This diploma thesis Analysis of the Czech translation of Yuri Vynnychuk's collection of short stories Chachacha is devoted to the analysis of translation solutions of selected linguistic features in two short stories - Chachacha and Kulparkiv, aneb Chachacha 2. The goal of this work is to assess translation methods of Rita Kindlerová, describe its possible positives and negatives. Introductory chapters deal with the biography of Yuri Vynnychuk, his classification in a literal context, general characteristics of his work and consequently the stylistic analysis of two excerpted texts. An integral part of the work is definition of theoretical base for translatological analysis. Main parts of the work are focused on the analysis of translation of specific linguistic features, which are the stylistic dominants of selected texts: stylization of speech, style differentiation, phraseme and selected culture- specific items with an emphasis on proper nouns.

Mo Yan莫言, de son vrai nom Guan Moye管谟业, est l’un des écrivains chinois contemporains les plus célèbres mais aussi l’un des plus traduits en français. Son enfance rurale inspire ses premières réflexions sur la littérature et son royaume de lettres. Mêlant le vrai au faux, le réel au fabuleux, son œuvre, profuse et originale, suscite des travaux critiques considérables tant académiques que médiatiques, notamment depuis son obtention du prix Nobel de littérature en 2012 à Mo Yan. La présente thèse porte sur l’œuvre de Mo Yan en France : la traduction, la diffusion et la critique. Ainsi, s’agit-il non seulement d’une investigation sur l’imaginaire de la Chine, mais également d’une investigation littéraire. Cette étude, à la fois monographique et comparatiste, s’appuie principalement sur les créations les plus retentissantes en France : Le Clan du sorgho rouge (1986), Le Pays de l’alcool (1993), Beaux seins, belles fesses (1995), Le Supplice du santal (2001), Quarante et un coups de canon (2003), La Dure Loi du karma (2006), Grenouilles (2009)... / Guan Moye, better known by his pen name Mo Yan, was born in Gaomi County in Shandong province in 1955. The pen name "Mo Yan" means "don't speak" in Chinese. Mo Yan is one of the most famous Chinese contemporary writers in France, and his works have been widely translated into French. His childhood in Gaomi County inspired his first conception of literature and is, to some extent, the portal through which we enter his realm of letters. The unique style of his works attracts many academic and media criticism, and even more after winning the Noble Prize of literature in 2012. This dissertation intends to study the translation, publication, criticism and reception of Mo Yan’s works in France. Besides a literary study, the dissertation also focuses on the imaginary of China. The research is monographic and comparative, based on his several best-known works: Red Sorghum (1986), The Republic of Wine (1993), Big Breasts and Wide Hips (1995), Sandalwood Death (2001), Pow! (2003), Life and Death Are Wearing Me Out (2006), Frog (2009)…

[pt] O legado de Próspero: uma investigação do projeto narrativo de Ruy Duarte de Carvalho parte do estudo da peça de William Shakespeare intitulada A tempestade para verificar, segundo uma perspectiva pós-colonial, a abordagem da colonização nas narrativas do escritor angolano Ruy Duarte de Carvalho. Publicadas após a independência de Angola, nelas a experiência da colonização não se mostra como um processo plenamente findado, visto que suas marcas ecoam no presente. Assim, Próspero e Caliban (personagens da peça shakespeariana considerados, a partir da década de 1950, como respectivos símbolos do colonizador e do colonizado) e a simbologia da tempestade são aqui teoricamente retomados na tentativa de elucidar os novos impasses vivenciados após a descolonização angolana. Para se estabelecer a aproximação entre a peça de William Shakespeare e as narrativas de Ruy Duarte de Carvalho, levou-se em conta o diálogo teórico proposto pelo autor angolano ao nomear sua trilogia como Os Filhos de Próspero (aludindo ao processo de mestiçagem física e cultural advindo da colonização), bem como a recorrência temática da tempestade em sua criação artística. Nesta Tese, além das narrativas que compõem a trilogia Os filhos de Próspero – Os papeis do inglês (2000), As paisagens propícias (2005) e A terceira metade (2009) –, são também analisadas as obras Como se o mundo não tivesse leste (1977), Vou lá visitar pastores (1999) e Desmedida (2006). / [en] Prospers legacy: an investigation Ruy Duarte de Carvalhoss narrative Project analyses, upon a post colonial point of view, William Shakespeares play entitled The Tempest, to verify the colonization approach in the narratives of the Angolan writer Ruy Duarte de Carvalho. Published after the independence of Angola, these works dont show the colonization experience as a fully complete process since its traces reverberate in the present time. Thus, Prospero and Caliban (Shakespearean characters considered after the 1950s as respective symbols of the colonizer and the colonized) and the tempest symbology are theoretically discussed, in this research, to elucidate the new obstacles experienced after the Angolan decolonization. To establish the approach between Shakespeares play and Ruy Duarte de Carvalhoss narratives, the theoretical dialog proposed by the Angolan author naming his trilogy as Os filhos de Próspero (referring to the physical and cultural miscegenation process as a result of the colonization) was considered as well as the tempest thematic recurrence in his artistic creation. In this thesis, besides the narrations that set Os filhos de Próspero – Os papeis do inglês (2000), As paisagens propícias (2005) e A terceira metade (2009) –, Como se o mundo não tivesse leste (1977), Vou lá visitar pastores (1999) e Desmedida (2006) are also analyzed.

Cette thèse s’attache à étudier la représentation du thème de l’entreprise dans la littérature contemporaine française, à travers un corpus panoramique de romans parus à partir des années 1980. Les œuvres de François Bon, Thierry Beinstingel, Nicole Caligaris et Élisabeth Filhol, représentatives de cette inflexion romanesque en passe de devenir un sous-genre, y trouvent une place privilégiée. Figurant les récentes mutations linguistiques, managériales, structurelles et idéologiques des grandes entreprises, le roman en soulève les divers enjeux connexes (socio-économiques, éthiques, anthropologiques) et se dote, ce faisant, d’un potentiel critique. Pour réfléchir (c’est-à-dire « refléter », tout autant qu’ « exercer leur réflexion sur ») ces transformations, les romanciers les plus entreprenants puisent à la capacité heuristique de la forme romanesque : la représentation des mutations se répercute alors dans des métamorphoses formelles prenant leur distance avec les esthétiques réaliste et naturaliste. Attachée à réinscrire ce roman dans une histoire littéraire remontant à Chrétien de Troyes, cette étude entend montrer comment le roman d’entreprise, refondé par François Bon et Leslie Kaplan, participe d’un mouvement de repolitisation du littéraire. Piochant dans les sciences humaines de quoi penser le monde, il offre ainsi de nouvelles lignes de lisibilité dans le réel, tout en posant, à nouveaux frais, la question de l’engagement littéraire. / The point of this thesis is to study the representation of the corporation’s theme in the French contemporary literature, through a panoramic corpus of novels published since the 80’s. It gives a very specific place to works from François Bon, Thierry Beinstingel, Nicole Caligaris and Élisabeth Filhol, significant works representative of this quixotic redirection, which is about to become a sub category on its own. Featuring recent ongoing changes in linguistics, management, organization and ideology in big corporations, those novels highlight various related issues (socio-economic, ethic, anthropological) and through the process, gain a critical potential. To think about those transformations (meaning « thinking » as much as « reflecting ») the most innovative novelists inspire themselves from the heuristic capacity of a novel : the representation of those mutations will turn into formal metamorphosis distancing themselves from naturalist and realistic aesthetics. Committed to put this novel movement back into the literature history which goes back to Chrétien de Troyes, this thesis intends to show how Corporate novels, rebuilt by François Bon and Leslie Kaplan, are part of a larger movement which means to inject political engagement in literature. Using human sciences to think about the world, it offers new readings settled in real life, while questioning literature commitment.

[pt] A dissertação investiga, na obra de João Gilberto Noll, a construção de um novo sujeito, marcado por um percurso e por uma representação em fragmentos na contemporaneidade. Procura-se evidenciar essa construção por meio das articulações da memória, da reinvenção de si mesmo e dos usos do corpo, identificáveis no desenvolvimento das narrativas e em seus protagonistas. O estudo lança, primeiramente, um amplo olhar sobre a obra do autor, privilegiando dois de seus romances como estudos de caso - Hotel Atlântico e Berkeley em Bellagio -, evidenciando a presença das questões investigadas. Posteriormente, o romance Lorde, o último do autor e ápice de seu projeto estético, é analisado, desenvolvendo-se aproximações entre as questões investigadas e mostrando como a obra de Noll aponta para a formação de uma nova noção de sujeito. / [en] The following thesis studies the construction of a new subject in João Gilberto Noll`s work, marked in contemporary time by fragmented path and representation. This construction is provided by the articulations of the memory, the reinvention of the self, and the uses of the body, all identifiable in the development of the narratives and its protagonists. Primarily, the study overlooks the author`s work, emphasizing two of his novels as case studies - Hotel Atlântico and Berkeley em Bellagio -, proving the presence of the studied questions. Secondly, Lorde - Noll s last novel and top work of his aesthetical project - is analyzed, developing confluences among the studied questions and showing how his work points to the creation of a new notion of subject.

As obras do escritor norte-americano Edgar Lawrence Doctorow aqui estudadas desenham um panorama criticamente iluminador da história dos Estados Unidos no século XX. Em The Book of Daniel, acompanhamos a trajetória da Esquerda americana dos anos 30 aos anos 60. Em Ragtime, o cenário histórico é a Belle Époque e a era do ragtime, do começo do século XX até a Primeira Guerra Mundial. Em Homer & Langley, o arco temporal se expande para abrigar grande parte do século da Primeira Guerra aos anos 80. Nos três romances há uma dialética entre o impulso de suscitar conexões e de figurar um quadro histórico e social mais amplo e a dificuldade de se realizar esse projeto por meio da própria linguagem e lógica da fragmentação, que impedem as articulações e emperram a representação. Nessa tese, procuro ler as ambiguidades e hesitações da forma nesses três romances como incertezas produtivas potenciais lições para o pensamento crítico contemporâneo, o qual tateia certezas num mundo em crise. Romances como Ragtime, The Book of Daniel e Homer & Langley são animados mais por uma hermenêutica da concretude do que por uma poética da relativização. A análise das estratégias de figuração do material histórico que compõe essas obras mostra como essas três narrativas revigoram o romance histórico na contemporaneidade / The novels by E. L. Doctorow studied here draw a critically illuminating panorama of American History in the 20th century. In The Book of Daniel, we follow the trajectory of the American Left from the thirties up to the sixties. In Ragtime, the historical scenery is the Belle Époque and the ragtime era, from the beginning of the century up to World War I. In Homer & Langley, the time frame is broadened to include almost the entire century from World War I up to de eighties. In those novels, we find a dialectical relationship between the impulse to bring forth connections and represent a larger social and historical picture, and the difficulty of achieving such a project through the very language and logic of fragmentation which obstructs the making of articulations and renders representation difficult. In this work, I try to read the ambiguities and hesitations of the form in those three novels as productive uncertainties potential lessons to contemporary critical thinking. Novels such as Ragtime, The Book of Daniel e Homer & Langley are animated more by a hermeneutics of the concrete than by a poetics of relativity. The analysis of the representational strategies those novels employ to depict the historical material from which they are made shows how those narratives reinvigorate the historical novel today

Der nordirische Autor Glenn Patterson (geboren 1961) hat sich als Städteschrifsteller und zeitgenössischer Chronist seiner Heimatstadt Belfast einen Namen gemacht. In seinen Texten arbeitet er immer wieder die kaum greifbare Komplexität und unendliche Vielfalt Belfasts heraus. Die Arbeit zeigt auf, wie Patterson in den Romanen „Fat Lad“, „The International“, „Number 5“ und „That Which Was“ die Stadt dreidimensional konstruiert: auf einer räumlichen einer sozialen und einer geschichtlichen Ebene. Diese dreiteilige Ordnung strukturiert auch die Arbeit selbst und bezieht sich auf ein Raumverständnis, das innerhalb des „spatial turn“ theoretisiert wurde. Vornehmlich zitiert werden Edward W. Soja und Doreen Massey. Die beiden Geographen sehen Räumlichkeit, Geschichtlichkeit und Sozialität als eng miteinander verzahnt und gleichberechtigt und plädieren für eine Dekonstruktion binärer Gegensätze. Dieses interdependente Raumverständnis eignet sich sehr gut für eine Analyse von Pattersons Romanen. In ihnen stellt er Belfast in seiner facettenreichen Komplexität dar und betont die Wandelbarkeit der Stadt als ihr wichtigstes Charakteristikum. Dies erreicht er, indem er räumliche, geschichtliche und soziale Ebenen miteinander kombiniert und immer wieder binäre Gegensätze unterwandert. Damit nimmt der Schriftsteller eine besondere Rolle in der nordirischen Literatur ein, in der die sogenannten „Troubles“ immer noch sehr viel Aufmerksamkeit erhalten, und in der Belfast, als einer der Hauptschauplätze der „Troubles“, allzu oft als stagnierend, eindimensional und von zwei exklusiven Gemeinschaften dominiert beschrieben wird. Um Patterson in die literarische Tradition Nordirlands einzuordnen, gibt die Arbeit auch einen Überblick über die Geschichte des nordirischen Städteromans. Ferner analysiert sie drei Romane, die exemplarisch stehen für einige maßgebliche Entwicklungen in der Literatur des Landes und vergleicht ihre Darstellungen Belfasts mit denen in Pattersons Romanen. / The Northern Irish novelist Glenn Patterson (born 1961) has become known as an urban writer and contemporary chronicler of his hometown Belfast. In his texts he illustrates the intangible complexity and indefinite multiplicity of Belfast. The thesis shows how Patterson in his novels “Fat Lad”, “The International”, “Number 5” and “That Which Was” constructs the city threefold: spatially, socially and historically. This three-dimensional order also structures the thesis itself and refers to an understanding of space as theorized during the so called “spatial turn”. The thesis explicitly utilises concepts of Edward W. Soja and Doreen Massey. The two social geographers see the spatial, the temporal and the social as closely interdependent and argue for the deconstruction of binary oppositions. In the thesis this interdependent understanding of space forms the basis of an analysis of Patterson’s novels, showing how the writer represents Belfast in all its heterogeneous complexity and emphasises the city’s potential for change as its most important characteristic. He achieves this by combining spatial, temporal and social dimensions and by challenging existing binarisms. In doing so Patterson plays an important role in Northern Irish literature, which has been dominated by the “Troubles” and in which Belfast is often portrayed as stagnating, one-dimensional and inhabited by two exclusive communities. Placing Patterson within a literary tradition in Northern Ireland, the thesis gives an overview of the history of the Northern Irish urban novel. Furthermore, it analyses three novels that represent important developments in the literature of the country, and it compares the representations of Belfast in these novels with those in Patterson’s texts.

Esta dissertação propõe uma leitura da chamada ficção australiana de J. M. Coetzee composta por Elizabeth Costello (2003), Homem lento (2005) e Diário de um ano ruim (2007). Esses romances da fase madura do autor compartilham um núcleo de questões estéticas e éticas, configurando um conjunto significativo marcado pela inflexão autorreflexiva. O trabalho acompanha a constituição e a trajetória dos escritores-personagens Elizabeth Costello e Señor C, discutindo como a inserção do recurso do duplo do escritor desestabiliza as noções de autor, personagem e narrador, além de borrar os limites entre ficção e não ficção. A dramatização do processo criativo no centro das obras é outro foco da análise, com o objetivo de entender a encenação da impossibilidade do romance nos moldes do realismo formal. O estudo ainda tenta sugerir a resposta de Coetzee sobre a validade do romance no mundo contemporâneo. / This dissertation presents a reading of J. M. Coetzees so-called Australian fiction comprising the works Elizabeth Costello (2003), Slow Man (2005), and Diary of a Bad Year (2007). These novels, belonging to the authors late prose, share core aesthetic and ethical issues. They are meaningful works characterized by self-reflexive inflection. This study follows Elizabeth Costello and Señor C in their writer-characters constitution and journey to discuss how the presence of the writers double, as literary device, destabilizes the notions of author, character, and narrator, as well as it blurs the boundaries between fiction and non-fiction. The dramatization of the creative process in the center of Coetzees works is another focus of analysis aiming to understand the impossibility of staging the novel in formal realism patterns. This work also attempts to suggest Coetzees response on the validity of the novel in the contemporary world.

No description available.

Este trabalho objetiva percorrer a partir de El río sin orillas os núcleos irradiadores fundamentais da poética do escritor argentino Juan José Saer (1937-2005), procurando analisar a matéria comum e as especificidades entre a escrita do ensaio e a prosa ficcional do autor. Publicado originalmente em 1991, El río sin orillas indaga sobre a história, a literatura e o imaginário cultural da sociedade argentina a partir de sua relação com o Rio da Prata. Ao longo da leitura de El río sin orillas, propõe-se ainda promover um diálogo do texto com a tradição do ensaísmo hispano-americano e, mais precisamente, com uma tradição de textos que o próprio Saer põe em evidência ao valorizar o caráter inclassificável de algumas obras. A partir destes objetivos principais, foram selecionados temas e questões que permitem analisar em El río sín orillas o deslocamento em dupla mão entre a escrita ensaística e a ficcional, bem como a tênue linha de fronteira que persiste entre os dois campos discursivos: o problema dos gêneros literários e a tradição das obras inclassificáveis; o entre-lugar estrangeiro; a literatura pensada pelo autor como uma antropologia especulativa; a invenção do passado; a violência e a política; a criação da geografia singular da zona saeriana. / This thesis explores the fundamental irradiating nuclei of the poetics of the Argentine writer Juan José Saer (1937-2005) in the essay El río sin orillas, aiming to analyze the the common aspects and specificities between the essay writing and fictional prose of the author. Originally published in 1991, El río sin orillas probes the history, literature and cultural imagination of Argentinian society through their relation with the River Plate. Along our reading of El río sin orillas, we also propose to promote a dialogue with the Hispanic- American tradition of essay writing and, more precisely, with the tradition of writing that Saer himself reveals through his valorization of the unclassifiable character of certain texts. In addition to these main goals, some themes and issues that allow us to analyze the two-way traffic between the authors essays and fictional prose as well as the blurry boundary between these two discursive fields have been selected: the problem of literary genres and the tradition of unclassifiable works; the in between space of the foreigner; the notion of literature in Saer as speculative anthropology; the invention of the past; violence and politics; and the creation of a singular geography of Saerian zone.