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In diesem Aufsatz wird Nietzsches Dionysos-Dithyrambe "Letzter Wille" im Hinblick auf Charakteristiken der Gattung "Hymne", welcher der Dithyrambus als Untergattung zugerechnet werden kann, analysiert. Zwei Aspekte werden besonders berücksichtigt: Sprachgebärden und Freie Rhythmen. Sprachgebärden der Hymnen konnten hier nicht ermittelt werden. Die metrische Struktur des Gedichts wird im Kontext des lyrischen Werkes Nietzsches besonders nach Begriffen von Moennighoff und Schulz (2007) sowie Bunia (2014) untersucht und auf andere, der Gattung "Hymne" zugeschriebene Elemente bezogen. Dabei werden kompositorische Prozesse von "Letzter Wille", wie die Spiegelung von seinen Teilen, herausgehoben, und seine Beziehung zu anderen Gedichten des Autors kurz betrachtet. Zum Schluss widmet sich die Analyse dem Motiv des Dionysischen bei Nietzsche., This paper analyses Nietzsche's Dionysus-Dithyramb "Letzter Wille" with regard to characteristics of the genre "hymn", of which the dithyramb can be considered a subgenre. The analysis considers two main concepts: gestures of speech and Freie Rhythmen (free rhythms). Gestures of speech as found in hymns could not be identified in the poem. Instead, the paper proposes that the attribution Freie Rhythmen (free rhythms) serves to characterize the poem. The metrical analysis is based on conceptualizations of Moennighoff and Schulz (2007) and Bunia (2014) and discusses features attributed to the genre "hymn". "Letzter Wille" is also observed in the context of Nietzsche’s other poems. Finally, the motifs of the Dionysian and of self-reflection in Nietzsche are briefly examined.

Analisando menções ao mito de Orfeu feitas por Heiner Müller, principalmente o poema em prosa "Orpheus gepflügt" e a peça "Der Bau", inquire-se em que medida e como a exposição desse mito pode relacionar-se com uma caracterização do poeta que serve de referência ao autor e, porventura, até justificar elementos de sua poesia e poética. Como resultado dessas investigações, indica-se que, no contexto de "Orpheus gepflügt", distinguem-se objeções à figura de Orfeu. Não obstante, a representação de seu mito conforma uma justificativa para o fazer do poeta em H. Müller. Em "Der Bau", ele é inicialmente uma figura repelida, da qual se distancia e até se escarnece, contudo, delineiam-se, por fim, convergências e mesmo uma identificação entre o poeta que se apresenta na peça e Orfeu. Considera-se que, com essas designações do mito de Orfeu, H. Müller expõe um tipo de defesa e legitimação do seu "trabalho com mitos" na própria poesia. Ao longo deste escrito, a articulação de fontes antigas para a representação do mito por H. Müller é perscrutada., This article analyses passages where Heiner Müller mentions the Orpheus myth, especially the prose poetry "Orpheus gepflügt" and the play "Der Bau". It inquires how and to what extent his mentions and treatment of this myth can be related to a poet's characterization which reflects his concepts of poetry and might even justify elements of his own poetry and poetics. In the examination of this matter, it is presented as a result that in "Orpheus gepflügt" Orpheus serves as a contrastive figure, nonetheless, his myth can display a justification for H. Müllers poetic doing. In "Der Bau" Orpheus is initially and manifestly a refused figure and even object of mockery, however, the sequence of events in the piece shows proximities and identification between Orpheus and the play's character Poet ('Dichter') (who 'quotes' the author). These considered passages of his oeuvre are regarded here as a kind of defense and validation of the 'work with myths' in his poetry. It is also an object of investigation the way how the author refers to and deals with ancient sources of the myth in his Orpheus' representation.

This paper proposes an analysis of the short story Bobok, by Dostoyevsky, based on the French semiotics point of view, mainly concerning the category of presence. Time, space and person transgressions support the polyphonic representation along with “carnivalization” and the Menippean satire., Propomos uma análise do discurso do conto Bobók,de Dostoiévski, com base na semiótica francesa, com atenção especial naquilo que nela é definido como categoria de presença. As transgressões de tempo, espaço e pessoa sustentam a representação polifônica, juntamente com a carnavalização e a sátira menipéia.

We want to inherit the Bakhtin's concept of poliphony and describe it semiotically. We will examine meaning construction mechanisms of the subject plan, and their articulation with the genre structure, going through the narrative course. From the lasting meaning relations, poliphony will be described. There will be notes about Menippean satire and "carnivalisation"., Procuramos herdar a noção bakhtiniana de polifonia e descrevê-la semioticamente. Examinaremos mecanismos de construção do sentido do plano do conteúdo, a articulação destes com a forma do gênero, passando pelo percurso narrativo. Das relações imanentes do sentido, a polifonia será descrita. Serão feitos apontamentos sobre a sátira menipéia e a carnavalização.