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  • Bladh, Elisabeth, 1975-, et al. (författare)
  • Förord
  • 2013
  • Ingår i: Översättning, stil och lingvistiska metoder. Elisabeth Bladh och Magnus P. Ängsal (red.). - Göteborg : University of Gothenburg. - 978-91-979921-1-4 ; s. 1-7
  • Bokkapitel (övrigt vetenskapligt)
  • Hu, Guohua (författare)
  • Ett vackert paket?
  • 2011
  • Ingår i: Orientaliska Studier. - 03458997. ; :128, s. 12-25
  • Tidskriftsartikel (refereegranskat)
  • Landqvist, Hans, 1958- (författare)
  • Då – Nu – Sedan
  • 2012
  • Ingår i: Workshop för inventering av översättningsvetenskaplig forskning vid humanistiska fakulteten, Göteborgs universitet, 2012-10-17.
  • Konferensbidrag (övrigt vetenskapligt)abstract
    • Powerpointpresentation; vid workshop för inventering av översättningsvetenskaplig forskning vid humanistiska fakulteten, Göteborgs universitet, 2012-10-17
  • Ralph, Bo, 1945- (författare)
  • "what a weeny wukeleen can do" eller: Vem var Buckley? eller: Var James Joyce generativist?
  • 2013
  • Ingår i: Language, football and all that jazz. A Festschrift for Sölve Ohlander. Ed. by Gunnar Bergh, Rhonwen Bowen & Mats Mobärg. - Göteborg : University of Gothenburg. - 978-91-7346-758-2 ; s. 405-429
  • Bokkapitel (övrigt vetenskapligt)abstract
    • In his novel Finnegans Wake (1939) James Joyce makes use of a very personal variant of English, in which words are distorted or expected words are exchanged for similar or quite different ones, resulting in absurd readings packed with potential associative value rather than obvious meaning. Traces of a large number of different languages, in authentic or slightly twisted form, can likewise be identified as apparently unannounced elements in the text. Joyce’s narrative technique further includes the interweaving of several disparate themes into the same “story”, thereby emphasizing the possibility of associating from the text in several diverging directions and distinguishing different layers of meaning. In a way, it can be argued that Joyce, before generative grammar was born, is constantly making use of such notions as underlying structure, deep and surface structure, embedding, cyclicity, transformations etc. The point is illustrated by an analysis of a well-known passage (usually taken to deal with an act of sexual intercourse), which builds on a story about one Buckley, an alleged Irish soldier participating in the Crimean war and supposed to have shot a Russian general. Attempts have earlier been made by researchers on Joyce to identify Buckley. This is another one.
  • Romeborn, Andreas, 1981- (författare)
  • La syllepse. Étude d'une figure de rhétorique dans l'oeuvre de Francis Ponge
  • 2013
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • This doctoral dissertation deals with the figure of speech called “syllepsis” and, more particularly, with the way it is used in the work of the French poet Francis Ponge (1899-1988). The aim of the study is to highlight and describe features characteristic of his use of syllepsis, by means of a qualitative approach, to begin with, and then through quantitative analyses, based on a corpus consisting of 90 texts. These texts were selected from three collections of poems (Douze petits écrits, Le parti pris des choses, and Pièces) and represent a period of three decades (1921-1950), so as to allow examining the evolution of this phenomenon in Ponge’s writing. The present study may be considered as stylistic, insofar as it considers the language of one specific writer, and contributes to an understanding of an important element of his style. Its object being a figure of speech, it may also be characterized as a rhetorical analysis. The definition of the concept of syllepsis proposed in this dissertation implies the use of one word token used in two different senses at the same time, and foregrounds the way in which this figure of speech is made to exploit the polysemy or the homonymy of lexical units (chapter 2). Chapter 3 is devoted to a detailed presentation of a method for identifying words being used sylleptically in a text. The chosen method is then illustrated by an in-depth analysis of a text from the corpus (chapter 4). In chapter 5 attention is turned to various grammatical, lexico-semantic, and functional aspects of the use of syllepses, as they appear from the point of view of the entire corpus. An important conclusion to be drawn from these analyses is that Pongean syllepses typically exploit the polysemy of a noun, a verb, or an adjective in order to achieve an effect of some kind, the function of which is usually either ludic or aesthetic. The study also discusses various deviations from “typical” usage that must be taken into account for the characterization of the specifically Pongean use of syllepsis to be complete. Particular attention is being paid to a kind of syllepsis where the meaning of a fixed expression is diverted through a word play on one of its component elements. Moreover, another characteristic form of syllepsis used by Ponge relies on playing with the etymology of words. Considering the period 1921-1950 as a whole, a general tendency to be observed is the gradual increase in the writer’s shorter poems of the total number of syllepses. In conclusion, this study suggests that syllepsis is quite a significant element of the style of Ponge.
  • Ruiz, Ugo, 1982- (författare)
  • « Ethos et blog d’écrivain : le cas de L’Autofictif d’Éric Chevillard »
  • 2013
  • Ingår i: COnTEXTES : Revue de sociologie de la littérature. - 1783-094X. ; 2013:13
  • Tidskriftsartikel (refereegranskat)abstract
    • This article examines the characteristics of the online construction of a writer’s self-image, through the study of Eric Chevillard’s blog L’Autofictif. By writing a blog, an author doesn’t invest a ‘genre’ as conceived in the editorial system, but a formal mold that precisely questions the notion of text. Digital writing also affects the status of the author, given the fact that the writer communicates directly with the readers of his blog, and can thus construct his own frame of legitimation. On the basis of concepts from discourse analysis (Maingueneau, Amossy), it is shown how Chevillard makes use of his status as an established writer to construct his legitimacy online. Through irony, metadiscursive statements, declarations of literary friendship and critical standpoints, his blog offers a definition of the ‘real’ writer and of ‘good literature’. Meanwhile, the author status of Chevillard gives his blog a literary dimension, something that anonymous authors cannot do because they lack an author image established by others.
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Grub, Frank Thomas, ... (155)
Agrell, Beata, 1944- ... (61)
Arping, Åsa, 1968-, (55)
Jansson, Mats, 1956- ... (53)
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Ahlstedt, Eva, 1949- ... (31)
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Alfredsson, Johan, 1 ... (17)
Leffler, Yvonne, 195 ... (16)
Hermansson, Kristina ... (15)
Avril, Chloé, 1979-, (14)
Hermansson, Gunilla, ... (14)
Castro, Andrea, 1964 ... (13)
Paul, Ronald, 1950-, (13)
Bagerius, Henric, 19 ... (13)
Nordlund, Marcus, 19 ... (12)
Lyngfelt, Anna, 1965 ... (11)
Bladh, Elisabeth, 19 ... (10)
García Nespereira, S ... (10)
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Sigurdson, Ola, 1966 ... (9)
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Lilja, Eva, 1943-, (9)
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Gardfors, Johan, 197 ... (8)
Miladinovic, Sonja, ... (8)
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Löfgren, Hans, 1947- ... (6)
Romeborn, Andreas, 1 ... (6)
Benson, Ken, 1956-, (5)
Lagerwall, Sonia, 19 ... (5)
Ängsal, Magnus Pette ... (5)
Brudin Borg, Camilla ... (5)
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