The work confronts prosaic pieces with noticeable autobiographical features. It deals namely with works of Edgar Dutka, Eliška Vlasáková and Antonín Bajaja. It was not a coincidence to choose right these three Czech authors. They have quite a few features in common. They all belong to the same generation. They are born in the 40's of the 20th century, so they have spent an essential part of their lives (childhood, adolescence and substantial part of their working age) in the second half of the 20th century - in the time of political convulsions and social changes. A childhood spent during this period has become their common literary theme. They all make their memories a literary piece. Each of them does it in a different way and with a different amount of accuracy. Their inspiration comes from their real life, from their memories. The next common feature of these three authors is that they all wrote some of their texts without a vision to make them public. They wrote them for themselves. Book editions were carried out after the year 2000. Last but not least mutual fact is that all of these three authors have been nominated for a prestigious literary price. Edgar Dutka's works show the interdigitation of fictional worlds and also the diffusion of these worlds in the real life of the author. Eliška...

The thesis argues that there is a pressure on the authorship concept since the emergence of collections of facts, anthologies, and adaptations of pre-existing works. These works were the reason that Judges offered various interpretations to authorship and originality, as some Judges lessened the requirement of originality to obtain copyrightability for these works and some raised it. This led to make the protection granted by copyright law to intellectual works vague and uncertain. This became apparent in conflicts in courts decisions on copyright subsistence in works. This subsequently led to confusion around the criteria of interpretation that should be adopted and the theory or justification that copyright law is founded upon. The thesis argues that this vagueness and uncertainty is related not to the authorship concept but to the failure of law to adapt to two separate natures of works, one including authorial, mental and personal contribution and the other only including manually skilful contribution. Those two kinds cannot be subject to same principles or justifications of protection. The inexistence of such differentiation in doctrine, judiciary and legislation led to the distortion of authorship and originality concepts in the attempts to reduce their interpretation to suit those works that actually miss authorial contribution. Alternatively, whole attention was paid to granting ownership to right holders of these works, which led to the prevalence of the ownership concept as being a necessity for the marketability of cultural works over the authorship concept. The thesis finds that this difference in nature can be uncovered by settling on a differentiation between two kinds of skills that are used in creating works: the mental skills, which are authorial skills, on the one side, and manual skills, which are the collecting, combining, performing or executing skills, on the other. Accordingly, this thesis proposes a categorisation of works, that of ‘high, low and non-authorship’ works, which relies on the nature of the works and elements of authorship in the work. The thesis finds that every category of works needs a separate criterion that can suit its nature and constituent authorship elements; also, the protection needs to be graded depending on the level of authorship in the work. This thesis suggests that such a legal proposition be implemented digitally in what it calls the ‘Digital Cultural National Gate’, which decides the category the work should belong to and the correspondent protection, and that through some questionnaires on the work the authorship elements can be recognised.

When youth novels were first written, Afrikaans speaking adolescents spent their time reading the original and absorbing youth novels then available. These suited their psychological and environmental development and they could identify with the language and style used in these novels. The contents were a representation of a world which they knew and in which they could feel secure. Although authors often dealt with issues relevant to the adolescent world, the plot reflected a secure and nurturing world where the readers and their life experiences were taken into account. In recent years the adolescent world has changed dramatically from a secure environment to a more exposed one, posing the question whether contemporary Afrikaans youth novels have retained the same traits mentioned earlier and answer to the same norms. The value of literature should never be underestimated; it can develop the imaginative skills and moral values of adolescent readers. Also, it has become clear that adolescents have a great need for reading material that deals with relevant issues. The main focus of this study is characterization and development of identity in selected youth novels by Barrie Hough, viz. My kat word herfs, Vlerkdans and Skilpoppe as revealed in textual analysis and empirical research. The literature study focuses on developmental psychology and the reading expectations of the adolescent, character development according to some narrative theories, e.g. reader response criticism and intertextuality theories. The main objective of this study is to analyze, interpret and evaluate the above three youth novels in order to establish whether or not the contemporary adolescent can identify with these specific stories. It has been found that the adolescent reader in the early years of the twenty first century is able to identify with the contemporary youth novels such as those by Barrie Hough. Although young readers do not want to steer clear of contentious themes and issues in youth novels, it seems that they still prefer evergreen classical topics and themes. This suggests that the modern adolescent is still positive about life and aspires to attain goodness and moral strength. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006

Made available in DSpace on 2016-04-28T19:58:36Z (GMT). No. of bitstreams: 1 Gilmara Alonso Tacito.pdf: 562905 bytes, checksum: ce9b87075600c330f6eba4efd4bee78b (MD5) Previous issue date: 2010-09-29 / The objective of this dissertation is to investigate the presence of the Author Creator entity interacting with characters in narratives "São Marcos" and "Sarapalha" (1946), Sagarana (1946), written by João Guimarães Rosa (1908- 1967). Concerning to the assumptions of the aesthetic material of Mikhail Bakhtin, it is understood that there is no linkage between work and life of the author, whereas popular culture connects the study of the literary work to the writer's life, only to listen to his voice, pointed to confidences. For the author, all aesthetic analysis should not be targeted directly to the work, but about what the work represents for the aesthetic activity of the artist and the reader. Our object here is delineated as the stuffing of this aesthetic activity focused on the literary work: the aesthetic object. This is the dual-perspective, here, applied to the reading of Rosa's narrative: reading the aesthetic object in its singularity and artistic structure called aesthetic architectonic object, design that allows to the Author Person (ethical-social element) unfolded in Author Creator (constitutive element of the artistic form). This compositional unity is realized between the consciousness of the Author Creator and the outside world resulting from an architectonic model of the human psyche, that makes the world (otherness) your utterance, and, in it, his conscience: with this focus we claim to read the "stranger" in Guimarães Rosa. That is, to read the artistic form as an event or achievement. The reading methodology applied in this study is also based on the concept of the aesthetic object, by practicing discrimination and isolation of the analytical material deductive of the usual perception to the unusual artistic literary form of both tales from Sagarana, in their specific critical-interpretation. The theoretical background is Mikhail Bakhtin, and supporting concepts applied to the analysis, and interpretation, pointing to: Tzvetan Todorov; Katerina Clark & Michael Holquist; Roland Barthes; Antonio Candido; Massaud Moises; Carlos Alberto Faraco; Marília Amorim; Renata Coelho Marchezan / O objetivo desta dissertação é investigar a presença da entidade Autor-Criador em interação com as personagens nas narrativas São Marcos e Sarapalha , da obra Sagarana (1946), de João Guimarães Rosa (1908-1967). A partir dos pressupostos da estética material de Mikhail Bakhtin (2006), entende-se que não há vinculação entre obra e vida do autor, considerando que a literatura corrente faz a conexão do estudo da obra à vida do escritor, para apenas ouvir a sua voz, a revelar-se em confidências. Para o autor, toda análise estética não deve ser orientada diretamente sobre a obra, mas sobre o que a obra representa para a atividade estética do artista e do leitor. Nosso objeto, aqui, se delineia como o conteúdo dessa atividade estética orientada sobre a obra: o objeto estético. Esta é a dupla perspectiva, aqui, aplicada à leitura das narrativas rosianas: ler o objeto estético na sua singularidade e na estrutura artística chamado objeto estético arquitetônico, concepção que permite ao Autor-Pessoa (elemento ético-social) desdobrar-se em Autor-Criador (elemento constitutivo da forma artística). Dessa forma composicional é concretizada a unidade entre a consciência do Autor- Criador e o mundo exterior resultante de uma Mente arquitetônica, que faz do mundo (outrem) seu enunciado, e, desse, sua consciência: com esse olhar pretendemos ler o estranho em Guimarães Rosa. Em outras palavras, ler a forma artística em acontecimento ou realização. A metodologia de leitura aplicada neste estudo também se fundamenta no conceito de objeto estético, ao praticar a discriminação e isolamento do material analítico-dedutivo da percepção habitual para o insólito da forma artística literária de ambos os textos os contos de Sagarana em suas especificidades crítico-interpretativas. O teórico de nossa referência é Mikhail Bakhtin e os autores de apoio conceitual aplicados à análise e interpretação assim se nomeiam: Tzvetan Todorov; Katerina Clark & Michael Holquist; Roland Barthes; Antonio Cândido; Massaud Moisés; Carlos Alberto Faraco; Marília Amorim; Renata Coelho Marchezan

Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006.

Denna rapport redovisar utvecklingen av en interaktiv e-bok med Apples program iBooks Author. E-boken, omnämnd som Retail Tour iBook, är avsedd för användande på Apples iPads och har skapats på uppdrag av företaget River Cresco AB för deras kund Nike. Den interaktiva e-boken beställdes av Nike för att användas vid ett återkommande internt möte som behandlar återförsäljningen av Nike-produkter i Stockholm. Utöver programmet iBooks Author har programmen Adobe Photoshop, Adobe Illustrator samt Apple iMovie använts i designprocessen för att skapa Retail Tour iBook. Resultatet av denna rapport är en färdig produkt, en interaktiv e-bok som användes av Nike för första gången i april 2014. / This report describes the process of creating an interactive e-book with Apple’s program “iBooks Author”. The e-book, referenced here as Retail Tour iBook, is intended for use on Apple’s iPad. The Retail Tour iBook was created in service of River Cresco AB for their client Nike. The Retail Tour iBook is intended for use at recurring internal meetings at Nike Sweden, which are attended by international representatives from Nike and concern the retail situation of Nike in Stockholm. In addition to iBooks Author; Adobe Photoshop, Adobe Illustrator, and Apple iMovie were used in the design process of the Retail Tour iBook. The result of this report is the end product, an interactive e-book, which was utilized for the first time by Nike Sweden in April 2014.

When youth novels were first written, Afrikaans speaking adolescents spent their time reading the original and absorbing youth novels then available. These suited their psychological and environmental development and they could identify with the language and style used in these novels. The contents were a representation of a world which they knew and in which they could feel secure. Although authors often dealt with issues relevant to the adolescent world, the plot reflected a secure and nurturing world where the readers and their life experiences were taken into account. In recent years the adolescent world has changed dramatically from a secure environment to a more exposed one, posing the question whether contemporary Afrikaans youth novels have retained the same traits mentioned earlier and answer to the same norms. The value of literature should never be underestimated; it can develop the imaginative skills and moral values of adolescent readers. Also, it has become clear that adolescents have a great need for reading material that deals with relevant issues. The main focus of this study is characterization and development of identity in selected youth novels by Barrie Hough, viz. My kat word herfs, Vlerkdans and Skilpoppe as revealed in textual analysis and empirical research. The literature study focuses on developmental psychology and the reading expectations of the adolescent, character development according to some narrative theories, e.g. reader response criticism and intertextuality theories. The main objective of this study is to analyze, interpret and evaluate the above three youth novels in order to establish whether or not the contemporary adolescent can identify with these specific stories. It has been found that the adolescent reader in the early years of the twenty first century is able to identify with the contemporary youth novels such as those by Barrie Hough. Although young readers do not want to steer clear of contentious themes and issues in youth novels, it seems that they still prefer evergreen classical topics and themes. This suggests that the modern adolescent is still positive about life and aspires to attain goodness and moral strength. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006

This paper presents the construction of a possible trajectory in the constitution of authorship by three students from the CAJ Modern Language course. To tread along the route of this reconstitution came from the analysis of these students essays, done in their last university year, as an obligatory inquiry in the Portuguese Teaching subject. The Modern Language student, who is about to graduate, seen in this work as a subjectauthor, is a reader who happens to read themselves, assuming texts in order to compose others. We know that writing exists after the subject s reading, who wishes a unique view and, from this point, they (re)construct it from the first reproduction. In this manner, authorship is viewed in this study as a single process, with the presence of the Other that allows the (un)veiling process in a non-organized and unpredictable way inside of the subject-constructor of their own authorship. To analyse students discourses in their essays shows how singularity occurs truly and goes beyond the ready and used concept of students education: after all, they educate themselves based on their own manners and with their Others, and all the time. / Este trabalho apresenta a construção de um possível percurso da constituição da autoria por três alunos do Curso de Letras do Campus Avançado de Jataí (CAJ). Trilhar pelo caminho dessa reconstituição se deu a partir de análises das monografias desses alunos, realizadas no último ano de graduação, como quesito obrigatório da disciplina Didática e Prática de Ensino de Português. O graduando em Letras, visto aqui como sujeito-autor, é um leitor que passa a ler a si mesmo, apropriando-se de textos para compor outros. Sabemos que a escrita existe após a leitura do sujeito, que deseja uma visão ímpar e, daí a (re)constrói a partir da reprodução primeira. Sendo assim, a autoria é vista neste trabalho como um processo singular, com a presença do Outro que permite com que vá se (re)velando de modo nada organizado e nada previsível dentro do sujeito-construtor da sua própria autoria. Analisar os discursos dos alunos em seus trabalhos monográficos mostra como a singularidade acontece e atravessa a concepção pronta e acabada de formação de alunos: afinal eles se formam a seus modos e com seus Outros e o tempo todo. / Mestre em Lingüística

In her introduction to a special issue of the South Central Review on literary biography published in 2006, Linda Leavell writes, "Many would trace the disdain for literary biography—in both senses of the word “literary”—back through Roland Barthes’s “death of the author” to the New Critics’ division of text from context all the way to T. S. Eliot’s theory of impersonality. Critical theory of the past century has generally deemed an author’s life, personality, and intentions irrelevant to the text" (1). Leavell’s explanation of how critical theory of the twentieth century came to shape the current scholarly attitude towards literary biography establishes the genre’s status in an era of literary theory that is commonly characterized by the diminishment of the author as the source of meaning in a text, an era in which we remain. This characterization, however, overlooks the different ways that the theorists of the era displaced the author as the dominant figure in literary studies. This paper demonstrates how these different ways, despite whatever damage they might have done to the status of literary biography, actually benefit the study of the genre. Additionally, this paper argues that they not only comprise one side of Vladimir Nabokov’s contradictory views on his own authorship, which makes him an ideal subject for the study of authority over biographical representation, but also gave rise to new methodologies of literary biography, which are the methodologies of Nabokov’s biographers themselves. As a result, this paper concludes, “an author’s life, personality, and intentions” in turn have assumed new relevancy in literary studies. / text

The object of this dissertation is hedging in Lithuanian and English research articles in the field of humanities and biomedical sciences. The aim of the research is to identify hedging devices and functions in linguistic and medical research articles in Lithuanian and English and to explore to what extent hedging is language-specific and discipline-specific. As there is a great variety of linguistic resources which convey the pragmatic function of hedging, this research is limited to certain lexical hedges: modal verbs, lexical verbs and adverbials, which are analysed within the conceptual categories of epistemic modality, evidentiality and vagueness. The results of the research suggest that the variety of hedging devices is determined by the discipline, whereas the type of the most frequent lexical hedges depends on the language (English vs. Lithuanian). The frequency of hedges used in the analyzed research articles depends both on the language and discipline. The results of the cross-disciplinary research show that both Lithuanian and English authors of medical texts tend to use fewer hedges than linguists. The variety of hedges employed in the analyzed articles of both disciplines is also different. In both Lithuanian and English linguistic articles a greater variety of hedges has been observed. The results of the cross-linguistic research indicate that according to the main parameters of the analysis, the English authors of the analyzed research articles employ hedges... [to full text] / Disertacijoje tiriamas autoriaus pozicijos švelninimas (angl. hedging) humanitarinių mokslų srities (kalbotyros krypties) ir biomedicinos mokslų srities (medicinos krypties) moksliniuose straipsniuose anglų ir lietuvių kalbomis. Disertacijos tikslas – nustatyti sąšvelnių (angl. hedges) vartosenos tendencijas ir raiškos ypatumus kalbotyros ir medicinos straipsniuose lietuvių ir anglų kalbomis bei išsiaiškinti, kokie veiksniai lemia autoriaus pozicijos raišką tyrinėtuose moksliniuose straipsniuose: konkreti mokslo sritis ar labiau kalbos, kultūros ypatumai. Dėl didelės kalbinių vienetų, galinčių atlikti sąšvelnių funkciją, įvairovės šiame darbe apsiribota tik tam tikromis raiškos priemonėmis: modaliniais veiksmažodžiais, leksiniais veiksmažodžiais ir prieveiksmiais bei aplinkybiniais žodžiais, tirtais iš episteminio modalumo, evidencialumo ir neapibrėžtumo kategorijų perspektyvos. Išanalizavus medžiagą, prieita prie tokių išvadų: sąšvelnių vartosenos įvairovė priklauso nuo disciplinos, o dažniausiai pasirenkamos leksinių vienetų grupės – nuo konkrečios kalbos (anglų vs. lietuvių). Sąšvelnių vartosenos dažnį lemia tiek kalba, tiek disciplina. Tarpdalykinio tyrimo rezultatų palyginimas rodo, kad ir lietuviai, ir anglakalbiai medikai vartoja mažiau tirtų kategorijų sąšvelnių nei kalbininkai. Skiriasi ir vartotų sąšvelnių įvairovė: tirtuose kalbotyros straipsniuose abiejomis kalbomis nustatyta įvairesnių sąšvelnių nei medicinos straipsniuose. Tarpkalbinio tyrimo rezultatai parodė... [toliau žr. visą tekstą]