Στην παρούσα μελέτη γίνεται μια απόπειρα «ανάγνωσης» του διηγηματογραφικού έργου του Γ. Βιζυηνού με βάση έννοιες και όρους που προέρχονται από τη θεωρία της αφήγησης/αφηγηματολογίας, η οποία αποτελεί αυτόνομο κλάδο της ευρύτερης περιοχής της Λογοτεχνικής Θεωρίας. Η αφηγηματολογική ανάλυση που επιχειρείται στα διηγήματα του συγγραφέα στοχεύει στην επισήμανση και στην ανάλυση των αφηγηματικών επιλογών-τεχνικών του Βιζυηνού και, παράλληλα, στην ανάδειξη εκείνων των όψεων της γραφής του που συνδιαλέγονται με το λογοτεχνικό γίγνεσθαι της εποχής του, αλλά και απορρέουν από στοιχεία της προσωπικότητάς του, διαμορφώνοντας, με αυτόν τον τρόπο, την ιδιαίτερη συγγραφική του ιδιοσυγκρασία που τον διαφοροποιεί από τους σύγχρονούς του λογοτέχνες. Για το σκοπό αυτό εφαρμόζουμε την τυπολογία της θεωρίας του Gérard Genette, η οποία κατέχει εξέχουσα θέση στον επιστημονικό κλάδο της σύγχρονης αφηγηματολογίας. Η εργασία οργανώνεται σε δύο μέρη. Στο πρώτο κεφάλαιο του πρώτου μέρους, ύστερα από επισκόπηση της σχετικής βιβλιογραφίας, εκθέτουμε τη σκοπιμότητα και την προβληματική της έρευνας, τις υποθέσεις και τους στόχους της, καθώς και τη μέθοδο που ακολουθούμε. Η ανάλυσή μας στο διηγηματογραφικό έργο του Γ. Βιζυηνού συνίσταται σε μια εσωτερική προσέγγιση του κειμένου σύμφωνα με τις τρεις κατηγορίες που προτείνονται από το G. Genette για την ανάλυση των αφηγηματικών τεχνικών, δηλαδή το Χρόνο, την Έγκλιση και τη Φωνή, έννοιες που αναλύονται εκτενώς στο δεύτερο κεφάλαιο που περιλαμβάνει το θεωρητικό πλαίσιο και οι οποίες θεμελιώνονται με βάση την τριμερή διάκριση του G. Genette: ιστορία, αφήγημα, αφήγηση. Στο τρίτο κεφάλαιο επιχειρείται μια σύντομη ιστορική αναδρομή στο λογοτεχνικό κλίμα της εποχής, στην οποία δημιούργησε ο συγγραφέας, όπως και μια αναφορά στα εργοβιογραφικά του Βιζυηνού, όπου αναδύονται οι ποικίλες όψεις της ξεχωριστής προσωπικότητας του λογοτέχνη. Η αξιοποίηση αυτών των δεδομένων πραγματοποιείται στο δεύτερο μέρος της εργασίας, όπου γίνεται η παρουσίαση των ευρημάτων της έρευνας που προκύπτουν από τη μελέτη με συστηματικό τρόπο του αφηγηματικού λόγου του Βιζυηνού. Εκθέτουμε τις τεχνικές του συγγραφέα, σύμφωνα με την τριμερή κατηγοριοποίηση του G. Genette, στα εξής ξεχωριστά κεφάλαια: Χρόνος, Έγκλιση και Φωνή. Τέλος, διατυπώνονται τα συμπεράσματα, τα οποία προκύπτουν από τη σύνθεση των επιμέρους αναλύσεων, ορίζοντας την ιδιαιτερότητα της αφηγηματικής τέχνης του Γ. Βιζυηνού. / -

This essay examines the protagonist of Katherine Mansfield’s “The Garden Party” (1922), Laura, and her experiences of events that are made insignificant by the rest of the narrative. Gérard Genette’s narratological theory and the concept of epiphany is put forward in the theroertical framework in order to preform this investigation. Morris Beja’s and Liesl Olson’s studies of the epiphany in modernist literature assists the investigation. Thus, with the support of Genette’s narratological theory and the concept of epiphany, this essay examines epiphanic moments in “The Garden Party”. It will also study how these moments transfer on to the reader through multimodal techniques. This argument is supported by Joseph Conrad’s preface to The Nigger of the ‘Narcissus’.

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Sur la base des travaux de Gérard Genette, en particulier Figures III, uneanalyse narratologique du roman L’Élégance du hérisson (2006) de l’auteur MurielBarbery a été effectuée afin de comprendre les liens qu’il y a entre les spécificités dumode narratif et leurs effets sur l’espace du récit, soit « le bocal à poissons », unemétaphore importante du roman. Ultimement nous répondons à la question suivante :En quoi la narration dans le roman L’Élégance du hérisson permet-elle de bien rendrela métaphore du « bocal à poissons »? / Based on Gérard Genette’s work, particularly Figures III, anarratological analysis of Muriel Barbery’s L’Élégance du hérisson (2006) is conductedin order to understand the links between the specificities of the narrative mode andtheir effects on the space of the story, the "fish bowl". Ultimately, we answer thisquestion: In which way the narrative in the novel L’Élégance du hérisson allows toproperly render the metaphor of the "fish bowl".

Cette thèse étudie la relation intertextuelle entre dix œuvres fictionnelles de trois auteurs français et la Bible. Il s'agit de montrer, en s'appuyant sur les catégories de Gérard Genette, comment la Bible est réécrite par Paul Claudel, André Gide et Albert Camus. Le degré de l'hypertextualité dans les œuvres étudiées va d'une réécriture massive à l'emploi des citations implicites. Chacun des textes fictionnels est aussi en relation paratextuelle avec le récit biblique : ce sont des textes narratifs ou dramatiques dont le titre déjà fait allusion aux Écritures. On examine trois formes du rapport au texte biblique et au christianisme : l'un est celui d'un catholique pratiquant, le deuxième celui d'un incroyant d'origine protestante et le troisième celui d'un incroyant d'origine catholique. La Bible réécrite par Claudel met en scène un christianisme affirmatif alors que les réécritures de Gide et de Camus prennent le contrepied de la religion chrétienne. / The focus of this study is on textual links between ten fictional works by three French writers and the Bible. The text-orientated study illuminates how palimpsestuous writing has been actualised in the works of Paul Claudel, André Gide and Albert Camus. In this dissertation, the biblical hypotext, an earlier text that the author's text imitates or transforms, is considered one of the most significant features in their works, opening up whole new interpretations of their stories. Some of the works are more hypertextual than others but all are in a paratextual relation to a biblical story: their titles build the first link to the writings of the Bible. Each author featured in this study has a very different relation to Christianity: Paul Claudel is a practicing Catholic; André Gide who comes from a Protestant background is anti-religion; Albert Camus is an agnostic from a Catholic background. The case of Claudel is interesting: in his oeuvre, the biblical re-writing integrates the Catholic dogma and the influence of Saint Thomas. The writing of Gide proves the influence of the French Protestantism of his era; whereas Camus' interpretation of the biblical text is a consequence of a personal and selective reading containing reflections of Saint Augustine's notions.

My thesis attempts to answer the question of how narrative time is portrayed in Stephenie Meyer’s Twilight (2005). To examine this, I have chosen to utilize Gérard Genette’s use of the concepts order, duration, and frequency. These concepts are mainly taken from Genette’s Narrative Discourse: An Essay in Method (1980). In order to develop the discussion about time and narrative I also incorporate Martin Hägglund’s Dying for time: Proust, Woolf, Nabokov and About Time: Narrative, Fiction and the Philosophy of Time by Mark Currie. The analysis establishes that Meyer uses all three, order, duration, and frequency, in order to convey a very specific narrative. The order of the story shows how the character of Alice, who can see the future, has a very conditional relationship with time. Through the duration, we learn how the love interest, Edward Cullen, is highly prioritized in the main character and narrator’s eyes. This is also shown in the frequency, where the first-person narrator highly affects the passage of events by repeating specific actions. Twilight, in other words, uses many different ways to depict a distinct relationship with time

O Livro das mil e uma noites, traduzido por Richard Francis Burton do árabe para o inglês, no séc. XIX, causou um forte impacto na sociedade vitoriana por seu conteúdo erótico. Ao tentar superar as traduções de seus antecessores, Burton reuniu diversos manuscritos e versões impressas, para tentar abarcar o máximo possível de contos, além de acrescentar abundantes notas de rodapé acerca dos costumes da sociedade árabe dos países por onde ele viajou como representante do governo britânico. Sua tradução, constante na biblioteca pessoal de Jorge Luis Borges, inspirou um considerável número de contos desse autor. No âmbito da literatura comparada, as Noites representam um importante hipotexto para a obra borgeana, que reutilizou seus temas, argumentos, imitou seu estilo. Analisar as formas de transcendência textual na obra do autor argentino, através das classificações de Gérard Genette, possibilita uma interpretação das suas relações inter e hipertextual com os contos árabes. Genette procura delimitar com mais precisão termos como paródia, charge, pastiche, sátira, por exemplo, que continuamente são confundidos numa análise mais geral. A obra borgeana tem sido muito genericamente taxada de paródica, mas suas relações intertextuais são muito mais complexas, não apenas com as Mil e uma Noites, mas com todos os autores por ele transformados. Além disso, Borges é o criador de uma nova linguagem, de certos gêneros: como o conto ensaístico e a pseudo-tradução, elencados por Genette, que tem como fonte as Noites. Borges reutiliza o tradicional conto árabe modernizando-o e adaptando-o ao seu próprio estilo e aos tempos modernos, criando formas inteiramente novas de narrativa. / The book of the Thousands Nights and a Night, translated by Richard Francis Burton from Arabic into English, in the century. XIX, caused a strong impact on Victorian society for its erotic content. In trying to overcome the translations of his predecessors, Burton met several manuscripts and printed versions, trying to cover as much of tales, while adding abundant footnotes about the customs of Arab society of the countries through which he traveled as a representative of the British government . His translation, the constant personal library of Jorge Luis Borges, inspired a considerable number of short stories by this author. In the context of comparative literature, the Nights represent an important hypotext to work Borges, who reused their themes, arguments, imitated his style. Analyze textual forms of transcendence in the work of the Argentine author, through the ratings Gérard Genette, provides an interpretation of their relationship with the inter-and hypertextual Arab tales. Genette seeks to define more precisely terms like parody, caricature, pastiche, satire, for example, are continually confounded a more general analysis. Borges\'s work has been very generically labeled as parody, but their intertextual relationships are much more complex, not only with the Thousand and One Nights, but with all the authors he transformed. Moreover, Borges is the creator of a new language, certain genres: the short story as essayistic and pseudo-translation, listed by Genette, whose source the Nights. Borges reuses the traditional Arabic tale modernizing it and adapting it to their own style and modern times, creating entirely new ways of storytelling.

O Livro das mil e uma noites, traduzido por Richard Francis Burton do árabe para o inglês, no séc. XIX, causou um forte impacto na sociedade vitoriana por seu conteúdo erótico. Ao tentar superar as traduções de seus antecessores, Burton reuniu diversos manuscritos e versões impressas, para tentar abarcar o máximo possível de contos, além de acrescentar abundantes notas de rodapé acerca dos costumes da sociedade árabe dos países por onde ele viajou como representante do governo britânico. Sua tradução, constante na biblioteca pessoal de Jorge Luis Borges, inspirou um considerável número de contos desse autor. No âmbito da literatura comparada, as Noites representam um importante hipotexto para a obra borgeana, que reutilizou seus temas, argumentos, imitou seu estilo. Analisar as formas de transcendência textual na obra do autor argentino, através das classificações de Gérard Genette, possibilita uma interpretação das suas relações inter e hipertextual com os contos árabes. Genette procura delimitar com mais precisão termos como paródia, charge, pastiche, sátira, por exemplo, que continuamente são confundidos numa análise mais geral. A obra borgeana tem sido muito genericamente taxada de paródica, mas suas relações intertextuais são muito mais complexas, não apenas com as Mil e uma Noites, mas com todos os autores por ele transformados. Além disso, Borges é o criador de uma nova linguagem, de certos gêneros: como o conto ensaístico e a pseudo-tradução, elencados por Genette, que tem como fonte as Noites. Borges reutiliza o tradicional conto árabe modernizando-o e adaptando-o ao seu próprio estilo e aos tempos modernos, criando formas inteiramente novas de narrativa. / The book of the Thousands Nights and a Night, translated by Richard Francis Burton from Arabic into English, in the century. XIX, caused a strong impact on Victorian society for its erotic content. In trying to overcome the translations of his predecessors, Burton met several manuscripts and printed versions, trying to cover as much of tales, while adding abundant footnotes about the customs of Arab society of the countries through which he traveled as a representative of the British government . His translation, the constant personal library of Jorge Luis Borges, inspired a considerable number of short stories by this author. In the context of comparative literature, the Nights represent an important hypotext to work Borges, who reused their themes, arguments, imitated his style. Analyze textual forms of transcendence in the work of the Argentine author, through the ratings Gérard Genette, provides an interpretation of their relationship with the inter-and hypertextual Arab tales. Genette seeks to define more precisely terms like parody, caricature, pastiche, satire, for example, are continually confounded a more general analysis. Borges\'s work has been very generically labeled as parody, but their intertextual relationships are much more complex, not only with the Thousand and One Nights, but with all the authors he transformed. Moreover, Borges is the creator of a new language, certain genres: the short story as essayistic and pseudo-translation, listed by Genette, whose source the Nights. Borges reuses the traditional Arabic tale modernizing it and adapting it to their own style and modern times, creating entirely new ways of storytelling.

Syftet med denna uppsats är att undersöka berättarna och narraterna i Rick Riordans The Lightning Thief (2005) och The Lost Hero (2010), samt att se vilka implikationer de har på berättandet i sig självt. Uppsatsen fokuserar på en komparativ undersökning av romanerna i fråga, och gör allt detta från en narratologisk utgångspunkt. Det narratologiska perspektivet kommer framför allt ifrån Gérard Genettes Narrative discourse och hans termer extra-, intra-, hetero- och homodiegetiskt berättande. Studien av narraten gör detsamma men med Gerald Prince artikel ”Introduction to the Study of the Narratee” i Reader-response criticism: from formalism to post-structuralism. För ett bredare perspektiv på flera, både nyare och äldre, narratologiska studier använder uppsatsen också Manfred Jahns ”Narratology 2.1: A Guide to the Theory of Narrative”. Genom analysen kan man utläsa att The Lightning Thief antar ett homo- och extradiegetiskt berättande med en specifik grupp av narrater. Detta kontrasteras med The Lost Heros hetero- och extradiegetiska berättande med en grundnarrat utan uppenbara kännetecken. I förlängningen kan man också upptäcka att det finns en skillnad mellan berättarens och narratens förhållande till en verklig läsare och hur, speciellt i The Lightning Thief, läsaren är tvingad att fundera på hur den relaterar till både narraten och berättaren. / This paper aims to study the narrators and the narratees in Rick Riordan's The Lightning Thief (2005) and The Lost Hero (2010), and to see what implications they have on the narrative itself. The paper focuses on a comparative examination of the novels in question and does all this from a narratological standpoint. The narratological perspective first and foremost comes from Gérard Genette's Narrative discourse and his terms extra-, intra-, hetero-, and homodiegetic narrative. The study of the narratee does the same but with Gerald Prince's article "Introduction to the Study of the Narratee" in Reader-response criticism: from formalism to post-structuralism. For a wider perspective of several, both new and old, narratological studies the paper also uses Manfred Jahn's "Narratology 2.1: A Guide to the Theory of Narrative". Through the analysis, one can gather that The Lightning Thief takes on a homo- and extradiegetic narrative with a specific group of narratees. This is contrasted with The Lost Hero's hetero- and extradiegetic narrative with a "zero-degree narratee" that has no apparent characteristics. By extension, one can also notice that a difference lies with the narrator's and narratee's relationship to an actual reader and how, especially in The Lightning Thief, the reader is forced to figure out how it relates to both the narratee and the narrator.