http://hdl.handle.net/10451/5405 Wed, 22 May 2013 14:04:49 GMT 2013-05-22T14:04:49Z http://hdl.handle.net/10451/7403 Title: A estatuária e a escultura figurativa urbana:conceptualização de estatuária no espaço urbano Authors: Soares, Ana Paula Gil Abstract: O termo estátua, do latim statua, que melhor caracteriza os largos milhares de esculturas figurativas nos espaços urbanos europeus, nem sempre foi de aceitação pacífica ou adesão entusiasta. Através do estudo semântico comparado do conceito "estatuária urbana" em diversas línguas da família do Indo-Europeu e da análise de diversas obras de estatuária implantadas no espaço exterior urbano, demonstramos que a estatuária dos séculos XX e XXI, embora distanciando-se dos modelos da escultura do século XIX, continua a incluir nas suas representações alguns traços semânticos que a identificam agora como género claramente diferenciado de outras formas de realização escultórica. Estes aspectos definidores centram-se na representação figurativa e na noção de memória e homenagem. A estatuária urbana que observamos disposta pelo tecido urbano das aldeias, vilas e cidades apresenta também uma narrativa scripto-visual que documenta a história e a vivência local através da dimensão material e imaterial. Este é o valor de memória e civilização que marca a estatuária urbana enquanto marco territorial de identidade, contribuindo para a preservação e salvaguarda do património material etnográfico e bem assim do património imaterial linguístico e etnológico.; Abstract: Le mot statue, du latin statua, est la meilleure définition pour la statuaire dans l'espace urbain à l’air libre. Mais, ce mot n'est pas toujours tranquillement accepté. À travers l'étude sémantique comparée du concept "statuaire urbaine " en plusieurs langues de la famille indo-européenne et l'analyse de diverses oeuvres statuaire implantées dans l'espace extérieur urbain, nous démontrons que la statuaire des 20ème et 21ème siècles, bien qu'en s'éloignant des modèles de la sculpture du siècle 19, elle continue à inclure dans leurs représentations quelques traces sémantiques qui l'identifient maintenant comme genre clairement différent d’autres objets sculptoriques. Ces aspects sont axés dans la représentation figurative et dans la notion de mémoire et hommage. La statuaire urbaine que nous observons disposée par le tissu urbain des petites villes, villages et villes présente aussi une narration scripto-visuelle qui documente l'histoire et l'expérience locale à travers la dimension matérielle et immatérielle. Celui-ci est la valeur de mémoire et civilisation qui marque la statuaire urbaine comme marque territoriale d'identité, en contribuant à la conservation et préservation du patrimoine matériel ethnographique et bien ainsi du patrimoine immatériel linguistique et ethnologique.; Abstract: Das Wort Statue, vom lat. statua abgeleitet, ist die beste Begriffsbestimmung für die Bildhauerei im öffentlichen Raum in Europa. Aber dieses Wort ist weder friedlich noch begierig akzeptiert worden. Durch eine vergleichende semantische Forschung von dem Konzept „Bildhauerei im öffentlichen Raum“ in verschiedenen Sprachen aus der Familie der Universidade de Lisboa – Faculdade de Letras A estatuária e a escultura figurativa urbana Pós-doutoramento em Estudos Artísticos e Estudos de Cultura Ana Paula Gil Soares, Abril de 2012 5 indoeuropaischen Sprachen, und die Untersuchung vieler bildhauerischen Werke im städtisch-öffentlichen Raum, wird gezeigt, daβ die Bildhauerei im öffentlichen Raum im 20. und 21. Jahrhundert, obwohl sie sich von den Mustern von dem 19. Jahrhundert entfernt, enthält noch in ihren Darstellungen viele semantische Zeichen, die sie nun als Gattung klar unterschiedlich von anderen Skulpturen definieren. Diese semantischen Zeichen haben im Mittelpunkt die bildende Darstellung und die Idee von Gedächtnis und Huldigung. Die Bildhauerei im öffentlichen Raum in Dörfer und Städte stellt auch eine scripto-visuelle Erzählung, die die Geschichte und die lebendigen und lokalen Erfahrungen durch ihre materiellen e immateriellen Dimensionen dokumentiert, vor. Das ist das Wert von Gedächtnis und Kultur, das die Bildhauerei im öffentlichen Raum ab 20. und 21. Jahrhundert als Identität Landmark kennzeichnet. Daher spielt die Bildhauerei im öffentlichen Raum eine wichtige Rolle zur Bewahrung und Schutz des materiellen und ethnographischen Kulturerbes ebenso auch des immateriellen Kulturerbes der Sprachen.; Abstract: The word statue, of Latin origin statua, is the one that best defines the great majority of statuary works in the urban open air space. However, it has not always been peacefully or eagerly accepted. Through a comparative semantic study of the concept "urban statuary" in different languages of the Indo-European family and the analysis of many works of statuary erected in the public open air urban space, we demonstrate that the statuary of the 20th and 21st centuries, although moving away from the models of the 19th century sculpture, keeps on including in its representations several semantic traces that define it now as a genre clearly different from other sculptures. These defining aspects are centred on the figurative representation and on the notion of memory and homage. Fri, 14 Dec 2012 00:00:00 GMT http://hdl.handle.net/10451/7403 2012-12-14T00:00:00Z http://hdl.handle.net/10451/5857 Title: Critical Language Study and Translation: The Case of Academic Discourse Authors: Bennett, Karen Abstract: This chapter uses Critical Discourse Analysis to show the very different ideologies encoded into Portuguese and English academic discourse,arguing that translation from one to the other is virtually impossible within the genre of the academic article. Sun, 01 Jan 2006 00:00:00 GMT http://hdl.handle.net/10451/5857 2006-01-01T00:00:00Z http://hdl.handle.net/10451/5856 Title: Words into Movement: the Ballet as Intersemiotic Translation Authors: Bennett, Karen Abstract: Roman Jakobson, in his 1959 article “On Linguistic Aspects of Translation”, extended the concept of translation to include transfer between different sign systems. On the basis of this definition, many ballets may be perceived as a form of intersemiotic translation, since their aesthetic structure and narrative content is largely derived from some preceding text, which may be either verbal or musical or both. This paper looks at the mechanisms involved in the transfer of meaning from the verbal into the kinesthetic code, with reference to the work of classic dance theorists such as Rudolf Laban, Doris Humphries, Merce Cunningham, etc., and to contemporary culturalist approaches. Examples are drawn from 4 different versions of Romeo and Juliet. Mon, 01 Jan 2007 00:00:00 GMT http://hdl.handle.net/10451/5856 2007-01-01T00:00:00Z http://hdl.handle.net/10451/5855 Title: Prokofiev’s “Romeo and Juliet” and Socialist Realism: a Case-Study in Intersemiotic Translation Authors: Bennett, Karen Abstract: This paper is concerned with Prokofiev’s ballet score, Romeo and Juliet, as an inter-semiotic translation of Shakespeare’s play. My aim is to consider Prokofiev’s distinct interpretation of the play in the light of the political climate of the Soviet Union in the 1930s and to attempt to determine the extent to which it conforms to the norms of Socialist Realism. This is by no means an easy matter, for the composer was at different times lauded by the authorities and vilified by them, while the work itself has been appropriated by both sides of the ideological divide. Nevertheless, close examination of the musical discourse reveals important alterations to Shakespeare’s original concept, shedding some light upon the composer’s own ideology and consequently upon his relationship to the regime under which he lived. Tue, 01 Jan 2008 00:00:00 GMT http://hdl.handle.net/10451/5855 2008-01-01T00:00:00Z