STYLE AND RHETORIC

Author: RODENAS TOLOSA BEATRIZ.
Year: 2003.
University: ALICANTE [www.ua.es].
Place of defense: FILOSOFÍA Y LETRAS.
Place of preparation: UNIVERSIDAD DE ALICANTE.

Summary: This thesis aims to investigate the role of cognitive schemata as metaphors, patterns of image, metaphor image, and their interactions with metonimia schemes applied to figurative speech tragic King Lear, one of the most mythical tragedies shakespeareanas. This study seeks to show how the figurative language from the theory cognitive experiencialista provides a consistent interpretation of this tragedy and clarifies abstract concepts, themes and ideas that belong to the Renaissance period. The analysis offers a new way to interpret this tragedy from a cognitive perspective of metaphors within the Lingüstica Cognitive applied to the analysis of concepts like, the human body and human nature, clothing and nakedness, the physical nature and atmospheric elements, madness and blindness, vision physical and mental vision. The work shows how these concepts through metaphorical processes provide knowledge about emotions, thoughts, behaviors, order and disorder in the hierarchical system, human relations and their corresponding status in the social system. Therefore, the theory of cognitive metaphor plays a key role in organizing the thoughts and feelings of the characters. The study analyzes how different styles of the work, since more rhetorical and poetic passages to a more colloquial usage, resulting in the use of metaphors conventional and creative metaphors carried out by the characters. In addition, metaphors and conceptual schemes picture recurrent corpus contribute to the understanding of the text and to the unity of the work. The theoretical approach of this work are part of the flow experiencialista within the Lingüstica Cognitive George Lakoff and Mark Turner, among others, defending the metaphor as an inevitable part in the conceptualization and verbalization, and not as decoration of literary language, the instead argue that the role of scheme scognitivos as metaphors, diagrams and pictures metonimia in organizing knowledge. To this is added that the conceptual plans do not work alone but on the contrary, assume significance in the cultural context where manifest. Therefore, it has been necessary to the study of the Elizabethan society under the English Renaissance period in order to investigate a system of beliefs and ideas that make sense in this analysis. In addition, ivnestigaciones conducted in images and metaphors shakespeareanas from different prisms and the study of historical criticism of the tragedy form the whole theoretical framework of this thesis. The methodology has been based on parameters for identifying and classifying conceptual plans dominant depending on cognitive function, on the one hand, and convencionalidad parameters, ie sorting metaphors conventional instrumental in Renaissance culture and creative or poetic metaphors from the conventional.

Author: CANO MORA LAURA.
Year: 2005.
University: VALENCIA [www.uv.es].
Place of defense: Facultat de Filologia.
Place of preparation: Facultat filologia.

Summary: Since antiquity figures have been widely studied within the framework of rhetoric, alghough contemporary thetoric has tended tot disregard their importance and relegate their study to the domain of literary criticism. However, since the 1980s, there has been a renewed interest in figurative language not only in literary studies, but also in other fields of reserarch. In fact, research on figuration has emerged as a new distinct discipline, namely that of figurative language studies. However, within this framework, metaphor and irony , often considered the master tropes, haved received the gratest amount of attention, while other non-literal forms have been largely ignored. This is certainly the case of hyperbole or overstatement, object of analysis i the present studi. It not all aspects of figuration have attracted equal interest among reserarchers, most attention has been directed at explaining how figures are comprenhended, given their non-literal nature. This explains that owadays a crucial limitation in figurative language theories is the production process of figures. Similary although the reception process of figures has been widely studied, in terms of understanding, almost no attention has been devoted to listeners' responses to figuration and their collaboration in a joint construction of figurative frames. Rather than addressing the theme of cmprehension, this study concentrates on the production process and usage of exaggerations, since these fields of reserarch have been largely ignored in the literature on the subject. It aims to provide a general framework for the desdription and understanding of hyperbole in interaction, mainly from a production viewpoint but without totally disregardint the reception process, since special emphasis is devoted to the interactive dimension of exaggerative decives

Author: GOMEZ BOCANEGRA JORGE MARTIN.
Year: 2005.
University: CÓRDOBA [www.uco.es].
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFIA Y LETRAS.

Summary: Besides being a social phenomenon declared, the Presidential Governance Report is a text that presents the thinking of an institution: the Presidency of the Republic. It is a text that would distribute content that shape the consciousness, or, in which all kinds of meanings used by different historical people are redeployed in order to interpret and shape social reality. Since the complexity is on any text, read and analyze the report in several ways: as a discursive practice of enunciation undertaken by the President of the Republic, as an area where the facts are established that there was enunciated and instituting; and finally, as a body organized / hierarchical propositions related to a collective subject (the government). The general conclusions that we came to were: * The presidential report is a discursive practice with the specific messages that are sent to specific social groups. * It is also the representation of a government project, which would establish hierarchies of various sorts. * Each report presents a system of political significance, within which can be interpreted other systems significance. * Being the social significance of the universe that are located in different problems, the analysis of the speech just staying in a relationship criticism of political power. * So, before this political power, discourse analysis is facing critical, and then, from a critical position, it is understood political power as a form of action "non-coercive", subtle, as a power with which - by the left will be distributed social facts, which is building mental certain power groups to endorse a social reality that exists.

Author: RECALDE CASTELLS ESTEBAN.
Year: 2006.
University: NACIONAL DE EDUCACIÓN A DISTANCIA [www.uned.es].
Place of defense: FILOLOGÍA.
Place of preparation: FACULTAD DE FILOLOGÍA.

Summary: This work is analyzed in the functioning of the word, singing, poetry as a theme in the poetry of the first phase of Alexandre, to "Shadow of paradise", in response, first, to the differences between those who argued that, the subject, and nature, the relationship between them that dialogue is established, or yearning for communion with the same linkages, themes that bind to the word love, destruction, birth, indeed, land and sleep linked to a concrete floor located at the mouth of corporal who pronounces. Here are studying how to make and act in a word rebel against conventions and established custom, the word that comes to reflect a dynamic and desired world, and therefore he gives the floor a detached energy in their meanings vary or joined in a poetic ambiguity and polysemy. Thus the subject said that acquires a position equally between hesitant delivery to a nature that it fills him and annulled, and his assertion with an instrumental role consciousness that perceives a weakness: that which occurs between myth and lucidity . Lapolisemia the word comes in this way to their own proposals for poetry. In this context is a fundamental fact: only with the man's death could form part of an area which is full, but again this death is ambiguous because it allows one side of the analogy with the land and its life cycle suggests, otherwise, the tragic reality of a being who is going to walk, and that feels excluded from nature always alive.