchy as a social construct: a gastro-semiotic criticism of the foodspheres in J.P. Clark’s The Wives’ Revolt". Language and Semiotic Studies 8, nr 4 (1.12.2022): 165–78. http://dx.doi.org/10.1515/lass-2022-2011.
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Abstract The broad theoretical underpinning of this paper is that food is a vital part of the second-order signifying modes in literary texts. Its definite thesis, in relation to the age-long debates on power dichotomy between male and female gender, is that while men merely enjoy and noisily exercise social power sustained by patriarchy, which is a contrivance, women possess a great deal of authentic powers usually not overtly acknowledged. These theoretical and ideological (thesis) statements respectively are demonstrated through a semiotic reading and analysis of four foodspheres in J.P. Clark’s The Wives’ Revolt, using the critical lenses of gastro-criticism, social semiotics and textual cooperation theory. Through these analytical lenses, the paper recognises that each of the foodspheres in this play is a hypertext which transcodes or interogates the diverse gendered power relation hypotexts embodied in religious, socio-cultural and institutional semiospheres. It concludes that the power that women exercise in food preparation and administration, as signified in some of the foodspheres analysed, is a semiotic prototype of the many other unnoticed powers, through which the female homo rule the world.
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Rolls, Alistair, i Emma Hamilton. "Vanilla Twist Again: Passing, Loitering, and Intertextual Equilibrium in John Carpenter’s Assault on Precinct 13". Journal of Asia-Pacific Pop Culture 8, nr 2 (listopad 2023): 231–50. http://dx.doi.org/10.5325/jasiapacipopcult.8.2.0231.
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Abstract In the companion piece to this article, the authors discuss John Carpenter’s Assault on Precinct 13 (1976) from the perspective of what they have dubbed “representational equilibrium,” in which two opposed notions—change over time and absence of transformation—can be shown to pertain at the same time in the same film. This article maps the and-or dynamics of equilibrium onto textual space as something simultaneously autonomous (closed in upon itself) and shared or penetrated (open to otherness). This “intertextual equilibrium” allows a more complex reading of the filmic intertext as it pertains to Assault and its hypotexts. Intertextual exchange will be analyzed as points of intersection (of host and source texts) and sites of double movement or double-crossing. For example, while Once Upon a Time in the West will be seen to hold the key to Napoleon Wilson’s racial identity in Assault, Assault will simultaneously raise questions about Harmonica’s identity in Once Upon a Time in the West. Literal crossings will stand as metaphors for racial passing and metonyms for Assault’s construction: Carpenter’s film is, like its (quasi-titular) precinct, under siege, assaulted by the very intertexts on which it is built.
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Shamshina, Antonina Igorevna. "English textbook as a creolised hypertext: Structure and pragmatics". Philology. Issues of Theory and Practice 16, nr 8 (14.08.2023): 2350–57. http://dx.doi.org/10.30853/phil20230369.
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The research aims to identify the hypertextual characteristics of an authentic training package in English that contribute to information transmission and perception. The research is novel in that it is the first to present and analyse an authentic training package in English as a hypertext that exists not only in print (course book, teacher’s pack, self-study pack), but also online (e-portfolio). In addition, the paper identifies its hypertextual characteristics. The author examines the system of transitions between linearly organised creolised texts (hypotexts) in the nonlinear structure of the textbook. A wide system of transitions, represented by the table of contents, the wording of an educational task, creolisation elements, contributes not only to the logical movement from one section to another, but also allows students to choose their trajectory of movement, thereby activating cognitive processes. An authentic training package in English is considered as a creolised (semiotically complicated) text, where a verbal sign and a nonverbal sign, synthesised, form a hypertextual space. The definition of a textbook as a hypertext is also given. The research findings showed that an English textbook is a semiotically complex non-linearly organised structure – hypertext, which possesses a number of characteristics, such as: nonlinearity, hypertextuality, closeness, polycode nature, multimediality and interactivity.
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Kolasińska-Pasterczyk, Iwona. "Interwencja bogini/Szatana? "Wenus w futrze" (2013) – lektura palimpsestowa filmu Romana Polańskiego". Załącznik Kulturoznawczy, nr 10 (31.12.2023): 281–314. http://dx.doi.org/10.21697/zk.2023.10.14.
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Goddess’s or Satan’s Intervention? A Palimpsest Reading of Roman Polanski’s Venus in Fur (2013) The text concerns Roman Polanski’s film Venus in Fur (2013), a multi-layer psychodrama written for two characters, taking place on several levels of human relations: actress vs. director, literary character vs. performing artist, man vs. woman. Venus in Fur has been defined as a kind of palimpsest, i.e. a film story based on the fictional skeleton of other works. Referring to the concept developed by Gérard Genette, who categorized the ways in which different texts interact with each other, the article investigates the film’s hypertextuality, i.e. the “grafting” of Venus in Fur (as a hypertext) upon earlier works (hypotexts). When discussing Venus in Fur as a text of culture constituting a hypertext superimposed on other literary pieces, such as David Ives’ dramas, Leopold von Sacher-Masoch’s novels, mythological and biblical stories, it was necessary to identify their mutual relations by deciphering all the interconnections, reworkings, reinterpretations, and revisions. Due to the relationships existing between the various cultural texts in the film, the analysis was treated as a palimpsest reading. Attention was also paid to the director-actress relationship and the role of the female character in connection with the reinterpretation of the myth of the goddess Venus.
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Pascal, Marie. "L’écrit à l’écran : écriture, texte et lisibilité dans la transcréation québécoise". Canadian Journal of Film Studies 30, nr 1 (kwiecień 2021): 25–48. http://dx.doi.org/10.3138/cjfs-2019-0019.
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From the first movies to talkies, films have never been able to completely emancipate from language, the main way of communicating a story, and thus to ignore the written word. It can however be surprising that the written word hasn’t completely disappeared, even retaining an important role in talking cinema, since actors can now express themselves verbally and the audience can gather, thanks to the audio, all the information required to understand. There still remain some traces of writing on the screen, which Chion (2013) distinguishes as being “diegetic” or “non-diegetic.” Several types of writing, distinguished by their relation to the film’s diegesis, require the reviewer to give them particular attention since, even though their presence can sometimes be ignored, such presence is not natural in the “audio-visual.” Focus on the written word is even more important for those who study film adaptations or “transcreations”, since the diegesis is, as the first witness of the “story” (Gaudreault, 1988), conveyed in writing only. The first question will thus be to analyze the characteristics of the endurance of hypotexts via the written word in transcreations and to evaluate its presence in relation to films d’auteur. The second question, which goes beyond the typology proposed by Chion, will be to see if the written word can be limited by these two poles (diegetic and extradiegetic) or if their boundaries are porous, which would imply a reflexive and metafictional dialogue in many cases.
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Eguiarte, Enrique A., i Mauricio Saavedra. "'Ecclesia, sponsa Christi': La eclesiología en el libro XV del 'Contra Faustum' de Agustín de Hipona". Augustinus 66, nr 1 (2021): 117–52. http://dx.doi.org/10.5840/augustinus202166260/2614.
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In this article, Book XV of 'Contra Faustum' is approached to present the various ecclesiological ideas of Faustus and Saint Augustine, behind which there are two different hypotexts of the Book of Revelation. Faustus starts from the text of Rev 21:9, which presents the Church as sponsa and uxor, that is to say of an ecclesiology that has as point of departure a consummated eschatology which is on the way to perfection. Saint Augustine starts from the text of Rev 21:2 and 22:17, where the Church is presented as sponsa, with an ecclesiology of an eschatology not yet consummated, of the 'schon jetz aber noch nicht', where the Church lives in the hope of becoming the uxor Christi in the kingdom of heaven, when the time of the nuptiae arrives. On the other hand, the fact that Saint Augustine within the Contra Faustum never calls the group of Manicheans with the word ecclesia, but only with terms such as societas or congregatio, is underlined. The article alludes to the Christological insights of Book XV of 'Contra Faustum'. The other allusions to the Church as sponsa and uxor Christi in Book XXII of 'Contra Faustum' are also studied, in order to point out again the augustinian ecclesiological idea of an eschatology not yet consummated, and the fact that the Church is also, according to Saint Augustine, the Sister of Christ.
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Sugito, Pudjo, Tanto Gatot Sumarsono i Kamaluddin Kamaluddin. "Organizational Adaptibility Exploration as An Intervening Variabel on The Lingkage of Trandiciplinarity and Computational Skills toward Competitiveness". Bismar: Business Management Research 1, nr 1 (20.01.2022): 1–11. http://dx.doi.org/10.26905/bismar.v1i1.6918.
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This reasearch intends to explore the role of organizational adaptibility as an intervening variabel on the effect of transdiciplinarity and computational skills toward competitiveness. The research population is small industries at the district of Malang. The number sample are 70 small scale industries. Further, this research consists of 4 constructs, 14 indicators and 3 hypothesis. All primary data are analyzed by structural equation model with help of AMOS program. Based on the data analysis found that transdiciplinarity and computational skills significantly indirect effect to the competitive advantage through organizational adaptability. Event, organizational adaptability significantly effect to the competitive advantage. That is due to the critical ratio value of hypotesis 1 till hypotesis 3 higher than 2.00 and also the probability value is less than 0.05. It means that all research hypoteses are accepted. Therefore, it can be concluded that organizational adaptability mediate the effect of transdiciplinarity and computational skills to the competitiveness.
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Barbero, Ludmila Soledad. "Caperucita y la abuela-lobo: Los cuentos de hadas queer de Alejandra Pizarnik". Mistral | Journal of Latin American Women's Intellectual & Cultural History 1, nr 2 (25.11.2021): 49–64. http://dx.doi.org/10.21827/mistral.2.38028.
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Near the end of her life, the Argentine poet Alejandra Pizarnik (1936-1972) wrote a series of short prose works that explicitly rewrite fairy tales or take up their atmosphere and some of their elements. Such is the case of “Violario” (1971), which rewrites Little Red Riding Hood, with an emphasis on the link between violence and sexuality, and “A tiempo y no” (1968) which highlights the most sinister elements of Snow White. This last story, along with Sleeping Beauty, The Little Mermaid and Hansel and Gretel are also rewritten in prose pieces, poems and in her Diaries. This article analyzes how these rewritings take place—starting with the convergences and divergences with the hypotexts—to illuminate the anomalous and queer image of childhood created by Pizarnik. --- La poeta argentina Alejandra Pizarnik (1936-1972) hacia el final de su vida escribe una serie de prosas breves que recuperan explícitamente cuentos de hadas, o retoman su atmósfera y algunos de sus elementos. Tal es el caso de “Violario” (1971), que reescribe Caperucita roja, con un marcado énfasis en el cruce entre violencia y sexualidad, y “A tiempo y no” (1968) que retoma y subraya los elementos más siniestros de Blancanieves. Este último cuento, junto con La bella durmiente, La sirenita y Hansel y Gretel son recuperados también en otras prosas, poemas y en los Diarios. Indagar el modo en que tienen lugar estas reescrituras, a partir de las convergencias y divergencias con sus hipotextos, iluminará zonas de la infancia anómala y queer que Pizarnik configura.
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Corbellari, Alain. "Quand l’hypertexte se fait hypotexte". Poétique 179, nr 1 (2016): 3. http://dx.doi.org/10.3917/poeti.179.0003.
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Pasquier, Anne. "Nag Hammadi : repenser les notions et catégories usuelles". Tangence, nr 74 (30.09.2004): 9–23. http://dx.doi.org/10.7202/009203ar.
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Résumé Cet article explore la question de la dérivation textuelle, ce que depuis Gérard Genette on appelle l’hypertextualité, et aborde sous cet angle des écrits de la Bibliothèque copte de Nag Hammadi. Composés au début de l’ère chrétienne, ceux-ci posent des problèmes particuliers : ils sont anciens, anonymes et sans prétention littéraire affichée. Il est possible de mettre en lumière diverses modalités de dérivation entre eux ainsi que les liens qui les unissent aux hypotextes dont ils dérivent. Il ne s’agit pas de suggérer de nouvelles catégories, ni d’essayer de faire entrer strictement les oeuvres anciennes dans des catégories connues, mais plutôt de montrer le travail qu’opèrent ces écrits sur leurs sources afin de mieux les comprendre. En ce sens, l’intertextualité, et toute forme de transtextualité, est intéressante dans la mesure où elle met l’accent sur l’intégration et l’interprétation des matériaux traditionnels plutôt que de s’en tenir exclusivement à la critique des sources. On peut en conclure que c’est en fonction de la relation spécifique entre l’hypertexte et son hypotexte que la signification doit être envisagée, et non en fonction de l’hypertexte seul.
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Ardolino, Francesco. "Heus! Etiam mensas consumimus. Reescriptures de Carme Riera, Miquel de Palol i Tina Vallès". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, nr 22 (3.12.2023): 334. http://dx.doi.org/10.7203/scripta.22.27834.
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Resum: L’objectiu d’aquesta contribució és de traçar una aproximació a tres obres literàries catalanes a partir del nexe comú de la reescriptura d’escenes lligades a la semàntica del menjar. No es pretén fer cap intent de categorització, sinó disposar-les en seqüència segons el grau de relació, de menor a major, que aquests hipertextos tenen en comparació amb els seus hipotextos. Es començarà per l’ullet que Carme Riera fa a El Guepard de Tomasi di Lampedusa i, passant per les remissions de Miquel de Palol al Satyricon de Petroni, s’arribarà al remake explícit que Tina Vallès proposa davant del Palomar d’Italo Calvino. La hipòtesi en què es basa l’article és que aquestes reescriptures responen a una fórmula específica d’hipercitacionisme que, en l’àmbit de la Postmodernitat, s’aplica a partir del la idea segons la qual, davant la impossibilitat de destruir el passat, només ens queda la possibilitat de revisitar-lo –i potser, revisar-lo– de forma irònica. Paraules clau: reescriptura, postmodernitat, ironia, Carme Riera, Miquel de Palol, Tina VallèsAbstract: The aim of this contribution is to trace an approach to three Catalan literary works from the common nexus of the réécriture of semantics in food scenes. It is not intended to make any attempt at categorization, but these hypertexts will be arranged in sequence according to the degree of relationship, from minor to major, that they have in comparison with their hypotexts. It will begin with the quote that Carme Riera makes to The Guepard, by Tomasi di Lampedusa, and, passing through Miquel de Palol’s references to Satyricon, by Petronius, we will arrive at the explicit remake of Italo Calvino’s Palomar by Tina Vallès. The hypothesis of this article is that these rewritings respond to a specific form of hypercitation, which, in the Postmoderm literature, is applied to the idea that, given the impossibility of destroying the past, there remains the possibility of revisiting it –or revising it– in an ironic way.Keywords: rewriting, postmodernity, irony, Carme Riera, Miquel de Palol, Tina Vallès
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Cano Mateu, Josep Àngel, i Xavier Hernández Garcia. "La hipertextualitat i la intermedialitat en Odissea, el viatge de Ningú (2017), d’Elies Monxolí". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, nr 22 (3.12.2023): 482. http://dx.doi.org/10.7203/scripta.22.27843.
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Resum: L’Odissea d’Homer ha donat lloc a centenars de versions, traduccions o reescriptures, i també en l’àmbit musical o l’artístic. Com destaca Gérard Genette (1982), és un dels hipotextos més utilitzats que ha inspirat grans obres com l’Eneida o l’Ulisses, de James Joyce. També Odissea, el viatge de Ningú, d’Elies Monxolí: una nova lectura del relat homèric ssobre les traduccions de Carles Riba i Joan Francesc Mira, i que hi incorpora referències a Ausiàs Marc, Dante Alighieri, Salvador Espriu i Vicent Andrés Estellés, entre d’altres. A aquesta riquesa hipertextual, s’hi suma la música, que s’adapta al text i hi integra al·lusions a Lluís Llach i a Raimon. Els collages de Pere Salinas completen aquesta creació que amalgama literatura, música i art plàstic. L’objectiu d’aquest article és analitzar la hipertextualitat d’aquesta obra a partir de Genette, i les relacions intermedials entre les diferents disciplines artístiques que la conformen, seguint les tipologies de Werner Wolf (1999).Paraules clau: hipertextualitat, intermedialitat, Homer, Odissea, El Viatge de Ningú reescripturesAbstract: Homer’s Odyssey is a major pillar of the Western literary canon that has resulted in hundreds of versions, translations, or rewritings, both from a literary point of view and from a musical or artistic point of view. In fact, as Gérard Genette (1982) points out, it is one of the most commonly used hypotexts, which have inspired great works such as the Aeneid and James Joyce’s Ulysses. Also Odissea, el viatge de Ningú, by Elies Monxolí: a new reading of the Homeric story based on the translations of Carles Riba and Joan Francesc Mira, that incorporates references to Ausiàs Marc, Dante Alighieri, Salvador Espriu and Vicent Andrés Estellés, among others. To this hypertextual richness is added the music, which is adapted to the text and, at the same time, integrates allusions to Lluís Llach and Raimon. The collages of Pere Salinas complete this interdisciplinary creation that amalgamates literature, music and plastic art. The aim of this article is to analyse, on the one hand, the hypertextuality of this work, following Genette, and, on the other, the intermediality relations between the different artistic disciplines that conform it, following the typologies developed by Werner Wolf (1999).Keywords: hypertextuality, intermediality, Homer, Odissea, el viatge de Ningú, rewritings
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Cowling, David, i Alba Ceccarelli Pellegrino. "Le 'Bon Architecte' de Philibert de L'Orme: hypotextes et anticipations". Modern Language Review 93, nr 2 (kwiecień 1998): 500. http://dx.doi.org/10.2307/3735400.
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le Calvez, Eric. "Génétique et hypotextes descriptifs (La forêt de Fontainebleau dansL'Éducation sentimentale)". Neophilologus 78, nr 2 (kwiecień 1994): 219–32. http://dx.doi.org/10.1007/bf00999654.
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Scheichl, Sigurd Paul. "Tonnerre et Tunnöl. Nestroy et l'esprit de ses hypotextes français". Austriaca 75, nr 1 (2012): 81–94. http://dx.doi.org/10.3406/austr.2012.4963.
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Beaucoup de comédies ou «farces» (Possen) de Nestroy suivent de très près l’action des comédies-vaudevilles parisiennes. En revanche, Nestroy leur emprunte rarement des détails de dialogue, souvent très pointus. Cela s’explique en partie par la rigueur de la censure autrichienne, qui ne tolérait ni allusions érotiques ni remarques politiques, et en partie par la technique, propre à Nestroy, consistant à conférer une atmosphère toute viennoise à ses pièces. Là où, dans Der Talisman (1840) et Eisenbahnheirathen (1844), Nestroy se sert de pointes tirées des pièces de Depeuty et Courcy ou de Bayard et Varin, le nouveau contexte tend à dépasser le champ théâtral et à devenir plus littéraire que les hypotextes utilisés par le dramaturge viennois.
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Даи, Пра Джанлука. "A Genealogic-Structural Hypotesis of Harmonic Dualism". Научный вестник Московской консерватории, nr 4(51) (29.12.2022): 798–813. http://dx.doi.org/10.26176/mosconsv.2022.51.4.06.
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В «классической» теории музыки минорное трезвучие всегда считалось подчиненным господствующему и более «естественному» мажорному (как в мажорных, так и в минорных тональностях). Принцип гармонического дуализма придает равную значимость мажорным и минорным трезвучиям, рассматриваемым с диалектической и акустической точек зрения, т. е. с точки зрения унтертонов и обертонов, опосредования противоположных сил и физиолого-структурного понимания (см. труды Эттингена (1866), Гауптмана (1853) и Римана (1905 и 1915)). Однако оправдание существования минорного трезвучия, предлагаемое в этих трудах, не выглядит убедительным; все попытки обнаружить основание минорных трезвучий в унтертоновых рядах Эттингена оказываются в равной мере безуспешными. Хотя существование минорного трезвучия - и минорной тональности - не подлежит сомнению, лишь «Формальная теория обобщенных тональных функций» Дэвида Льюина (1982) способна дать структурно-формальное объяснение гармонического дуализма, исходя из инверсии интервалов, составляющих мажорное трезвучие. Принимая во внимание тот факт, что тональная практика, по всей вероятности, берет свое начало в транспозиции псалмовых тонов в инструментальной музыке XVII века (см. публикации Барнетта (1998) и Пауэрса (2014)), мы ищем онтологическую основу гармонического дуализма в практике темперации; в зависимости от взаимного расположения консонансов двух трезвучий в среднетоновых темперациях (для простоты назовем их среднетоновыми темперациями на 1/3 и на 1/4 синтонической коммы) можно проследить двойной дуализм, в котором обсуждаемая терция онтологически преобладает, а дополняющая является ее двойником. Однако темперации не позволяют осуществлять модуляции без транспозиции в отдаленные тональности. И наоборот, модель Льюина позволяет генерировать «двойственные» трезвучия путем математических манипуляций с их составляющими - инверсии (операция «TDINV») и/или сопряжения (операция «CONJ»). Если посмотреть на модальные диатонические звукоряды, на которых основаны псалмовые тоны («белые ноты» с добавлением си бемоля), и расположить звуковысоты этих тонов по терциям, можно получить два палиндрома, репрезентирующие все возможные в рамках данных модальных звукорядов трезвучия; это подтверждает структуру, которую Льюин получил теоретическим путем (и которая также является палиндромом). Наш подход находится в противоречии с теориями «классического» гармонического дуализма, при котором внимание фокусируется только на одиночных составляющих трезвучий (в названном выше контексте). Более того, такие подходы стремятся определить, каким образом можно приспособить модель к темперации независимо от таковой, т. е. не включая в модель саму темперацию. Все эти аспекты не позволяют дать убедительное объяснение гармоническому дуализму, и такое положение вещей существовало до тех пор, пока Льюин не сформулировал свою теорию. Отойдя от обычной практики и рассматривая аккорды как автономные сущности, а не наложения принадлежащих гамме интервалов, Льюин впервые дал убедительное с формальной точки зрения объяснение, основанное на равномерной темперации, не выводя сопоставляемый консонанс и «естественность» мажорного и минорного трезвучий из особой интонации (см. упомянутую статью Льюина). Цель моей статьи - подчеркнуть значимость исторически информированной генеалогии гармонического дуализма, рассмотрения его с точки зрения музыкальных практик, которые привели к возникновению тональности благодаря использованию темпераций и их интервальной структуры. In “classical” music theory, the minor triad has always been considered subordinate to the prevailing, and more “natural”, major triad (both for major and minor tonalities). Harmonic dualism is a principle that ascribes equal importance to the major and minor triads approached from dialectical and acoustical point of view, i.e. in terms of undertones and overtones, mediation of contrasting forces and physiological-structural understanding (following Oettingen’s (1866), Hauptmann’s (1853), and Riemann’s (1905 and 1915) studies). However, these studies do not seem to convincingly justify the existence of the minor triad; all attempts to trace the foundation of the minor triads in Oettingen’s series of undertones appears equally weak. Being the minor triad - and tonality - an indisputable piece of evidence, the David Lewin’s A Formal Theory of Generalized Tonal Functions (1982) is the only one able to demonstrate the structural-formal explanation of harmonic dualism in terms of inversion of the same intervals which belong to the major triad. Considering that the tonal praxis is likely to come from transposition of psalm-tones in the instrumental music of the XVII century (following Barnett’s (1998), and Powers’s (2014) papers), we seek the ontological basis of harmonic dualism in the praxis of temperaments; depending on the higher or lower consonance of the two triads in meantone temperaments (for simplicity 1/3 and 1/4 of syntonic comma (s.c.) meantone temperaments), we can trace back a double dualism, in which the third in question is ontologically prevalent, and the complementary one is its dual. However, temperaments do not allow modulations without a transposition to distant keys. Conversely, Lewin’s model allows generating “dual” triads by mathematical manipulation of their constituents - i.e., inversion (“TDINV” operation) and/or conjugation (“CONJ” operation). By looking at the modal diatonic sets on which psalmodic-tones are based (the natural notes with added BL») and by arranging the pitches of these tones as thirds, one can obtain two palindromes which represent all the triadic possibilities for these modal sets, which confirms the structure theorized by Lewin (which is a palindrome as well). Our approach contradicts the theories of “classical” harmonic dualism, which focuses only on the single constituents of the triads (regarding the topics cited above). Moreover, such approaches seek to identify how the model could be adapted to the temperament independently, i. e. without including the temperament itself into the model. All these aspects fail to provide a convincing explanation of the harmonic dualism, that wasn’t achieved until Lewin’s formulation. By considering chords as autonomous entities, different from the ordinary superposition of scalar intervals, Lewin provided for the first time a formally convincing explanation based on the equal temperament, i.e. without making comparable consonance and “naturalness” of the major and minor triad a consequence of a specific intonation (following Lewin’s 1982 paper). My paper aims at highlighting the relevance of a historically informed genealogy of the harmonic dualism, in relation with the musical practices that led to the emergence of tonality through the use of temperaments and their interval structure.
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Ternopol, Tat’yana V. "The hypotext of a children’s game in "Five Little Pigs" by Agatha Christie". Vestnik of Kostroma State University, nr 4 (2019): 130–34. http://dx.doi.org/10.34216/1998-0817-2019-25-4-130-134.
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The article is devoted to analysing the role of hypotext of a children’s finger-play in Agatha Christie’s detective novel. Methods of hermeneutics and comparative analysis are applied to study levels of detail, motif, image system and structure. The researcher makes a conclusion that Agatha Christie continued trying new models of using folklore hypotext based on its peculiar features (such as verbal and kinetic components of a folklore game). The motif of a number five manifested in the title organises the text and gives an attentive reader a chance to solve the case. According to the researcher, the composition of "Five Little Pigs" is determined by a detective formula as well as the rules of the finger-play used as a hypotext.
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Lokaj, Rodney. "The Canticle of the Creatures as Hypotext behind Dante’s Pater Noster". Rocznik Filozoficzny Ignatianum 26, nr 2 (23.12.2021): 19–40. http://dx.doi.org/10.35765/rfi.2020.2602.3.
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The article analyses Dante’s explanatory paraphrase and exegesis of the Lord’s Prayer, which opens the eleventh canto (v. 1–24) of Purgatory. The author reminds us that the prayer is the only one fully recited in the entire Comedy and this devotional practice is in line with the Franciscan prescription to recite it in the sixth hour of the Divine Office when Christ died on the cross. The prayer is reported by the poet on the first terrace of Purgatory, where the proud and vainglorious must learn the virtue of humility, and therefore it symbolizes the perfect reciprocity between man and Godhead. Dante collates and amplifies the two complementary Latin versions of the Lord’s Prayer from Matthew 6: 9–13 and Luke 11: 2–4. The two synoptic texts are supplemented by the Gospel of John, from which Dante takes the concept of celestial bread (manna) – the flesh and the blood of Christ – which nourishes, liberates and sanctifies Christians. Apart from the Bible, Dante also draws upon the Augustinian and Tomistic traditions. However, the main hypotext behind the prayer, which is neither cited nor acknowledged in any explicit form in the Comedy, is the Franciscan Laudes creaturarum (“Canticle of the Creatures”), also known as the Canticle of the Brother Sun. Written in vernacular by St. Francis himself, who is also the author of the Expositio in Pater noster, the Canticle was still recited and sung together with the Lord’s Prayer in the Franciscan communities in Dante’s time. Moreover, following the parallel readings popular nowadays in Dante studies, the author argues that Purgatorio 11 may be elucidated in the context of Paradiso 11, which is the Franciscan canto par excellence, and taken together they both offset cantos 10, 11, 12 of Inferno, which are based on the sin of pride (superbia). The denunciation of pride in and around canto 11 of Inferno alludes to humility – the remedy of such pride in Purgatory 11, which in turn prepares the reader for the encounter with St. Francis – the paragon of humility – in Paradiso 11. The author concludes that the Dantean paraphrase of the Lord’s Prayer is no less than an elaborate exegesis and homage to Christ and His teachings, something which is encompassed in a nutshell in the Sermon on the Mount.
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Fauth, Søren R. "Schopenhauers Philosophie als dominanter Hypotext in Raabes Erzählung „Höxter und Corvey“". Jahrbuch der Raabe-Gesellschaft (2001) 42 (24.01.2001): 79–118. http://dx.doi.org/10.1515/9783484339019.79.
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M, Luisetto, Behzad Nili-Ahmadabadi i Ghulam Rasool Mashori. "Heart Disease New Hypotesys: Under Endogenous Toxicological Aspect". Cardiology & Vascular Research 2, nr 1 (30.03.2018): 1–2. http://dx.doi.org/10.33425/2639-8486.1009.
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Balocco, Eusebio. "Education, organization and sense-making: some intervening hypoteses". Emergency Care Journal 2, nr 1 (20.02.2006): 22. http://dx.doi.org/10.4081/ecj.2006.1.22.
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Corinus, Véronique. "Le conte dans l’œuvre d’Aimé Césaire : le traitement de l’ hypotexte lumineux". Présence Africaine 189, nr 1 (2014): 153. http://dx.doi.org/10.3917/presa.189.0153.
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Syahruddin, Syahruddin, Aenal Fuad Adam, Syahrabudin Husein Enala, Frederikus Antonius Mana i Muhammad Novan Prasetya. "Pengaruh Implementasi Kebijakan Dan Mutu Pelayanan Terhadap Kepercayaan Masyarakat Dalam Pembuatan E-KTP Pada Dukcapil Kabupaten Bombana". Musamus Journal of Public Administration 6, nr 1 (17.10.2023): 574–87. http://dx.doi.org/10.35724/mjpa.v6i1.5270.
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The problem of this research revolves around, the Influence of Implementation of Service Policies and Quality on Community Trust in Making Electronic KTP at Bombana Regency Population and Civil Registration Office. This study uses a quantitative approach with a description method. Data collected through questionnaires, processed with computers through Excel and SPSS programs, with regression equation formulas, then interpreted analyzed and described in accordance with the research objectives by using a sample of all employees in the district population and civil registration departement of Bombana. From the results of the regression linearity research and data alasysis obtainedfrom the tree hypoteses it turns out that the linear regression population, because the F count is signifikan at alpha =0,05. And the results of the study indicate that all three proposed workyng hypotesis are entirely accepted, this is data by obtaining positive regression coefficients, so that the implementation of the policy of making electronic ID Cards of service quality both separately and in integrated manner affects the trust of the public.To increase public trust better si that it will result in achieving the terget of making electronic ID Cards at the maximum population and civil registration departement of bombana regency, policy implementation and service quality is needed because if the policy implementation is effective and the service quality is good, public trust will tend to increase,conversely if the implementationof policies and service quality is lacking and ineffective then public trust will tend to decrease
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Kębłowska-Ławniczak, Ewa. "Liminal hypotext‐hypertext relations in selected Shakespearean prequels, sequels and gap-fillers". Journal of Adaptation in Film & Performance 14, nr 1 (1.03.2021): 87–107. http://dx.doi.org/10.1386/jafp_00044_1.
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Liminality is inherent in the adaptation process situated ‘in-between’. Proposing the ‘biological’ concept of symbiosis, David Cowart distinguishes between the ‘host’ and the ‘guest’ text. Symbiosis as a shape-shifting concept involves a two-directional adaptation process, an ‘epistemic dialogue’, where interest is in how the later text’s meaning is produced in relation to the earlier and how the overall production of meaning is affected by the hypertext. To obliterate the lines of influence, temporal distance, privilege and importance, it is possible to conceive of the relation between hypotext and the hypertextual ‘attachment’ as rhizomatic and thus to locate the ‘hypertext product’ in a region where historical genealogies either no longer matter or need to be seriously reconceptualized The article discusses the hypotext‐hypertext relations in a selection of modern and postmodern adaptations by Maurice Baring, Gordon Bottomley, WTG and Elaine Feinstein and Linda Bamber, as ‘symbiotic attachments’ or rhizomatic developments whose relationship with the Shakespearean text, or rather ‘aggregate’ can be variously defined in narrative terms. I argue that texts located in the position of prologues, epilogues or separately published ‘letters’ ‐ defined as prequels, sequels or gap-fillers and often pointing to an ontological or temporal elsewhere ‐ can be variously defined as elements of the main text, metatexts masquerading as paratexts or framing borders and that they function as generators of meaning.
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Zuev, V. A. "IMMUNOLOGY THEORY OF ALZHEIMER DISEASE PATHOGENESIS: FACTS AND HYPOTESIS". Современные проблемы науки и образования (Modern Problems of Science and Education), nr 4 2019 (2019): 6. http://dx.doi.org/10.17513/spno.28961.
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Bitazi, Fernanda Isabel. "Adaptação em quadrinhos e sua autonomia em relação ao discurso literário". 9ª Arte (São Paulo) 5, nr 1 (19.08.2016): 107–16. http://dx.doi.org/10.11606/2316-9877.2016.v.5i1e137042.
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This paper aims at demonstrating, based on the central idea that every adaptation is a cultural product as autonomous and creative as its hypotext, that comics adaptations recreate the form and the content of its literary base-text through their own syntactic resources. Such fact is essential to justify the infeasibility of creating a hierarchy of arts based on aesthetic inferiority and superiority. Thus, the comics adaptation “The Match Girl”, made by Brazilian comics artist Fabiano Barroso, will be analyzed in comparison with its hypotext, the short story “The Little Match Girl”, by Danish writer Hans Christian Andersen.
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Hapsari, Jengger Woro, i Alwi Alwi. "PENGARUH MODAL PSIKOLOGIS DAN PARTISIPASI ANGGARAN TERHADAP KEINGINAN UNTUK MEMBUAT SENJANGAN ANGGARAN". Jurnal AkunStie (JAS) 6, nr 2 (16.12.2020): 76–86. http://dx.doi.org/10.32767/jas.v6i2.1141.
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The study aimed at finding out the effect of psychological capital dan budgetary participation on the budgetary slack. The population are all of Kopertis in the Indonesia. There were about 84 respondents are budgetary team in Kopertis. The data were collected by using five instrument of questionnaries based on Likert-scales. Data quality test was made by using validity and reability. The hypotesis is tested using hypotesis T-Test. From the results of hypotesis tests it is concluded that (1) there was affect of psychological capital on the budgetary slack (2) there was not affect of budgetary participation on the budgetary slack.
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Avcıoğlu, Nebahat. "The Külliye as Hypotext: a New Reading of Ottoman Imperial Mosques and Tombs". Journal of Material Cultures in the Muslim World 4, nr 2 (22.02.2024): 230–51. http://dx.doi.org/10.1163/26666286-12340048.
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Abstract This article reflects on Istanbul as a palimpsest city, more specifically, about how architectural typologies, practices, visual tropes and narratives migrate through different contexts in time and space. As a city inherited from the Byzantine Empire, negotiating the intersection of past and present as well as topography and politics has been fundamental to shaping Ottoman Istanbul. The article explores the imperial city through one of its ‘original’ Ottoman structures, the religious and social complex known as külliye, in order to frame its agency, both formal and urbanistic, to reveal not only its extremely rich and imaginative iterations from the conquest of Constantinople to the Tanzimat but also the spatiotemporal relationships between them.
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Setyadarma, Bambang. "PENGARUH FITUR KARAKTER TERHADAP SIKAP KONSUMEN ATAS MEREK MELALUI KEPERCAYAAN KARAKTER PADA PRODUK ES KRIM PADDLEPOP". Equilibrium: Jurnal Ekonomi-Manajemen-Akuntansi 14, nr 1 (30.04.2018): 38. http://dx.doi.org/10.30742/equilibrium.v14i1.411.
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This research goal is to measure the influence of Character feature for Customer Atitude on the Brand through the Trust of Character for Paddlepop Ice Cream Product. Samples of this research used 115 respondents. The Sampling technique use non probability sampling (direct of sampling method). Finaly, these research implication try to explain that the Character Feature at the variances: Expertise on Trust of Customer, Relevance for Trust of Customer,and Nostalgy for Trust of Customer have a significant influences to consumer attitude which hypothesis test under level of tolerance about 5%. This research also find that Trust of Customer has an influent to The Customer Atitude. Critical Path Coefficient Analysis of Expertise to The Trust of Customer about 26,5%, Relevancy on The Trust of Customer about 63,8%, Nostalgy on The Trust of Customer about 55,5% and Trust of Customer to The Customer Atitude for Brand about 3,4%. So this research accepted Hypotesis of 1, Hypotesis of 2, Hypotesis of 3, Hypotesis of
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McGOWAN, M. M. "Review. Le 'Bon Architecte' de Philibert de l'Orme: Hypotextes et anticipations. Pellegrino, Alba Ceccarelli". French Studies 52, nr 1 (1.01.1998): 82. http://dx.doi.org/10.1093/fs/52.1.82.
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Wang, Zhuoyi. "Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis". Arts 9, nr 3 (10.07.2020): 78. http://dx.doi.org/10.3390/arts9030078.
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Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”.
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Velita, Septiany, Yansen Siahaan, Jubi Jubi i Nelly Ervina. "PENGARUH LIKUIDITAS DAN STRUKTUR MODAL TERHADAP NILAI PERUSAHAAN DENGAN PROFITABILITAS SEBAGAI VARIABEL INTERVENING PADA PT DHARMA SAMUDERA FISHING INDUSTRIES, Tbk YANG TERDAFTAR DI BURSA EFEK INDONESIA". SULTANIST: Jurnal Manajemen dan Keuangan 7, nr 1 (22.09.2019): 92–100. http://dx.doi.org/10.37403/sultanist.v7i1.141.
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The purpose of the research is to find description of liquidity, capital structure, profitability, and firm value, the influence of liquidity and capital structure to the profitability, and the influence of profitability to the firm value at PT Dharma Samudera Fishing Industries, Tbk listed in Indonesia Stock Exchange. The research used descriptive qualitative analysis and descriptive quantitative analysis. Data collection is done by using documentation method. The analysis technique used is the classical assumption test, multiple linear regression analysis, simple linear regression analysis, correlation coefficient, determination coefficient, and hypotesis testing. The data analysis was carried out using the IBM SPSS Statistic program version 20.The result of this research show that 1. Based on the first hypotesis testing, liquidity and capital structure have a significant effect to profitability. 2. Based on the second hypotesis testing, liquidity has no significant effect, but capital structure has significant effect to profitability. 3. Based on the third hypotesis testing, profitability has significant effect to firm value. The suggestions of this research is that company should control the liquid assets to increase profit, manage the long term debt, increase sales, and minimize the operational expenses. Furthermore, for the next researchers needs to research the other factor that effect the firm value. Keywords: Liquidity, Capital Structure, Profitability, and Firm Value.
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Porteous, B. T. "The Mutual Independence Hypotesis for Categorical Data in Complex Sampling Schemes". Biometrika 74, nr 4 (grudzień 1987): 857. http://dx.doi.org/10.2307/2336480.
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Raissi, Poya, i Morteza Ghaffari. "Ancient Telling, Contemporary Showing: A Reading of The Killing of a Sacred Deer (2017) As Film Adaptation". CINEJ Cinema Journal 11, nr 1 (20.10.2023): 216–39. http://dx.doi.org/10.5195/cinej.2023.465.
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This article aims to investigate the contemporary aspects of adaptation from ancient plays, presenting a reading of The Killing of a Sacred Deer (2017). A comparative view towards Iphigenia at Aulis by Euripides (405 BC) raises the question of how story elements of that play are recreated within the film adaptation. Also, it seeks to explore the relationship between the type of engagement, from hypotext (play) “telling” to hypertext (film) “showing”. The theoretical framework of the article utilized theories of Gerard Genette’s “hypertextuality” and Linda Hutcheon’s “adaptation”. The results indicate subtle thematic connections, as well as a significant interplay between hypotext and hypertext. The Killing of a Sacred Deer represents an adaptation with a creative interpretation, one which reimagines the forms and themes of ancient tragedy in a modern-life context. Various influences, imitations and transformations of Euripides’ story elements are interwoven in the adaptation process and discussed in the article.