Texte remanié de: Th. doct.--Litt. latine--Paris 4, 1994. / En appendice, choix de textes de l'Antiquité gréco-latine. Bibliogr. p. 339-349. Index.

A translator works as a mediator between an original work that has been written in one language, a source text, and those who will be the audience of the translation, or, in other words, the target text. Translating a text is often a challenging task, as the translator must keep in mind both the source text and its author’s intentions with the text, and also its intended audience, but also keep in mind the target audience of the target text. Translating can become even more challenging with children’s literature, as they, among other things, often can contain very creative, imaginative and playful use of language. In this study, The BFG, a popular children’s book from 1982 written by the British author Roald Dahl, is analyzed – both the English source text and the Japanese translation by Taeko Nakamura. The research question to be answered is the following: When looking at the speech style, or idiolect, of the character "the BFG" of Roald Dahl’s The BFG, with a focus on neologisms, wordplay and allusions, what difficulties exist in the source text and what efforts have been made by the translator in attempts to achieve an equivalent effect in the target text? The results of this study display several difficulties that can arise when attempting to translate the idiolect of the BFG, especially due to its vast amount of expressive language. Replacement with standard language and deletion were two of the main translation strategies, and the number of identified cases of neologisms, wordplay and allusions in the source text was over double the amount identified in the target text. However, it is also shown how the translator has used different means to compensate for the source text features that may have gotten lost in translation.

The motif of “the Prophet like Moses” plays an important role in John’s Gospel. This motif is from the promise of God about the eschatological Prophet who will disclose God’s will to the people in Dt 18:15, 18. The background of this motif is basically to be found in Dt 18:15, 18. The promise of God about this Prophet has a deep relationship with the Word of God. The reason, firstly, is that Dt 18:15, 18 indicates it. Secondly, the definition of a prophet is not a miracle worker or a soothsayer, but the deliverer of the Word of God. It is also used in the OT. Various people (Elijah, Jeremiah, Isaiah and Ezekiel) used the prophetic fomula of Dt 18:15, 18. The next step to study this motif is to find allustions to Dt 18:15, 18 in John’s Gospel. It can be divided into two groups. The one group is concerned with the word “prophet” that might presume “the Prophet like Moses” (Jn 1:21, 25, 45, 5:46, 6:14, 7:40, and 52). The other is concerned with the prophetic formula that was related to the Word of God (Jn 3:34, 5:19, 30, 8:26, 28, 40, 12:49, 14:10, 31, 16:13, 17:8, and 17:14). These allusions indicate that this motif is related to several Christological titles (the Christ, the Logos, the Son of God). The Christ was used in juxtaposition with the Prophet in John’s Gospel. The concept of the Christ is joined to the concept of the Prophet. In the case of the Logos, Jesus is the perfect “Prophet like Moses”, because he is a deliverer of the Word of God as well as the Word of God himself. In the case of the Son of God, Jesus knows the Father face to face like Moses, but perfectly, because the Son and the Father is one in John’s Gospel. John uses the motif of “the Prophet like Moses” in Dt 18:15, 18 as the connecting link between the Christological titles. The reason is firstly that it is the Prophet promised by God. Secondly, in the history of redemption, many people expected this Prophet. Lastly in Jesus’ era, this Prophet was considered to be the eschatological figure who would clarify the Son’s coming into the world as the Word of God. / Dissertation (MTh)--University of Pretoria, 2009. / New Testament Studies / unrestricted

This Diploma thesis deals with the plays of the Divadlo Járy Cimrmana. I will use description and explanation to examine the influence of mystification, intertextuality and comicality on the success of this Prague theatre. Recordings of the Divadlo Járy Cimrmana performances and the book issues of their plays will be instrumental to this goal. The theory will be largely adopted from B. Brouk, V. Borecký, J. Homoláč, H. Bergeson and L. Dvorský.

In this essay, I illustrate how the third-person present tense narrative perspective can be used as stylistic allusion to theatre, by studying Maggie O’Farrell 2020 historical fiction novel Hamnet. Previous studies conclude that present-tense narration has the effect of blurring the lines between narration and experience. However, while a first-person perspective lets the reader enter the consciousness of an experiencing “I”, the third-person perspective, although inhabiting the same spatiotemporal level as the characters, maintains an outside perspective, observing the events as they unfold. Conclusively, as the study will show, third-person present tense narration has the potential to function as stylistic allusion to theatre as it seemingly challenges reader perception, letting the reader into the experiencing level of the story, assuming the role of the observer, thus mimicking the experience of watching a stage performance at a theatre.

The plays of James Boaden, an author all too often forgotten in the pages of theatre history, are usually dismissed by scholars as mercenary adaptations of popular Gothic novels for the stage. Boaden’s plays of the 1790s—Fontainville Forest (1794), The Secret Tribunal (1796), The Italian Monk (1797), Cambro-Britons (1798) and Aurelio and Miranda (1799)—were certainly popular successes in their own time, but this should not discount them from serious consideration as aesthetic and ideological objects. In fact, these plays are intelligently wrought, using popular Gothic conventions to further a conservative ideology that was not originally associated with this genre. This fact has gone unrecognized by scholars partly because these plays have not been previously analysed for their dramaturgical structure as adaptations: Boaden borrows conventions from the Gothic, to be sure, but he also borrows dramaturgical techniques from Shakespeare. In so doing, Boaden harnesses both popular appeal and theatrical legitimacy to write Tory propaganda at a time when the stage was a key tool in the ideological war against France and French sympathizers in Britain. Political threats, both domestic and foreign, were of ongoing concern in Britain in the years following the French Revolution. Immediately after 1789, the Gothic was ideologically charged in ways that promoted revolutionary thinking. Boaden’s adaptation of the Gothic form responds to the revolution and the Reign of Terror by replacing the genre’s iconoclasm with a strongly nationalist orientation, drawn, in part, from eighteenth-century Shakespeare reception, itself often strongly nationalist in tone. Boaden’s plays are reactionary in that they comment on the current political situation, using allegory to play on the audience’s emotions. In his first phase, Boaden depicts the demise of a villainous usurper, a scapegoat figure, but his second phase reintegrates the villain into domestic and social harmony. In so doing, Boaden serves as a case study in the shifting attitude towards Britain’s revolutionary sympathizers, the Jacobins, and illustrates the important use of the Gothic mode for conservative purposes. Boaden emerges, in this study, as a figure whose relevance to theatre history in this fraught period requires reassessment.

This thesis explores the figure of the trickster in the works of Elizabeth Bowen, Elizabeth Taylor, Iris Murdoch and Muriel Spark. By looking at these writers’ treatment of elusive, illusive and allusive characters, the thesis argues that they each incorporated what can be read as “trickster” figures in their fiction as a means of addressing anxieties about art, society and the self. The trickster is a character-type found in narratives from a multitude of cultures and eras, and is typically characterised by his subversive presence, his boundary-crossing and his role as a healer of predicament. While the trickster is often perceived as a universal phenomenon arising from a collective unconscious, this thesis instead focusses on writers’ intentional inclusion of trickster characters in literature as a way of thinking through specific problems. Bowen, it will be shown, interpolated tricksy characters drawn from myth and fairy-tale into her fiction in order to expose a perceived rift between art and academia; Taylor used the trickster to think about the construction of identity in post-war Britain; Murdoch took models from Shakespeare to create tricksters that helped her explore the ethics of writing fiction; and Spark’s tricksters allowed her to conceptualise truth and lies, and good and evil. Concentrating on four mid-century writers whose works have been seen to vary in genre and style, this thesis demonstrates that a trickster paradigm emerged in mid-twentieth-century British fiction – a period not previously associated with the trickster. Influenced by converging strands of trickery and allusion in art through the early decades of the twentieth century, notable mid-century British writers used outsider characters to probe social and artistic shifts in a landscape fractured by war and to reach for a sense of healing. By identifying such characters as trickster figures, this thesis sheds new light on patterns of subversion, healing and character in mid-century fiction. It explores the particular affinity the trickster had with women’s writing, and illustrates how the trickster was important to twentieth-century concerns surrounding metafiction and the role of the reader.

The dominant part of the research on the “Yûgao” (The Twilight Beauty) story of the Japanese eleventh-century classic the Genji Monogatari (The Tale of Genji) is philological and often excludes a general literary analysis. This story has also been related to Japanese and Chinese literary influences, thereby placing the text in its literary context. The present study is an attempt to relate it more to theories to which it has hitherto been unrelated and thereby formulate a descriptive stylistics in a decontextual perspective. This aim also includes a look at how the theories confronted with the “Yûgao” story may be affected. First I introduce the problematics of context versus decontext by means of a survey of metapoetical texts about the monogatari (tale, narrative) genre with special regard to the Genji Monogatari. Next I analyze the characters and the setting, primarily using a narratological method. This is followed by an analysis of the story’s themes and motives. Chapter 5 looks at compositional elements, while the starting-point for the succeeding chapter is the interpretation of the “Yûgao” story as more or less a fairytale, and thus not as advanced  a narrative as the latter part of the work. I shall, in contrast, argue that there are quite a few aspects of this story that do not fit into the model of the folktale. In Chapter 7 decontextualization as a concept turns from the story as such to address another concept, namely metaphor. Here the meaning of metaphor is expanded in order to include concepts that are not necessarily seen as such. Subsequently, I investigate the symbolic system surrounding the moonflower (yûgao) image. Lastly, the concept of decontext is taken a step further to survey how the genre of the Genji Monogatari has been transformed in the process of translation into the Tale of Genji. The main conclusion is that the “Yûgao” story combines tragic themes with comic motifs to build a symbolic narrative with characters hovering between roles.

The plays of James Boaden, an author all too often forgotten in the pages of theatre history, are usually dismissed by scholars as mercenary adaptations of popular Gothic novels for the stage. Boaden’s plays of the 1790s—Fontainville Forest (1794), The Secret Tribunal (1796), The Italian Monk (1797), Cambro-Britons (1798) and Aurelio and Miranda (1799)—were certainly popular successes in their own time, but this should not discount them from serious consideration as aesthetic and ideological objects. In fact, these plays are intelligently wrought, using popular Gothic conventions to further a conservative ideology that was not originally associated with this genre. This fact has gone unrecognized by scholars partly because these plays have not been previously analysed for their dramaturgical structure as adaptations: Boaden borrows conventions from the Gothic, to be sure, but he also borrows dramaturgical techniques from Shakespeare. In so doing, Boaden harnesses both popular appeal and theatrical legitimacy to write Tory propaganda at a time when the stage was a key tool in the ideological war against France and French sympathizers in Britain. Political threats, both domestic and foreign, were of ongoing concern in Britain in the years following the French Revolution. Immediately after 1789, the Gothic was ideologically charged in ways that promoted revolutionary thinking. Boaden’s adaptation of the Gothic form responds to the revolution and the Reign of Terror by replacing the genre’s iconoclasm with a strongly nationalist orientation, drawn, in part, from eighteenth-century Shakespeare reception, itself often strongly nationalist in tone. Boaden’s plays are reactionary in that they comment on the current political situation, using allegory to play on the audience’s emotions. In his first phase, Boaden depicts the demise of a villainous usurper, a scapegoat figure, but his second phase reintegrates the villain into domestic and social harmony. In so doing, Boaden serves as a case study in the shifting attitude towards Britain’s revolutionary sympathizers, the Jacobins, and illustrates the important use of the Gothic mode for conservative purposes. Boaden emerges, in this study, as a figure whose relevance to theatre history in this fraught period requires reassessment.

This thesis examines the debate between morality and aesthetics that is outlined by Nabokov in Lolita’s afterword. Incorporating a discussion of Lolita’s critical history in order to reveal how critics have chosen a single, limited side of the debate, either the moral or aesthetic, this thesis seeks to expose the complexities of the novel where morality and aesthetics intersect. First, the general moral and aesthetic features of Lolita are discussed. Finally, I address the two together, illustrating how Lolita cannot be categorized as immoral, amoral, or didactic. Instead, it is through the juxtaposition of form and content, parody and reality, that the intersection of aesthetics and morality appears, subverting and repudiating the voice of its own narrator and protagonist, evoking sympathy for an appropriated and abused child, and challenging readers to evaluate their own ethical boundaries.