This thesis traces the career of the prolific eighteenth-century author Eliza Haywood through narratological analysis of some of her key works. It contributes to the new wave of Haywood criticism that is moving away from the thematic, gender based focus that has dominated discussion of her oeuvre since her critical rediscovery in the 1980s. My narratological method demonstrates how understanding at a formal and thematic level is enhanced by the employment of theoretical narrative paradigms. Narratology is interested in the relationship between the events of a narrative (story) and how these events are presented (text). I utilize the narratological terminology of Gérard Genette because it is narrative discourse, rather than the mere events of a story, that provides the basis for a meaningful discussion concerning matters of presentation. Making the topic of narrative discourse central to the study requires analysis of voice, point of view, speech, and temporality, as it covers the ways in which the story is told. Throughout her career, Haywood manipulates these narrative features so as to create inventive texts that adapt to the changing trends of the literary marketplace. Key topics of discussion include Haywood s continuous but developing use both of the embedded narrative and anachronies; the differing levels of intrusion created by her narrators employment of metanarrative commentary; and her progressive use of metalepsis: from her inclusion of simple scene changes in her earlier work, to her emphatic use of explicit diegetic interruptions in her later work that mirror those utilised by Henry Fielding. The thesis follows a chronological structure and is historically and bibliographically informed. This approach enables the thesis to provide extended comparison of Haywood s narrative choices with those of her main forebears and contemporaries, especially Aphra Behn, Delarivier Manley, Samuel Richardson, Tobias Smollett, and Henry Fielding.

The main purpose of this paper has been to use narratological theory for uncovering the narrative structure in Freud‟s cases, such as anachronisms and focalizing. My aim was to investigate the narrative and through these viewpoints discover what impact Freud‟s writing‟s had on the look of hysterical women. I choose one of the earliest cases,"Fräulein Elisabeth von R." which is published in Studien über Hysterie (I‟ve used the text translated to Swedish and published in Tidiga skrifter och historik. Freud, Sigmund, 1997). I‟ve consulted both Iréne Matthis and Jurgen Reeder to get a broader perspective on the psychoanalytic theory. Another author whom been invaluable is Karin Johannisson, her essays on the aesthetics that characterize hysteria has been very useful. By using the narratological theories of Mieke Bal and Gérard Genette I‟ve been able to uncover the structure of my narrative. The main concepts have been "text", "story" and "fabula" which symbolize three layers of the narrative, for the investigation of these three aspects I‟ve looked closer into anachronisms, retroversions and anticipations (internal and external), focalizor, narrator, actors and agents. The conclusion I‟ve reached is that Freud, by separating himself into the –less knowing and the –analyst and use this –less knowing version of himself as an assistant in the hunt of the answer to hysteria, he writes off Elisabeth as a character. He excludes her from her own anamnesis and fills the hole with himself and uses it as a part of his theory. Left again is the woman, without having been really listened to.

The thesis deals with intertextuality in Karel Čapek's drama R.U.R. and Dan Wells' trilogy Partials Sequence. The aim of the thesis is the interpretation and subsequent comparison of the above-mentioned works and finding mutual resemblances mostly in the main motives, but also in genre characteristics, environment, story sequence and other topics reflected in both works. Since the topic of the thesis already assumes the existence of intertextual relationship between the two works, therefore the aim of the work is not proving its existence but we are trying to determine how far these similarities goes and whether they are just random intertextual similarities or whether Dan Wells, although he does not admit it publicly, necessarily had to be inspired directly by Čapek's drama. Keywords: intertextuality, Gerard Genette, Roland Barthes, Karel Čapek, R.U.R., Dan Wells, Partials Sequence, robot.

På papiret virker Fight Club [1999] som et sikkert stikk. En litterær adapsjon utført av en kjent regissør (David Fincher) med solide stjernenavn på plakaten(Brad Pitt, Edward Norton). Men Chuck Palahniuks debutroman fra 1996 er et vanskelig verk, preget av mørk satire, flere lag med ironi og radikal subjektivitet. For å oversette en slik fortelling til film trengs ikke bare dristigheten til å fortelle om kontroversielle tema, men også oppfinnsomheten til å oversette en utpreget psykologisk roman til et audiovisuelt språk. Det er nettopp oversettelsen jeg skal undersøke i denne oppgaven, hvordan romanens kildemateriale har blitt gjenskapt i filmmediet. For å gjøre dette så konkret som mulig, snevrer jeg først inn undersøkelsen til filmens voice-over, som er basert på romanens tekst. Hvordan har bokas fortellerstemme blitt adaptert til en fortellende voice-over i filmen? Jeg skal ta for meg denne prosessen i tre deler, basert på tre stadier i adapsjonsprosessen hvor filmskaperne har hatt anledning til å kreativt bearbeide romanens tekst. Første del er voice-overen sett som skriftlig tekst, manusstadiet. Hva er kuttet, forandret og lagt til romanens tekst? Andre del er voice-overen som stemme, innspillingsstadiet. Hvordan forandres skriften i manus, og dermed også romanens tekst, idet en den blir til uttalte ord? Hvilke virkemidler har filmskaperne her benyttet seg av? Tredje del er fortellerstemmen i møte med resten av filmspråket, klippestadiet. Hvordan påvirker bildene og den øvrige lyddesignen vår opplevelse av fortellerstemmen, og hvordan er påvirkningen den andre veien? Deretter skal jeg utvide perspektivet igjen, og undersøke hvilke implikasjoner bruken av voice-over har for filmen som helhet. Hva kan en film kommuniserer Fight Club på denne måten? Tema blir ironi, upålitelighet, subjektivitet, karakterengasjement og kronologi. Anvendte teoretikere inkluderer Linda Hutcheon, Sarah Kozloff, Thomas Elsaesser, Gerard Genette, Seymour Chatman, André Bazin, Murray Smith og Lars Thomas Braaten.

This essay uses Gerard Genette’s theory of intertextuality – in particular, architextuality - in order to establish the connection between Shakespearean tragedies and F. Scott Fitzgerald’s last novel, The Last Tycoon. The essay relies mainly on known Shakespeare critic A.C Bradley and the categories he uses in order to establish what makes a Shakespearean tragedy a Shakespearean tragedy. This framework will then be used to further elaborate upon the architextual connection between Shakespeare and Fitzgerald. The essay also compares the characters from The Last Tycoon directly to characters from Shakespeare’s tragedies in order to further show the intertextual connections. For example, Fitzgerald's main character Monroe Stahr is compared to Julius Caesar, from Shakespeare's play of the same name, while the antagonist Mr Brady is compared to both Cassius from the previously mentioned Julius Caesar, as well as Iago from Othello

Although nearly every secondary school English teacher includes film as part of the English/language arts curriculum, there is, to this point, nothing published about effectively studying the relationship between film adaptations and their print source texts in secondary school. There are several important works that inform film study in secondary English classrooms. These include Alan Teasley and Ann Wilder's Reel Conversations; William Costanzo's Reading the Movies and his updated version, Great Films and How to Teach Them; and John Golden's Reading in the Dark. However, each of these mention adaptation briefly if at all. Rather, they approach film as a text that students need to learn how to “read." While I certainly agree with this position, I argue that students also must learn how to productively investigate the relationship between films and their literary source texts. To make this case, I survey the field of adaptation theory generally, beginning with George Bluestone's seminal Novels into Film and moving towards contemporary theory, like Robert Stam's work, which suggests theoretical paradigms beyond fidelity analysis. I rely, particularly, on Mikhael Bakhtin's dialogism as a theoretical frame for studying adaptations in school. I also suggest four specific areas that act as foundations for successfully approaching adaptations with secondary English students: (1) economic analysis, (2) intertextualities (the matrix of cultural influences on a text), (3) Gérard Genette's notion of transtextuality (the relationship of one text to others), and (4) an expansion of adaptation to include the relationships of print texts to new media adaptations. In order to further develop ways that secondary school English teachers can specifically approach adaptation in their classrooms, I include two case studies. The first focuses on pairing Laurie Halse Anderson's award-winning young adult novel Speak with Jessica Sharzer's film adaptation. The second suggests methods for teaching Mary Shelley's Frankenstein along with James Whale's film adaptation. Because so little has been written about effectively incorporating film adaptations into the secondary school English curriculum, this project seeks not only to analyze the theoretical foundation for adaptation study, but also to suggest specific methodology that can be utilized by teachers.

En adaptionsanalys som utforskar relationen mellan romanen Cloud Atlas av David Mitchell och dess filmatisering (2012) av Tom Tykwer och syskonen Wachowski. Fokuset ligger på skillnader och likheter i narrativ och vilka visuella möjligheter som kunnat tillföras när romanens handlingen gjordes om till filmformat.

The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans & Theory of Literature / M.A. (Theory of Literature)

The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans and Theory of Literature / M. A. (Theory of Literature)