Abstracto: La alternancia entre sujetos expresos y tácitos constituye una característica fundamental del castellano. Orozco (under review:15) indica que el uso variable de los pronombres sujetos es una característica morfosintáctica heredada del latín. Leonetti (2009: 8) propone que la alternancia no es siempre del todo libre, ya que está determinada por algunos factores gramaticales y discursivos, pero podemos afirmar que en un buen número de contextos realmente existe la posibilidad de optar libremente entre usar un pronombre explícito y usar uno implícito o tácito. El presente estudio explora la variación en el uso de los pronombres personales de sujeto en dos comunidades puertorriqueñas. La primera es la comunidad puertorriqueña que vive en Puerto Rico y la segunda es aquella cuyo lugar de residencia es el estado de Luisiana. Los datos de esta investigación son obtenidos de información recogida de diez puertorriqueños residentes del estado de Luisiana y diez de Puerto Rico, diez mujeres y diez hombres. El análisis estadístico fue hecho utilizando Goldvarb. El número de muestras incluidas en el estudio es de 2,266. Los constreñimientos utilizados son una modificación de los constreñimientos utilizados por Orozco y Guy (2008). La tasa pronominal encontrada es de 37.0% para los puertorriqueños en Luisiana y 37.8% para aquellos que residen en la isla. Las mismas son muy representativas del castellano del caribe y concuerdan con lo que han reportado Lipski (1994:241) y López Morales (1992:137). Los factores lingüísticos que afectaron el uso pronominal fueron seis: persona y número del pronombre sujeto expreso o nulo, continuidad del sujeto, tiempo, modo y aspecto del verbo, realización del sujeto anterior, tipo de cláusula, contenido léxico del verbo, realización del sujeto de cláusula anterior mientras que sólo un factor social afecta significativamente el uso: el corpus. Estos resultados, en general, concuerdan con lo encontrado anteriormente: que los factores internos juegan una parte muy importante en el uso de los pronombres sujetos. Aunque las tasas pronominales varían, los constreñimientos condicionando el uso de los pronombre sujetos han presentado resultados bastante uniformes.  Abstract: The use of the pronominal subjects is one of the most basic foundations of the Spanish grammar. The Spanish language has an interesting ability: it is not an obligatory function to use the pronominal subjects. By the context and the conjugation of verbs that follow, the subject can be deduced. Many aspects of Spanish have been studied, including the use of the pronominal subjects relating to the null and expressed pronouns. The pronominal subjects can be null or you express, present or absent. The complete sentence in Spanish does not have to contain an expressed subject. Therefore, there is a variable use of the pronominal subjects in Spanish. This focuses on identifying in which contexts the participants employ the expressed and null pronouns. It is a comparative study of twenty Puerto Ricans, ten women and ten men. Of the twenty, ten live in Louisiana and ten live in the island of Puerto Rico. 2,226 tokens were analyzed using the statistical analysis program Goldvarb. The pronominal rates found were 37.0% for the Puerto Ricans in Louisiana and y 37.8% for those in the island, which is representative of Caribbean Spanish. The results, in general, agree with what has been found before: that the internal factors play a very important part in the use of subject pronouns. Although the pronominal rates vary, the constraints conditioning the use of the pronoun subject have submitted results fairly uniform.

This thesis represents the first comparative study of Leonardo Sciascia and Antonio Tabucchi. It examines their literary engagement with socio-political concerns in a climate coloured by the scepticism and uncertainty of postmodernism and post-structuralism. This thesis seeks to counter current literary criticism, which suggests that engagement in Tabucchi's writing is confined to certain key texts, and to' instead show that committed writing underpins all of his work, including texts currently held to deal solely with literary concerns. Previous research asserts that Sciascia's work aims to engage with society, often employing the anachronistic term impegno to describe his writing. This thesis seeks to examine the ways in which Sciascia's engagement counters the political and literary challenges which led to the collapse of impegno by the 1970s. The thesis is structured in five parts. Part one charts the course of committed writing from the post-war era to its problematization during the 1950s and 1960s. It examines the relevance of Sciascia, Tabucchi, and the importance of 1975 as a starting point for this study. It goes on to explore direct engagement with specific events in their writing, and their employment of fictional lenses to factual writing. Part two examines ways in which the writers use the representation of geographical, historical and border spaces to engage with society. Part three considers ways in which Sciascia and Tabucchi view notions of uncertain truths and the inability of language to fully communicate ideas, as means of strengthening, rather than undermining, engagement. Part four investigates ways in which intertextuality, another barrier to engagement, is used by the two writers to dialogue with society as well as with literature. Part five studies the value with which Sciascia and Tabucchi imbue literature, as compared to journalism, and assesses the extent to which they view literature as a valid means of engagement.

Die Gedichte und Texte Peter Huckaufs in dem vorliegenden Band 11 der „Potsdamer Beiträge zur Sorabistik” sind eine Hommage an die Lausitz, an ihre Menschen und Landschaften. In Wortspielen, visueller Poesie und Prosatexten samt Fotographien und Einblicken in seine Lebensgeschichte stellt sich der Autor als Liebhaber dieses Landstrichs vor. Er lässt den Leser teilhaben an einer Entdeckungsreise durch die verloren gegangene Heimat der Kindheit, die er sich als Rückkehrer neu erschließt. Seine Reminiszenzen sind nachhaltig sowohl für den deutschen als auch sorbischen/wendischen Rezipienten, was Peter Huckauf zu einem für die Lausitz und darüber hinaus interessanten Schriftsteller und Künstler macht. Den sprachlichen Aspekt beachtend, wurden ausgewählte Gedichte der Sammlung in die obersorbische und vor allem in die niedersorbische Sprache übertragen.

Ortega y Gasset's assertion that 'to write well is to make continual incursions into grammar, into established usage, and into accepted linguistic norms' finds resonance in the work of a number of sub-Saharan Francophone African writers, most notably in texts by Ahmadou Kourouma, Veronique Tadjo, Werewere Liking, Henri Lopes and Sony Labou Tansi. The types of incursions that are most characteristic of these authors include the incorporation of visible and quasi-invisible traces of African languages, the exploitation of stylistic features associated with orality, including sustained use of colloquialisms and vulgarisms, and experimentation with various kinds of wordplay. Taking as its corpus all of the novels by these authors that are available in English translation, the thesis seeks to set the translations in their publishing context and to analyse the ways in which the translators treat the linguistic innovation of the originals. It reveals the dominance of translation strategies that normalise the linguistically or generically innovative features of the original texts, or, where these are retained to any significant degree, that separate them from the 'standard' language through typographical variation. When the post-colonial context of the original texts is taken into account, such normalising and exoticising strategies can be seen to have significant implications, diminishing the ability of the texts to carry broader cultural and political significance. For this reason, a number of critics have argued the need for a 'decolonised translation practice'. The thesis outlines the type of translation practice that might be viewed as 'decolonised', engaging in debates over the untranslatability of layered language, and drawing comparisons with other translation theories developed at the interface with post-colonial studies such as foreignising translation, the space between, and metametonymics.

Although a number of African literary works have been translated from French into English since the middle of this century, research and debate on their translation has remained scanty, fragmentary, and scattered in diverse learned journals and other short publications. This thesis seeks to broaden the scope of research by mapping out aspects of transference in translation in terms of analysis and transfer strategies that have been, or could be, used. A selection of major translated works have been compared with their originals, to give textual examples indicative of transfer strategies. Current issues in African literature as well as typical features of the literature in French and English have been explored in order to examine differences between them and English and French literatures. The implications of these differences (at the levels of content, cultural setting, peculiar use of English and French, and the target audience) for translation are considered, and a brief historical survey of the translation of African literature provides insights into how translators have approached, and continue to approach, literary texts as well as cope with their target readership. Furthermore, dominant trends in literary translation studies (mainly in the West) are explored to determine if, and in what ways, they relate to translation studies in Africa. The analysis of transfer strategies focuses on the distinctive features of francophone African literary texts, drawing on relevant Western literary translation theories and models, on African literary theory and criticism, as well as on other disciplines likely contribute to an informed understanding of the texts. Finally, a case study applies the analysis to a text which is translated, and transfer strategies discussed.

This thesis endeavours to establish the facts concerning the life of the abbe Lenglet, based on archival, manuscript and printed evidence: his socio-economic background, his chequered 'political' career, his abortive attempts at integration into the church establishment, his many clashes with the royal administration and the resulting numerous periods of imprisonment. It shows how books were, from the early years, a major preoccupation in his life, whether as librarian and book-trader, or bibliographer, editor and author. Having failed to secure a living through either state or church, the abbe's publishing activities became the principle, though never the sole preoccupation of his life. A documented study of the redaction and publication of each of Lenglet's works and editions, and the public response which greeted them, is complemented by a detailed analytical bibliography which adds to our understanding of the material conditions pertaining to the dissemination of ideas in the first half of the eighteenth century. The thesis concludes that the abbe Lenglet's character was deeply marked by inconsistency, dishonesty and cynicism, and that these traits seriously affected the quality of his work. But, at the same time, he was an erudite and enterprising bibliographer, and he had a bold, consistently critical, and sometimes original mind. Thanks to these latter qualities, coupled with an often foolhardy disregara for authority, he wrote or edited a number of important and influential works. In this he was actively helped and encouraged by more 'respectable' scholars, members of the robe class and close to the royal administration, who would not themselves risk any open association with the publication of 'subversive' material; their atttiude to the abbe was highly ambiguous. He was also responsible for popularising, sometimes in a regrettably adulterated form, the works of greater writers. Though he lacked the ability of a major original author, he nonetheless made a significant contribution to the literature of the period. Moreover, the study of such a secondary figure adds a new, and perhaps indispensable dimension to our understanding of the social and intellectual climate of the eighteenth century.

This thesis aims to highlight the presence of a large and varied production of contemporary Italian travel writing and to analyse the reasons for its 'invisibility' in the Italian literary system and critical tradition. Through the use of a comparative approach to genre and of current theories developed in the area of Translation Studies, the thesis will outline the different status attributed to travel writing in the Anglo-American and the Italian literary systems. Such a comparative approach allows the study to escape the narrow confines of a perspective based on the idea of national literature and to adopt a wider view, which, in turn, highlights the presence of phenomena otherwise easily overlooked or discarded as insignificant. The peculiar characteristics of travel writing, a genre mostly based on the representation of the Other for a home audience, are also analysed in order to point out their affinity with translation practices and, ultimately, to underline the 'double translation' implied by translated travel writing. The case studies which make up the remaining part of the thesis are intended to illustrate different aspects of the genre of travel writing; to provide scope for an analysis of its boundaries and connections with other genres (ranging from ethnography to autobiography, from journalism to fiction, from the essay to the novel); and to illustrate the way in which generic expectations influence both the selection of texts for translation and the strategies adopted when translating and marketing them for a new audience. The writings of twentieth-century Italian explorers to Tibet, and their translations into English, constitute a significant case of adaptation of foreign texts to the needs and expectations of a British audience (and to the British interests in the geographical area concerned). The works of Oriana Fallaci and their different reception in Italy with respect to the UK and the USA illustrate the way in which personal biography and generic choices can intersect, determining both the popular image and the critical success of an author and of her work. Calvino's choice to sublimate the genre of travel writing in the stylized fiction of Le citta invisibili is treated as an example of the way in which a text which is meant to provide an escape from a low-status genre can become an icon of that same genre once it is translated and read in a different cultural context. Finally, the case of Claudio Magris's Danubio and of its English-language translation provides evidence of the complex network of literary references which marks the reception of a text in different cultures, and of the way in which generic affiliation can both promote the recognition of a 'marginal' text and constrain its more idiosyncratic (and original) characteristics.

This thesis gives an extended account of the fictional and theoretical works of writer, essayist and painter Pierre Klossowski. Through a close analysis of the relationship between his essayistic and novelistic writings it considers the way in which Klossowski comes to theorise the nature of the literary artefact as a space of theatre or spectacle and how such a formulation questions received notions of identity and traditional distinctions between the literary and philosophical per se. The first chapter is devoted to Klossowski's writings on Sade. This involves a short account of the articles he wrote in the 193Osbut also a comparison of the 1947 and 1967 editions of his full-length work on Sade entitled Sade mon prochain. This is followed by a discussion of his later reading of Sade its relation to writings on Sade by Georges Bataille and Maurice Blanchot. Through this the crucial shift in Klossowski's conceptions of the Self and of identity that occurs between his earlier and later writing has been traced. The second chapter looks at Klossowski's writing on and relationship to Nietzsche. This relationship is articulated under the motifs of parody, translation, and myth. The sense of these motifs in relation to Nietzsche's texts is analysed with reference to a number of works by Klossowski (La Vocation suspendue (1950), Nietzsche et Ie cercle yicieux (1969), and Le Bain de Diane (1956)). From this discussion Klossowski' s emphasis on the fortuitous character of the Self and on writing as spectacle has been highlighted. The third and final chapter examines Klossowski's trilogy of novels Les Lois de l'hospitalite, and in particular the figure of Roberte, and concludes by arguing that the truly transgressive force of his writing lies in the way in which it overturns the notion of origin and with that the concept of identity and self-sameness.

The study of Jean Guehenno in the inter-war years is divided into three main parts. The first deals with the development of Gw!henno's personality and ideas, which preceded the publication of his major works, and explores his debt to certain literary figures. The second deals with the main texts Caliban parle and Journal d'un homme de 40 ans, whilst the third explores his role as editor and director of Europe and Vendredi respectively. The first chapters consider the difficulties Guehenno encountered in reconciling academic success with his poor origins. Moreover they present the problem of his experience of the First World War, his decision to become a teacher and the influence of Daniel Halevy in his early literary career. The second part is an analysis of Guehenno's two most important texts. With respect to Caliban parle the issues raised include co-existence in a world without God, the solution of a contractual society with all its implications for culture, and the problem of revolution as a personal spiritual ideal. In the case of Journal d'un homme de 40 ans, where Guehenno reaffirms his earlier individualism, his discovery of a style to suit his intellectual preoccupations is considered, as is the fact that his work is primarily a personal protest against war. The third section of the thesis deals with Guehenno's role in Europe as well as in Vendredi and with the extent to which these papers reflected the interests of his major works. Furthermore, in the case of Vendredi the problem of the confrontation between idealism and political necessity posed by "engagement" is examined, using Guehenno's articles on the Front Populaire and the U.S.S.R. The conclusions drawn are that Guehenno is an important influential and representative member of the group of "intellectuels engages" which worked in France in the inter-war years, because his work raises their common problems of intellectuality, class, culture and pacifism. Equally importantly however, his case illustrates the dangers posed by intellectual commitment to a political cause - dangers which led him to adopt an ultimately conservative position, and which on a more general level led to the dispersal of the "intellectuels engages" as a group.

Thethesis examines how somewomen writers of fiction relate to the question of literary tradition in the 1980sand 1990s. Contemporary literary practice appears to be dominated by postmodern anxiety about a state of 'late arrival' as writers. I wish to explore how womenwriters' experience of the weight of literary predecessors is affected by their different subject position. I chooseto site this study within the area of fantastic fiction for several reasons. The fantastic tradition in Italy was largely overlooked by the critics until the 1980s- a factor which has exacerbated the neglect ofwomen's contribution to it. More importantly the fantastic is now vaunted by contemporary criticism as an area conducive to transgressive challenges to traditional literary practice, particularly for women writers. At the same time, however, the traditional tropes ofthe predominantly male-authored canon of fantastic literature offer a problematic and challenging range of gender stereotypes for female authors to 'rewrite'. I choose to focus on the notion of space both literally and metaphorically in the development ofthis thesis. In the opening chapter I tease out the threads which connect space, Italianwomenwriters and the fantastic. I beginby showing that the fantastic itselfis often construed spatially as a genre and offers potential for spatial innovation. This suggests a subtler way of looking at womenwriters' use of literary models, which avoids falling into simplistic analyses of gender portrayal. I then outline the position of womenwriters in Italy in relation to the genre ofthe fantastic. I suggest that the missing sense of a womenwriters' tradition in this genre maybe one reason whythe fantastic is used to explore self-consciously the relation betweenthe female writer and the male authored text. Finally I showhow the fantastic offerswomen a space in which to re-write, namely through their manipulation ofthe literal and metaphorical spaces ofthe text. The following two chapters execute this study with close reference to texts by four authors. The second chapter is dedicated to the early fiction ofPaola Capriolo whoseexperience ofliterary tradition as a particularly claustrophobic space inspired this thesis. I agree with the widely held viewthat her use of a Gothic-oriented fantastic, which privileges a world of enclosure in labyrinthine interiors, reflects a typically postmodern anxiety about the end ofliterature. I argue howeverthat the anxiety ofthe writer's relation to literature is more closely linked to her identification with a predominantly male literary tradition. This gives her writingsome interesting links with muchearlier examples ofwomen's writing. It also provides an interesting springboard from whichto look at the treatmentof similar themes of enclosure in work by other women writers. The final chapter follows the emergence of new models ofthe fantastic in the work ofthe writers FrancescaDuranti, RossanaOmbres and Laura Mancinelli. I suggestthat in their work we see a contemporary use ofthe fantastic 'al femminile' which juxtaposes the external space with the internal space, giving rise to the recurrent motifoftravel. I argue that this use of the fantastic genre pushes the genre in a new direction, towards a space in which the internal fantasy and dialogue co-exist.