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Thesis (MPhil (Afrikaans and Dutch))—University of Stellenbosch, 2007. / At present there is an extreme shortage in the publication of Afrikaans children’s books. Although revised publications of popular, classic series, such as the Maasdorp-, Trompie- and Saartjie-series can help fill the void in the market, the contribution made by translations of children’s books should not be underestimated: Afrikaans translations of popular children’s books, such as the Harry Potter- and Narnia-series are well-liked and can even encourage young readers to develop an Afrikaans reading culture. Young readers throughout the world get pleasure from the books written by the renowned German author Cornelia Funke. Funke is viewed as an influential author of children’s books and this is largely due to her popular fantasy-adventure Tintenherz; the extremely original plot of this fantasy-adventure, which forms part of a trilogy, persuades young readers to change their unenthusiastic approach towards reading by showing them that reading can be a pleasant, thrilling experience. This study attempts to prove that an Afrikaans translation of Tintenherz can make an important contribution to fill the void in the Afrikaans children’s literature, as well as encourage young readers to read more. Critics fear that translations of popular children’s books might flood the market with books that might be cheaper, but that are second-rate versions of the original texts since the translations fail to achieve the same literary standards as the original texts. This study attempts to prove that knowledge of theoretical translation strategies, such as George Steiner’s hermeneutic motion, Lawrence Venuti’s approaches of foreignisation and domestication, as well as André Levere’s approach of rewrite as a form of translation do in fact make it possible to produce an Afrikaans translation of Tintenherz which not only meets the requirements of the target-culture and satisfies the wants of the target-readers, but also upholds the literary standard of the original German text.

Autor: Daniel Kadlec Vedoucí práce: PhDr. Tamara Bučková, Ph.D. Univerzita Karlova v Praze Název práce: K vymezení žánru fantastiky na příkladu románové trilogie Inkoustový svět od Cornelie Funkeové Počet stran: 77 Název: K vymezení žánru fantastiky na příkladu románové trilogie Inkoustový svět od Cornelie Funkeové Abstrakt: Práce se zabývá fantastickou literaturou a na příkladu románové trilogie "Inkoustový svět" od CORNELIE FUNKEOVÉ poukazuje na některá specifika dvoudimenzionálních příběhů. V teoretické části je nejprve na základě rešerše definován pojem fantastická literatura / fantastika a posléze blíže popsány čtyři k ní náležející žánry - fantasy, science fiction, pohádka a fantastická povídka resp. fantastický román. Vlastní analýza trilogie "Inkoustový svět" je zaměřena na pojetí dvoudimenzionality a roli osudu v tomto díle. Předpoklad, že v "Inkoustovém světě" vytváří autorka dvě rovnocenné autonomní roviny světa reality a světa fantasie, se podařilo prokázat, stejně jako premisu výrazné role osudu, jenž lze změnit jen za pomoci vlastností jako jsou láska, přátelství a ochota k sebeobětování. Klíčová slova: fantastická literatura / fantastika; fantasy; dimenze reality vs. dimenze fantasie; Inkoustový svět; Cornelia Funkeová Author: Daniel Kadlec Supervisor: PhDr. Tamara Bučková, Ph.D. Charles...

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In the theoretical part, this diploma thesis deals with a literary analysis and comparison of books Momo, Timm Thaler, or the Traded Laughter and The Thief Lord. The pieces of work are analysed on the basis of their common features. Such features include the main characters, and the magical motifs which affect real life situations. The partial subjects of observation are film versions of the works. The thesis is concluded by the practical part addressing a didactic adaptation of the novel Momo; including worksheets and other teaching aids designed for pupils of elementary schools and grammar schools. The teaching aids are based on the theory and involve a didactic analysis, methodical analysis and time plans for their utilization in German language classes. KEYWORDS Children's literature, Momo, Michael Ende, Timm Thaler, James Krüss, The Thief Lord, Cornelia Funke, magic elements in literature, The didactics of children's literature.

In dieser Arbeit steht die Analyse des Schauplatzes Venedig im Abenteuerroman Herr der Diebe (2000) von Cornelia Funke im Mittelpunkt. Es wird aufgezeigt, wie das Setting die Stimmung sowie die Situation der Protagonisten spiegelt und welchen Einfluss dieses somit auf die Wirkung des Romans ausübt. Des Weiteren werden die kennzeichnenden Merkmale des Handlungsortes Venedig aufgezeigt, insbesondere die Topoider Stadt, ihr Mythos sowie ihre Bezüge zum Roman. Abschließend werden die Symboliken des geflügelten Löwen, des Mondes und des Meeres als Venedig-typische Elemente mittragender Aussagekraft analysiert. Es wird ferner die Hypothese aufgestellt, dass der Schauplatz Venedig eine still im Hintergrund agierende Protagonistin ist. / This work focuses on the analysis of Venice as a setting in the adventure story The Thief Lord by Cornelia Funke. It is shown how the setting reflects the mood and the situation of the protagonists and what impact it has on the novel. Furthermore, the characteristic features of Venice are presented, like the topoi of the city, its myth, and its references to the novel. Finally, the symbolism of the winged lion, the moon and the sea are analyzed; these symbols are particularly related to Venice and thus have a significant meaning for the story. Moreover, it is hypothesized that Venice is acting like a silent protagonist in the background.

Both young adult literature and transnational literature occupy transitional spaces and defy simple classifications. Their commonalities naturally suit the two sets of literature for concurrent study. However, the field is underdeveloped, particularly in the United States. With a concentration on the exchanges taking place between the U.S. and Germany, this thesis addresses the need to assemble primary materials and pertinent critical commentary into a single place available to educators, scholars, and researchers to acquire background on transnational YAL themes. The thesis delineates methods used in conducting and compiling research on U.S.-German YAL exchange and highlights the translation and publication concerns associated with this process. It examines how prizes for translations are granted in each nation, identifying organizations that facilitate the process of exchange and describing transnational trends rising out of these circumstances. The concluding chapter visits concerns and complications raised during the investigation, posing questions for further study of the U.S.-German young adult literature relationship and advocating the pursuit of similar research in other world regions. The appendices provide sites for continued examination. They include lists of award-winning translations available in the U.S., novels by American authors that have been translated and published in Germany, and novels by German-language authors that have been translated and published in the U.S.

In this thesis, I examine three works of modern German fantasy fiction for young adults, their common grounding in the Romantic aesthetic framework and in particular the Romantic notion of creativity, and the implication of their unique fantasy fiction paradigm in our modern day. The novels are Michael Ende’s The Neverending Story (1979), Inkheart (2003) by Cornelia Funke and The City of Dreaming Books (2006) by Walter Moers. They represent a Germany-specific narrative paradigm which can be seen in the protagonist readers’ transformation from mere readers into storymakers/storytellers, and in the conflict between a book-loving hero and antagonists who are against literature. The protagonists embody the Romantic notion of creativity that involves the sublimation of a poet’s crisis into an exploration of the self. The mundane is infused with fantasy, thereby elevating reality to an idealised state. These Romantic storytelling readers act as tricksters, a fairy tale archetype that shares similarities with the figure of the Romantic poet. I employ the theoretical frameworks of German Romanticism, Frankfurt School critical theory, and postmodern models, including those by Deleuze and Guattari. I argue for a modern version of the trickster archetype which explains how a complacent, passive reader becomes an active storyteller. / Graduate