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This thesis examines the role of the prophetic chronotope as a form of alternate, circular time in Baron Ludwig von Reizenstein’s gothic romance, The Mysteries of New Orleans. As the novel’s temporal structure seemingly contains the professed slave revolution through a manipulation of a linear prophetic sequence into circular time, Reizenstein simultaneously portrays a sexual revolution within the closed temporal system; however, as he localizes the sexual revolution in the “real time” of the reader through the inclusion of extra-textual artifacts, the novel’s closed system of alternate, circular time sustains a fissure, loosing all revolutionary potential, slave and sexual, into the reader’s temporality. Reizenstein compares sexual slavery, social restrictions on sexual expression, to chattel slavery, but recognizes it as endemic form of bondage affecting every race; therefore, Reizenstein uses chattel slavery as a ubiquitous circumstance in the U.S. South to identify other covert forms of slavery. In the end, the slave and sexual revolutions become the same conflict, and the restoration of beauty becomes its primary aim.

The transposition of Chekhov's The Cherry Orchard (originally published in Russian in 1904) to contemporary South Africa in Suzman's The Free State (2000) is based on the corresponding social changes within the two contexts. These social changes cause a binary opposition of past and present in the two texts. Within this context memory functions as a space in which the characters recall the past to the present and engenders a dialogue between past and present. Memory is illustrated in the two plays by associations with place as an important aspect of identity formation. Memory and place are fused in the plays by means of Bakhtin's concept of the chronotope which is best observed in the plays in memories of specific places such as the respective orchards, houses and rooms such as the nursery and the ballroom in. The Cherry Orchard and the garden in The Free State. Furthermore, the influence of the past is also evident in the present when ideas of social status, class, race (in the case of The Free State) and behaviour are contrasted and when various characters express their perceptions of personal relationships and ideas about marriage. The influence of the past is also evident when the characters voice their different perceptions and expectations of the past and future. In The Cherry Orchard these cultural differences are evident in the concept of heteroglossia. However, in The Free State, these dialogues are directed by a specific politically liberal view which diminishes the heteroglossia in the text. The juxtaposing of past and present is also illustrated in The Cherry Orchard by various subversive strategies such as comedy of the absurd in order to portray the behaviour of the characters as incongruous. Another subversive strategy is the contrasting of characters and ideas in order to expose pretensions and affectations in speech and actions to parody both the old establishment and the ambitions of former peasants. These conventions are best illustrated by the concept of the carnivalesque that also features as one of Bakhtin's terms to capture incongruous ideas and situations in literature. In The Free State, comedy is unfortunately much diminished and in contrast to Chekhov's ambiguity, only directed against politically conservative characters. The prevalence of these three Bakhtinian concepts in the texts shows how identity formation is to a large extent influenced and defined by occupied space. When social change affects the distribution of land, a character's concept of identity is destabilised. Although Suzman uses this similarity in the two contexts in order to transpose Chekhov's text to contemporary South Africa, she organises the various stances in the text to advocate a specific politically liberal view. Thus, Suzman's transposition leads to an interesting comparison between the Russian and South African contexts as well as between the two texts. However, her text is limited by her political interpretation of Chekhov's text. / Thesis (M.A. (English))--North-West University, Potchefstroom Campus, 2009.

The transposition of Chekhov's The Cherry Orchard (originally published in Russian in 1904) to contemporary South Africa in Suzman's The Free State (2000) is based on the corresponding social changes within the two contexts. These social changes cause a binary opposition of past and present in the two texts. Within this context memory functions as a space in which the characters recall the past to the present and engenders a dialogue between past and present. Memory is illustrated in the two plays by associations with place as an important aspect of identity formation. Memory and place are fused in the plays by means of Bakhtin's concept of the chronotope which is best observed in the plays in memories of specific places such as the respective orchards, houses and rooms such as the nursery and the ballroom in. The Cherry Orchard and the garden in The Free State. Furthermore, the influence of the past is also evident in the present when ideas of social status, class, race (in the case of The Free State) and behaviour are contrasted and when various characters express their perceptions of personal relationships and ideas about marriage. The influence of the past is also evident when the characters voice their different perceptions and expectations of the past and future. In The Cherry Orchard these cultural differences are evident in the concept of heteroglossia. However, in The Free State, these dialogues are directed by a specific politically liberal view which diminishes the heteroglossia in the text. The juxtaposing of past and present is also illustrated in The Cherry Orchard by various subversive strategies such as comedy of the absurd in order to portray the behaviour of the characters as incongruous. Another subversive strategy is the contrasting of characters and ideas in order to expose pretensions and affectations in speech and actions to parody both the old establishment and the ambitions of former peasants. These conventions are best illustrated by the concept of the carnivalesque that also features as one of Bakhtin's terms to capture incongruous ideas and situations in literature. In The Free State, comedy is unfortunately much diminished and in contrast to Chekhov's ambiguity, only directed against politically conservative characters. The prevalence of these three Bakhtinian concepts in the texts shows how identity formation is to a large extent influenced and defined by occupied space. When social change affects the distribution of land, a character's concept of identity is destabilised. Although Suzman uses this similarity in the two contexts in order to transpose Chekhov's text to contemporary South Africa, she organises the various stances in the text to advocate a specific politically liberal view. Thus, Suzman's transposition leads to an interesting comparison between the Russian and South African contexts as well as between the two texts. However, her text is limited by her political interpretation of Chekhov's text. / Thesis (M.A. (English))--North-West University, Potchefstroom Campus, 2009.

Due to increased transnational migration and globalisation, English has come to have a high status in Sweden, and is used in daily communication. The purpose of this research is to investigate how immigrants with English as their first language, negotiate their identity in Sweden, how they construct the need to (not) speak Swedish, and, finally, how their linguistic trajectories inform us about their linguistic ideologies and reported practices. Identity, constantly performed on the border between the self and the other, is greatly dependent on the language. Recent research in the field has focused mainly on immigrants moving to English speaking countries, while migrants with English as their first language have been somewhat neglected. This study investigates identity negotiation based on linguistic repertoire, Spracherleben, and linguistic ideologies, based on data collected through interviews. The results indicate that the fact that all informants prefer to, and mostly do use English, has a meaning beyond the language. It is namely in the language choice itself that the participants negotiate and demonstrate their identity. Language, therefore, is not the main issue the informants find problematic. Instead, it is the sense of alienation and the inability to convey their message in the way they feel would best represent who they are.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-25T11:38:22Z No. of bitstreams: 2 Dissertação - Audiney José Pereira - 2017.pdf: 25851098 bytes, checksum: f2fa83357cd72a93d187acc09788270a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-09-25T11:38:59Z (GMT) No. of bitstreams: 2 Dissertação - Audiney José Pereira - 2017.pdf: 25851098 bytes, checksum: f2fa83357cd72a93d187acc09788270a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-09-25T11:38:59Z (GMT). No. of bitstreams: 2 Dissertação - Audiney José Pereira - 2017.pdf: 25851098 bytes, checksum: f2fa83357cd72a93d187acc09788270a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-23 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / The writing of texts of rhetoric genres is essential to the literate practices in one democratic society. In this case, is very important to the school formation mediation the development of pedagogical interferences about the teaching this genres. This search constructs events of written that objective to the teaching of the written how social practice. The general objective this search is to investigate the factors that contribute to amplification of the discourses competences of the students, in works with rhetoric kinds that realize the type of dissertation. For to obtain this objective, we realized a search, whose actions supported themselves in Bakhtin’s position, in that the language has been considered in your conception character and about uses the speaking in the verbal complementation (BAKHTIN, 1992), (BAKHTIN, 1997; BAWARSHI and REIFF, 2013), of the argumentation and the new rhetoric (PERELMAN and OLBRECHTS-TYTECA, 2005; BAZERMAN, 2015a) and of the writing and various writing (GOULART, 2011; ROJO, 2013; RIOS, 2014); and we use discussions about the critic think (GIROUX, 1997; NOBRE, 2004; CHAUÍ, 1982). Position of Geraldi (2010) and Bawarshi and Reiff (2013), and position of Geraldi (2010), and Bawarshi and Reiff (2013), the know of the model forms of then kinds don’t transforms, necessarily, in domain of the writing production of this kinds. We verify that, still, there’s a deep wish from the students become proficient in the written of this rhetoric kinds. This wish is revealed in the training needs that valorize the voice, the listening and the dialogue, with the students, in interactions, whose analysis to that show about the students project about relation to the pragmatic questions of the speech. The search was evident that is in the ideological of the sign – that where, the object is inexhaustible – that is the questions the students. In this case, pedagogic interventions founded in the Backtin’s categories of the chronotope, of the thematization and of the dialogism show educationally powerful to contribute with the enlargement of the discursive competence of the students. / A escrita de textos de gêneros retóricos é essencial às práticas letradas de uma sociedade democrática. Diante disso, torna-se importante às mediações formativas escolares o desenvolvimento de intervenções pedagógicas voltadas para o ensino desses gêneros. Esta pesquisa constrói eventos de letramento que visam ao ensino da escrita como prática social. O objetivo geral de pesquisa é investigar os fatores que contribuem para a ampliação das competências discursivas dos educandos, por meio do trabalho com gêneros retóricos que realizam o tipo dissertativo. Para alcançar esse objetivo, realizamos uma pesquisa qualitativa aplicada, cujas ações se apoiaram em uma posição bakhtiniana, em que a linguagem deve ser considerada por seu caráter ideológico e pelos usos e formas reais de comunicação construídas e utilizadas pelos falantes na interação verbal (BAKHTIN, 1992). Recorremos especialmente às teorias de gêneros (BAKHTIN, 1997; BAWARSHI e REIFF, 2013), da argumentação e da nova retórica (PERELMAN e OLBRECHTS-TYTECA, 2005; BAZERMAN, 2015a) e do letramento e multiletramento (GOULART, 2011; ROJO, 2013; RIOS, 2014); e empregamos discussões relativas ao pensamento crítico (GIROUX, 1997; NOBRE, 2004; CHAUÍ, 1982). Ancorados nessas teorias e na reflexão construída por meio da práxis educacional, pudemos evidenciar que – conforme posição de Geraldi (2010) e Bawarshi e Reiff (2013) – o conhecimento das formas tipificadas do gênero não se transforma, necessariamente, em domínio da produção escrita desse gênero. Constatamos, ainda, que há uma profunda vontade dos estudantes de se tornarem proficientes na escrita de gêneros retóricos. Essa vontade é revelada por meio de mediações formativas que valorizem a voz, a escuta e o diálogo com os educandos, em interações cuja análise esclarece sobre aquilo que os estudantes projetam em relação às questões pragmáticas do discurso. A pesquisa evidenciou que é no aspecto ideológico do signo – ali onde o objeto é inesgotável – que se situam as dúvidas dos educandos. Nesse caso, intervenções pedagógicas baseadas nas categorias bakhtinianas do cronotopo, da tematização e do dialogismo se mostraram pedagogicamente poderosas para contribuir com a ampliação da competência discursiva dos estudantes.

Bien que différentes communautés ne partagent pas nécessairement les mêmes enjeux et destinées, il est néanmoins possible de relever des parentés imaginaires entre des littératures issues de cultures distinctes, comme le propose François Paré dans La distance habitée. Il en va ainsi des productions littéraires de lʼAbitibi et du Nord de lʼOntario, deux régions qui doivent en bonne partie leur existence à lʼindustrie minière. La prégnance des mines a un impact certain sur ces deux corpus, mais sans les réduire à des littératures strictement minières. Dans les œuvres à lʼétude, la mine est dotée dʼune force structurante qui lui confère une valeur chronotopique, dʼaprès le sens que lui donne Bakhtine. Nous avons recours à la typologie des mines industrielle et mythique élaborée par Christof Weiand et Kurt Rinnger, que nous rapprochons de chronotopes de lʼimaginaire minier européen. Ceux-ci, emblématiques dʼœuvres minières comme Germinal dʼÉmile Zola et Henri dʼOfterdingen de Novalis, opèrent également dans les littératures abitibienne et franco-ontarienne. À ces chronotopes sʼajoutent ceux de lʼAmérique du Nord, qui sont à notre avis les deux grandes forces structurantes des mines littéraires canadiennes : le Nord et la frontier. Enfin, le chronotope minier agit aussi sur les personnages qui sʼapparentent davantage à un « personnel », pour reprendre les mots de Philippe Hamon, car ils sont réduits à leur fonction, quʼils soient des initiés de la mine (les hommes blancs prospecteurs et mineurs) ou encore des exclus (les femmes blanches et les Autochtones). Notre analyse du chronotope minier dans les œuvres littéraires abitibiennes et franco-ontariennes permet dʼaffirmer que ces récits forment un genre en soi, délimité par un certain nombre de possibles formels, thématiques et idéologiques.

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

Le colonialisme européen depuis des siècles passe par l’établissement d’une temporalité dominante et hégémonique. Cette temporalité, selon cette doctrine, est la seule qui dote le sujet d’une subjectivité et de la possibilité de s’auto-définir. Les sujets marginaux adhèrent ainsi à un temps marginal qui se situe derrière le temps linéaire du progrès et de la domination. Ce temps, comme le montrent les études postcoloniales, se reproduit et s’affirme dans les récits coloniaux. Depuis les mouvements anticolonialistes du XXe siècle, et face à cette impasse temporelle, l’attention est tournée vers les études spatiales qui tiennent compte des multitudes. Or une étude chronotopique, comme la théorisent Mikhail Bakhtine et Mark Rifkin, nous aide à décentrer et à déloger le temps linéaire et hégémonique et à repérer les trajectoires temporelles qui déterminent la conception de l’espace et l’interaction entre les espaces-temps multiples dans un contexte particulier. Ce contexte, dans le cadre de cette étude, est le colonialisme de peuplement. Cette étude explore l’excès du récit national dans les romans écrits au Canada. Elle tâche de repérer les spatiotemporalités dominantes dans des romans allochtones du XXIe siècle qui dissimulent la colonisation et l’occupation du territoire, légitiment la souveraineté absolue de l’État settler et omettent les compétences des peuples autochtones sur les territoires. Cet effacement passe tout d’abord par la tension ou la conciliation entre l’histoire nationale et la mémoire familiale. Celles-ci interagissent selon l’espace dominant du récit à partir duquel nous avons structuré cette étude. Nous analysons ainsi des romans de la réserve, des romans ruraux, des romans urbains et des romans suburbains dans les quatre chapitres consacrés à l’analyse des œuvres. Chacun de ces espaces met en relief un rapport particulier entre l’histoire et la mémoire. Le premier chapitre, consacré aux récits autochtones de la réserve et à l’espace-temps de la résurgence, souligne l’importance du territoire et de la mémoire ancestrale dans le trajet futur de la communauté et insiste sur la permanence autochtone face aux tentatives d’élimination orchestrées par l’État. Cette permanence trouble les récits ruraux qui, par l’intermédiaire de la famille nucléaire, de la lignée et de l’histoire familiale, réaffirment le récit national et la doctrine de la découverte. Ces récits tracent la genèse de la nation en fonction de l’arrivée des ancêtres européen.ne.s des personnages sur une terre inhabitée. Le moment d’arrivée ne marque pas pour les personnages racialisés des romans urbains le début de l’histoire de la nation. L’histoire familiale de ceux-ci situe plutôt le Canada dans un réseau mondial et dans une histoire coloniale qui remet en question la bienveillance de l’État multiculturel. La prévalence de l’espace contemporain de la ville et la dominance du passé extranational dans les romans urbains risquent toutefois d’éclipser l’histoire coloniale de l’espace canadien et la colonisation sur lesquelles est fondée la ville. Finalement, les romans suburbains soulignent l’importance du sujet individuel et son adhésion temporelle à la nation pour renforcer et reproduire l’idéologie nationale. Ils mettent en scène une citoyenneté privée qui réalise les valeurs et les idéaux de la nation par une série de décisions et de gestes individuels et par la reproduction de l’oubli, qui est garant de la continuité de l’État settler. Les romans suburbains de notre étude tracent le processus de suburbanisation depuis ses premières phases pour en arriver à une contemporanéité extrême qui évacue toute histoire du territoire, mais qui évacue aussi de celui-ci toute vision de l’avenir. La progression des chapitres qui portent sur les romans allochtones relève ainsi d’un mouvement temporel. Elle part de l’espace rural, de l’atomisation et de la reproduction du temps hégémonique par la famille nucléaire pour s’achever dans les romans suburbains où la nation s’incarne dans les gestes immédiats, privés et quotidiens des individus. Cette individualisation relève toutefois, de plus en plus, de l’impossibilité d’une vision singulière de l’avenir. À l’encontre de l’individualisation et de l’atomisation progressive des romans allochtones, les récits autochtones affirment une socialité souveraine et politique en renouvelant le contact avec le territoire et les ancêtres. Ainsi, une analyse spatiotemporelle des œuvres écrites au Canada met en relief les différents processus de formation du sujet-citoyen. Les théories queer qui examinent les sociospatialités et les intimités non hégémoniques, ainsi que les études culturelles abordant l’émergence de la citoyenneté privée dans la phase tardive du capitalisme nous aident à analyser les enjeux spatiotemporels de la subjectivité. Cet engagement théorique vient décentrer et déloger le temps hégémonique de la nation tout en remettant en cause les processus de formation du sujet. Il offre, suivant la vision de Bakhtine, une approche analytique pour étudier le temps, l’espace et l’idéologie dominante dans les récits littéraires dans le contexte du colonialisme de peuplement.

In this essay I use Mikhail Bakhtins theory of the chronotope to come to a deeper understanding of the spatio-temporal relationships in Momo and the Time Thieves. I use it to investigate the chronotopic structure of childhood, how it relates to the idea of the idyll, threshold experiences and heterotopic and liminal chronotopes. There is also a discussion on the function of mythic and linear time in building the narrative, and how Ende reverses and subverts some of the given patterns of myth, folklore and fantasy to create a dialogue between chronotopes and genres. / <p>Slutgiltigt godkännandedatum: 2023-05-31</p>