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This thesis deals with the ways to create narrative space and its function in two novels of psychological fiction: 'Vlčí jáma' written by Jarmila Glazarová, and 'Helimadoe' by Jaroslav Havlíček. The narrative space is studied from the point of view of the relationship to the character, which is the central focus of psychological fiction. The first part of the thesis includes characteristics of respective characters based on the concept of chronotopes devised by Michail M. Bachtin. Following that, the thesis addresses the narrative approaches represented by theorists such as Marie-Laure Ryan, who focuses on cognitive maps as mental models of spatial relations, and Gabriel Zoran. Particular focus is devoted to the spatial frames put forward by Ruth Ronen, which can be used to observe all characteristics of narrative space. The thesis evaluates the possibilities of narrative space analysis for the interpretation of the selected works of psychological fiction, and compares the contribution of the different approaches to the research of narrative space. KEYWORDS Helimadoe, Vlčí jáma, narrative space, chronotope, Michail M. Bachtin, spatial frame

Made available in DSpace on 2016-04-28T19:58:43Z (GMT). No. of bitstreams: 1 Rosangela Freitas de Assis.pdf: 302894 bytes, checksum: 93ba03989ca776da99c6372e13c3f98c (MD5) Previous issue date: 2011-10-25 / Secretaria da Educação do Estado de São Paulo / The study of Cinzas do Norte novel written by the manauara Milton Hatoum (2005) is about the reminder report of the Amazon history built by the redesigning of time and space connections. Dissolving the inventive past, correspondent relations between chronotopes and anachronism articule the writing of memory experience to the narrator characters in metafictional labor without marking social and geographic frontiers. In this event, the artistic and epistolary genres have a mediator role in the hybrid speech of the relate between narrators, and characters while sharing the communication among the past memories, felicity appeal, and future dreams of a new Amazon. The demonstration of metafictional construction of Cinzas do Norte relate is announced in a triadic context: in the errant frontiers of the time, space and place, in the bivocal discurse of the letters, and the visual art, and in the physical and human space up dated by the ironic and parodic discurses questioning supports of historical-social chronotope. The reached interpretation expands the history of Amazon by the semantic ambiguity, by the historical critical and the poetic revitalization of ecologic and humanist local language / O estudo do romance Cinzas do Norte do escritor manauara Milton Hatoum (2005) refere-se ao relato rememorativo da história da Amazônia construído pelo redesenho das relações tempo e espaço. No desfazer inventivo do passado, relações correspondentes entre cronotopos e anacronias articulam a escritura da experiência da memória à vivência das personagens narradoras em trabalho metaficcional, sem marcar fronteiras sociais e geográficas. Neste evento, o gênero artístico e epistolar têm um papel mediador no discurso híbrido do relato, entre narradores e personagens, ao compartilhar a comunicação entre as lembranças do passado, os apelos de felicidade e sonho futuros de uma nova Amazônia. A demonstração da construção da metaficção do relato de Cinzas do Norte é apresentada em contexto tríplice: nas fronteiras errantes do tempo, espaço e lugar, no discurso da bivocalidade das cartas e arte visual, e nos espaços físicos e humanos atualizados pelo questionamento dos discursos irônico e paródico, suportes do cronotopo histórico-social. A interpretação alcançada amplia a história da Amazônia pela via da ambiguidade semântica, da crítica histórica e da revitalização poética da linguagem ecológica e humanista local

Poetics of space in The Alexandria Quartet is created by multilevel structures. This poetics is closely connected to the main space of the story - Alexandria, which is at the same time one of the novel's topics. Each level is suggested in connection to various theoretical conceptions which are subsequently used for my own analysis. Alexandria is initially an aesthetic coulisse of the story which is portrayed by descriptive passages. Strongly subjective and lyrical descriptions of the city establish overall impression of the story and potentially support reader's experiential illusion. Alexandria and its specificity is further modulated and thematised by its special macroscopic conditions which border Alexandria as an autonomous fictional space with its own rules within the novel's fictional world. Part of poetics of the space in this novel is also portraying spatio-temporal aspect of the reality (chronotope) no only on the level of the story, but also on the level of storytelling. Alexandria is further explicit rhetoric and also through semantic indexation personified and enters semantic relations with the main characters and events. Each level is complementary to another and all are part of the semantic gesture of the novel. Alexandria becomes a separate symbol, mythical entity which importance is...

Construit sur un réseau de contrastes, le monde romanesque de Fred Vargas arbore le masque de la fiction policière. Les meurtres au présent cachent les meurtrissures de l’amour au passé. Médiateur entre ces pôles diégétiques, la passion du personnage vargassien fait faillir les règles du jeu que lui impose le monde. Car derrière les apparences civilisées perdure l’ordre originel de Nature : la prédation. Face à son échec, le personnage doit relever un défi qui transforme son enquête sur le crime en une quête identitaire. Choisir la transgression ou le sacrifice de soi décide de sa chute ou du resurgissement de sa dignité. Superposant l’intrigue et l’Histoire, le hic et nunc diégétique confère au personnage le rôle de trait d’union entre les Ici et les Ailleurs identitaires adverses. L’enquête approche la psyché du meurtrier et de l’enquêteur, reconstituant l’interaction de l’individu et du monde précisé en tant que son chronotope synchronique et diachronique. La relation entre l’homme et ses Autres révèle la personne derrière le personnage. La confrontation de l’animal humain aux animaux réels et mythifiés, remet en question les frontières entre l’identité et l’altérité. Le réel meurtrier s’avère incarner un des masques de l’imaginaire, tandis que l’imaginaire, érigé en idéal de l’humanité, devient une réalité à conquérir au prix du sacrifice de soi, et dévoile la polyvalence des réalités de l’échec et l’accomplissement. L’analyse du jeu de miroirs entre l’opposition et la complémentarité conclut à l’union des contraires qui fait coexister l’horreur et le sublime, l’amour et la mort dans le couple d’opposés que forment l’homme et le monde. / Built on a network of contrasts, the romantic world of Fred Vargas bears the mask of detective fiction.The murders of the present hide the bruises of love in the past.Mediator between these diegetic poles,the passion of Vargas’s character breaches the rules of the game that is imposed on him by the world.For behind these civilized appearances ,the original order continues:predation. Confronted by his failure,the character must take up a challenge that will transform his investigation in a quest for identity. Selecting either transgression or self-sacrifice will determine whether he collapses or reappears with his dignity.Converging the plot and the Story, the diegetic here and now bestows upon the character the role of linking the Here and Elsewhere, and adverse identities. The enquiry approaches, the psyche of the murderer and the investigator, reconstituting the interaction between the individual and the world, defined as its synchronic and diachronic chronotope. The relationship between humans and their Others reveals the person behind the character.The confrontation between the human animal and real and mythologized animals challenges the borders between identity and otherness.The real murderer turns out to embody one of the masks of the imagination, while the imagination, established as an ideal of humanity, becomes a reality to conquer at the price of self-sacrifice, and reveals how flexible the realities of failure and fulfillment can be. Analysing the mirror effect between opposition and complementarity accentuates the union of opposites that create the coexistence of horror and the sublime, and love and death in the dichotomy that make up mankind and the world.

This thesis deals with the analysis of rhythms (Lefebvre 2004) at Prague's Rašín Embankment (náplavka Rašínova nábřeží). This thesis would also focus on the observation of the spatiotemporal changes of this place in a long term. I carried out qualitative interviews with actors who co-create the rhythms of this place with their managerial and entrepreneurial activities and added them to long-term continual visits and sensory perception of the place, along with the study of specialized historical publications. The analysis of the rhythms based on long-term participant observation was followed by an interpretation of what they actually tell us about everyday social reality of this place at specific times and how this space is produced by those rhythms. In this thesis I also used related concepts like chronotope (Crang, 2001; Osman, Mulíček, Seidenglanz, 2010, 2015) and chronopolis (Osman, Mulíček, Seidenglanz 2011, 2017). This thesis shows that nowadays the eurhythmia of this place is created by non- disruptive movement of local visitors such as walkers, runners and cyclists along the embankment, by regularly organized farmers' market and other events as well as by the flow of the Vltava river and its rhythms, by all means of transport on the local roads, bridges and the Vltava river. From the...

The master thesis presents and analyses a range of different ways in which the motif of the forest was treated in late-medieval literary sources as an element of thematic and compositional construction of the text. At the theoretical basis of the thesis is the concept of diachronic text reception and adaptations which bring along the transmission and simultaneous transformation of the use of topoi, while this process is being related to the development of the literary chronotopos signalizing a change in the public's horizon of expectation. The majority of sources for analysis are drawn from Czech sources of the long 14th century - courtly and chivalric romance, the Old Czech verse legend of St. Procopius and the Dalimil Chronicle - while a shorter part of the thesis is devoted to the presentation of individual tendencies in the development of the use of the forest topos in English and French literary allegory of the 14th and 15th centuries. In detailed comparison of specific passages from Old Czech texts with their actual models in other languages (Old Middle German, Latin), the thesis demonstrates, upon the example of the forest topos, that topoi do not represent fixed, inalterable clichés, but actually exhibit intense shifts in function, content and theme.