This diploma thesis deals with with issues occuring in translating trivial literature (formula fiction). Three novels by the Austrian novelist Johannes Mario Simmel are used as empirical material. The first part of the paper focuses on the term trivial literature as well as the person of J. M. Simmel and his work. In the second part, three novels by this author are the subject of translation analysis. The analysis uses criteria of quality assessment defined by the German translation scholar Katharina Reiß in her thesis Möglichkeiten und Grenzen der Übersetzungskritik (published in 1971). The analysis shows various aspects contributing to the result of this translation process. They are partly objective, given by context of time period in which they were created, and partly subjective, given by the person of the translator. Keywords Johannes Mario Simmel, translation criticism, trivial literature, Katharina Reiß, 3 novels (Liebe ist nur ein Wort, Ich gestehe alles, Gott schützt die Liebenden)

This thesis examines a range of folkloric customs and beliefs that play a pivotal role in Hardy's fiction: overlooking, sympathetic magic, hag-riding, tree ‘totemism', skimmington-riding, bonfire nights, mumming, May Day celebrations, Midsummer divination, and the ‘Portland Custom'. For each of these, it offers a background survey bringing the customs or beliefs forward in time into Victorian Dorset, and examines how they have been represented in written texts – in literature, newspapers, county histories, folklore books, the work of the Folklore Society, archival documents, and letters – in the context of Hardy's repeated insistence on the authenticity of his own accounts of these traditions. In doing so, the thesis both explores Hardy's work, primarily his prose fiction, as a means to understand the ‘folklore' (a word coined in the decade of Hardy's birth) of southwestern England, and at the same time reconsiders the novels in the light of the folkloric elements. The thesis also argues that Hardy treats folklore in dynamic ways that open up more questions and tensions than many of his contemporaries chose to recognise. Hardy portrays folkloric custom and belief from the perspective of one who has lived and moved within ‘folk culture', but he also distances himself (or his narrators) by commenting on folkloric material in contemporary anthropological terms that serve to destabilize a fixed (author)itative narrative voice. The interplay between the two perspectives, coupled with Hardy's commitment to showing folk culture in flux, demonstrates his continuing resistance to what he viewed as the reductive ways of thinking about folklore adopted by prominent folklorists (and personal friends) such as Edward Clodd, Andrew Lang, and James Frazer. This thesis seeks to explore these tensions and to show how Hardy's efforts to resist what he described as ‘excellently neat' answers open up wider cultural questions about the nature of belief, progress, and change.

Cette thèse porte sur la trajectoire éditoriale et artistique de la collection Vertigo créée en 1993 par DC Comics, maison d’édition états-unienne spécialisée dans la bande dessinée. Je me propose d’aborder Vertigo à travers l'apport des scénaristes britanniques employés par DC Comics depuis le milieu des années quatre-vingt. Leur rôle est en effet considérable, tant au moment de la fondation de Vertigo par la rédactrice Karen Berger que dans le succès ultérieur dont jouit la collection. La genèse de Vertigo met en lumière l’importance du phénomène appelé l’ « Invasion britannique », c’est-à-dire l’arrivée sur le marché états-unien de nombreux créateurs qui sont nés et travaillent à l’étranger pour DC Comics. Cette « invasion » révélera au public américain des scénaristes de tout premier plan tels Alan Moore, Grant Morrison ou Neil Gaiman, dont la série The Sandman est considérée comme un jalon majeur de l’histoire du média. La critique existante au sujet de Vertigo en général tend d’ailleurs à se focaliser sur la portion du corpus produit par les Britanniques, mais sans nécessairement prendre acte de cette spécificité culturelle. Le travail à mener est donc double ; d'une part, il s'agira de retracer une histoire du label en tant qu'instance productrice d'une culture médiatique particulière, qui s'inscrit dans un contexte socio-historique et repose sur les pratiques et les représentations de l'ensemble des acteurs (producteurs et consommateurs au sens large), eux-mêmes nourris d'une tradition qui préexiste à l'apparition de Vertigo. Il sera dès lors possible de prendre appui sur cette connaissance contextuelle pour interroger la poétique du label, et ainsi identifier les spécificités d’une « école » britannique au sein de cette industrie culturelle. / This thesis deals with the editorial and aesthetic history of the Vertigo imprint, which was created in 1993 by DC Comics, a US-American comics publisher. I shall consider in particular the contribution of British scriptwriters employed by DC and then by Vertigo from the 1980s onwards. Theise creators played a tremendous role, both at the time of Vertigo's founding by editor Karen Berger and at a later date, as the imprint gathered widespread recognition. The genesis of the Vertigo imprint sheds light on the so-called “British Invasion”, that is to say the appearance within the American industry of several UK-based creators working for DC Comics. Spearheaded by Alan Moore, the “invasion” brought to the fore many of the most important scriptwriters of years to come, such as Grant Morrison and Neil Gaiman, whose Sandman series has been described as a major landmark in the recognition of the medium. Existing criticism regarding Vertigo tends to focus on the body of work produced by British authors, without necessarily discussing their national specificity. My goal is therefore double; on the one hand, I intend to write a history of the label as the producer of a specific media culture that belongs to a given socio-historical context and is grounded in the practices and representations of the field's actors (producers and consumers in a broad sense). On the other hand, the awareness of the context in which the books are produced shall allow me to interrogate the imprint's poetics, thus identifying the specificity of a “British school of writing” within the comics mainstream industry.

Cette Thèse porte sur les échanges culturels entre la France et l’Italie, au début du XXIe siècle, dans le domaine de la traduction littéraire et de l’édition. Son but principal est l’étude des phases qui précèdent, accompagnent et suivent la publication d’une œuvre littéraire française en Italie. Après avoir situé notre sujet dans le cadre des relations historiquement très importantes entre les deux pays dans le domaine littéraire, notre analyse se focalise sur trois moments cruciaux : le choix de l’œuvre ; sa traduction ; sa parution et réception.C’est que le goût, le canon, la tradition littéraire et la culture propres à chacun des deux pays ont une influence certaine sur la réception, sur l’horizon d’attente des lecteurs et des critiques, ainsi que sur les stratégies éditoriales, tout au long des étapes qui vont de l’achat des droits aux décisions « paratextuelles » censées susciter l’intérêt du lecteur ou fournir des informations. Nous ne négligerons pas le rôle du traducteur, véritable « passeur » du texte, ses choix linguistiques et stylistiques étant souvent la clé de la bonne compréhension d’une œuvre. Si la publication et la fortune d’une œuvre littéraire dans un pays étranger sont donc le résultat d’un processus complexe, d’une accumulation stratifiée d’échanges, de stéréotypes, et de multiples interventions d’acteurs différents, notre recherche fait appel à des outils méthodologiques relevant de plusieurs champs disciplinaires, appliqués, enfin, à une sélection des romans publiés en Italie dans les dix dernières années. / This thesis focuses on the cultural exchanges between France and Italy in the fields of literary translation and publishing at the beginning of the 21st century. Its main goal is to study the various stages that precede, accompany and follow the publication of a work of French literature in Italy. Having placed our subject in the context of the main historical relations between the two countries in the field of literature, our analysis concentrates on three key moments: the choice of book, its translation and finally, its publication and reception.At the centre of our analysis is the knowledge that the tastes, canons, literary traditions and cultures of the two countries undoubtedly affect the reception of a work and the expectations of readers and critics. We will therefore take into consideration the role of editorial strategies throughout this process from the purchase of the copyright to paratextual decisions, i.e. the methods used to arouse readers’ interest or supply information. We will also examine the figure of the translator, the “driving force” in the text’s transition, as it is often their choice of language and style that provides the key to our understanding of it.Given that the publication and fortune of a literary work in a foreign country are the result of a complex process and a stratified accumulation of exchanges, stereotypes and multiple operations, our research has adopted analytical methods from a wide range of fields and applied them to a selection of novels published in Italy over the last ten years.

Made available in DSpace on 2016-04-28T19:59:09Z (GMT). No. of bitstreams: 1 Marta Maria Coelho Barbosa.pdf: 731755 bytes, checksum: b6f9794d5181a5d41daa797f02e7c869 (MD5) Previous issue date: 2008-05-06 / The core of approach of the writer Osman Lins s lies in a restoration of the process of reconstructing the connection between the modern man to cosmos, applied to the called narratives abject, term of Walter Benjamin. That is because, when Middle Age allegory was rescued, Osman Lins constructs an interpretative way of this process that has as epicenter images of insects and animals, bases of the figurative metaphorical work of novels in analysis: Engagement, the Transparent Bird and Pentagon of Hahn and other narratives of Nine, Novena. In these, the sense of meaning emerges from the corrosion of relations between things that transform the living creatures into ruin, whose great effect is the loss of stability due to accumulation of information, in favor of the mutation dissection. The work of displacement of the language to the verbal communication makes Osman Lins s literary creation a way of domain the analogous words to the ones of the poetry, however in prose liberated by the allegory image. When making animals and insects a door of entrance to a world of mystery and fancy, also makes a constant investigation in histories of novels, established for the resignation to any mode of technology or totalitarian ideology applied to them. Tropo is a figure in libertarian use which occurs a transformation of allegory in image of contaminated novel Nine, Novena. The narratives in study are resultant of an attitude of rejection of the writer to stereotypes given to common-place in literary exercise, however dislocated by improvisation in a way to tell that it shows deformation and contamination under other affinities equivalents to the narrative statement: the objective is to return the identity to the language. The narrative representative work in Nine, Novena shows the man facing conflicts of modernity laid in cause of exploration to the meaning of abject, when stirring a reader up, by this means, to the reflection on automation, alienation and solitude, and, consequently, inaugurating a new time in Brazilian society in the second half of century XX: the word-animal making slit , new lives production in body-words.. The first chapter, Correlations of fragmentary narrative and the novel type, deals with the conceptual work of transformation and displacement of literal form of medieval allegory for a renowned and transfigured modality of Osman Lins s novel, in parallel to the illustration of Braque: Roofs of Céret. Second chapter, Allegorical confrontations: conceptual and artistic, it displays the visual descriptive and ornamental exercise in comparison to the illustration La Dame à La the Licorne, placing the medieval wonderful element in the motivation of the animal characters, personages in novels. The third chapter, Forms of ingenious concept: allegorical and metaphors, made possible the analysis of novels under the contamination of other visual symbols, pointing the distinguishing marks given by fragment and discursive contamination, for the poetical principles of analogy, comparison, irony, metaphorical and mosaic image plastic exhibitions methodologies and procedures of reading and interpretation. The conceptual recital if abided by the theoreticians: Walter Benjamin, Roland Barthes. Hansen, T. E. Hulme, Octávio Paz, Jaime Alazraki, Umberto Eco and readers Brazilian contemporaries of the workmanship of Osman Lins in preferential reference / O núcleo de abordagem das novelas do escritor Osman Lins instaura-se no processo de reconstrução da ligação do homem moderno ao cosmo, aplicado às narrativas denominadas abjetas, termo de Walter Benjamin. Isso porque, ao recuperar a alegoria da Idade Média, Osman Lins edifica uma via interpretativa desse processo que tem como epicentro imagens de insetos e animais, bases do trabalho metafórico figurativo das novelas em análise: Noivado, O Pássaro Transparente e Pentágono de Hahn e outras narrativas de Nove, Novena. Nestas, o sentido da significação emerge da corrosão das relações entre as coisas que transformam os seres vivos em ruínas, cujo grande efeito é a perda da estabilidade dada pela acumulação de informação, em favor da fragmentação e da mutação. O trabalho de deslocamento da língua para a linguagem faz da criação literária de Osman Lins um modo de domar as palavras análogas às da poesia, todavia em prosa liberada pela imagem alegórica. Ao fazer dos animais e insetos uma porta de entrada a um mundo de mistério e fantasia, também faz uma indagação constante nas histórias das novelas, instalada pela renúncia a qualquer modalidade de tecnologia ou ideologia totalitária a elas aplicada. O tropo é a figura em uso libertário pelo qual ocorre a transformação da alegoria em imagem na novela contaminada Nove, Novena. As narrativas em estudo são resultantes de uma atitude de rejeição do escritor aos estereótipos dados pelos lugares-comuns no exercício literário, porém deslocados pela improvisação de um modo de narrar que mostra deformação e contaminação sob outras afinidades equivalentes ao enunciado narrativo: o objetivo é devolver a identidade à linguagem. O trabalho representacional narrativo em Nove, Novena exibe o homem diante dos conflitos da modernidade posto em causa pela exploração da acepção do abjeto, ao incitar, por essa via, o leitor à reflexão sobre a automatização, a alienação e a solidão, e, conseqüentemente, inaugurando uma nova época na sociedade brasileira na segunda metade do século XX: o bicho-palavra produzindo fissuras , produção de novos objetos vivos em palavras-corpo. O primeiro capítulo, Correlações da narrativa fragmentária e do gênero novela, trata do trabalho conceitual da transformação e deslocamento da forma literal da alegoria medieval para uma modalidade renomada e transfigurada da novela de Osman Lins, em paralelo à ilustração de Braque: Telhados de Céret. O segundo capítulo, Confrontos alegóricos: conceitual e artístico, expõe o exercício ornamental visual e descritivo em comparação à ilustração La Dame à la Licorne, alocando o elemento maravilhoso medieval na motivação das personagens animais, personagens nas novelas. O terceiro capítulo, Formas de conceptismo engenhoso: alegorismos e metáforas, concretiza a análise das novelas sob a contaminação de outros símbolos da visualidade, apontando as marcas diferenciais dadas pela fragmentação e contaminação discursiva, pelos princípios poéticos da analogia, da comparação, da ironia, da metaforização e do espetáculo plástico da imagem em mosaico, metodologias e procedimentos de leitura e interpretação. A fundamentação conceitual se ateve aos teóricos: Walter Benjamin, Roland Barthes, A. Hansen, T. E. Hulme, Octávio Paz, Jaime Alazraki, Umberto Eco e leitores contemporâneos brasileiros da obra de Osman Lins em referência preferencial

Cette thèse se concentre sur la production d’Ada Cambridge (1844 – 1926) et de Mary Fortune (1833 – 1909), deux écrivaines coloniales australiennes aujourd’hui méconnues mais très populaires au cours de la seconde moitié du XIXe siècle. Nous nous intéressons à la représentation de l’expérience coloniale de ces femmes ayant quitté le Royaume-Uni pour l’Australie ainsi qu’à la manière dont leurs récits, majoritairement publiés dans des journaux, agirent sur le statut des femmes dans la société coloniale. Plus spécifiquement, nous étudions leur expérience en tant qu’écrivaines, c’est-à-dire le contexte de production et de réception de leurs récits, ainsi que leur représentation de la différence culturelle et de la différence de genre. Le corpus étudié contient des textes issus des archives littéraires australiennes, notamment des romans-feuilletons, nouvelles et articles de journalisme publiés dans des journaux de l’époque coloniale comme The Australian Journal, The Age et The Australasian. En inscrivant ces textes dans leur contexte historique, cette thèse révèle leur importance dans le contexte social de leur époque tout en mettant en lumière les choix littéraires de ces écrivaines, longtemps délaissées par une vision nationaliste et masculiniste de l’histoire de la littérature australienne. Cette thèse a ainsi deux objectifs principaux : enrichir notre connaissance de l’expérience coloniale australienne en prenant en compte des récits méconnus et étudier la poétique des oeuvres d’Ada Cambridge et de Mary Fortune au regard de leur contexte de production afin de réévaluer ces récits ainsi que leur place dans l’histoire littéraire australienne. / This thesis deals with the works of Ada Cambridge (1844 – 1926) and Mary Fortune (1833 – 1909), two Australian colonial women writers who have been neglected and long forgotten, yet who were very popular in the nineteenth century. It focuses on how these women, who left the United Kingdom to settle in Australia, represent their colonial experience, as well as on the influence of their narratives, mostly published in newspapers, on women’s status in the colonial society. More precisely, it is a study of their experience as women writers, a study that includes the context of production and reception of their work as well as their respective representations of cultural and gender difference in the Australian colonies. This analysis includes texts previously buried in the Australian literary archives, such as serial novels, short stories and press articles published in colonial newspapers such as The Australian Journal, The Age, and The Australasian. By inscribing these texts in their historical context, this thesis reveals their importance in the social context of their time and reconsiders the literary choices of these writers, long decried by the dominant nationalist and masculinist vision of Australian literary history and criticism. This thesis thus has two main objectives: developing our knowledge of the Australian colonial experience by taking into account little known or unknown narratives, and studying the poetics of Ada Cambridge’s and Mary Fortune’s narratives in the light of their production context in order to reassess these texts as well as their place in Australian literary history.

No description available.

Despite being an equal in the most significant partnership in British cinema, Emeric Pressburger has largely been overshadowed by his long term collaborator Michael Powell in both critical and academic studies. While there have been countless books on Powell and Pressburger as a team, those who have sought to separate the partnership have, until now, focussed almost exclusively on Powell. This thesis will attempt to redress the balance within Powell and Pressburger scholarship and attempt to break away from director-centric film studies. It will aim to examine Pressburger’s morally ambiguous characters, such as the recurring “good German” and his propensity to humanise characters who would normally be termed evil or corrupt, in conjunction with the central themes of displacement and exile within Pressburger’s screenplays and novels. The thesis will also utilise both unpublished and unfilmed material and demonstrate that the study of these works that exist only in archives provide a greater insight into the working practises of authors and filmmakers, while providing a valuable point of comparison to their more widely known works. Specifically, this thesis will address four separate aspects of Pressburger’s canon. First, it will discuss Pressburger’s war films which he made with Powell, which have suffered to an extent from neglect by many Archers’ scholars. It is clear that Pressburger’s key hallmarks and mirroring of his own experiences during the war can be seen to develop within these works and provide an ideal point of comparison with that of his later projects such as his novels. Chapter two will then examine the often overlooked filmed operetta, <i>Oh ... Rosalinda!! </i>(1955) along with Pressburger’s unfilmed screenplay <i>The Golden Years</i> (1951) a biopic of Richard Strauss, and provide a comparison to demonstrate the manner in which Pressburger’s love of opera overlapped with his development of complex characters and response to the war. Chapter three will analyse Pressburger two published novels, both of which have been largely ignored by both cinema and literary critics. Through the study of these novels, the difference in approach after the transition from screenwriter to novelist will be examined, along with the further development of his seeming neutrality in the portrayal of morally unsound characters. Chapter four will then focus on Pressburger’s two unpublished novels, <i>The Unholy Passion</i> and <i>A Face like England</i>, with consideration of Pressburger’s developing ideas of morality and forgiveness in his later years. In conclusion, by closely examining works that have been overlooked by Powell and Pressburger scholars, the thesis will shed new light on Pressburger, both as a filmmaker and an author and demonstrate the complexities of both his characters and his writing.

This thesis contributes to the burgeoning field of the history of sexuality in New Zealand and seeks to distill the more theorised and reflexive understanding of the subjectively understood queer male identity since 1948. Emerging from the disciplines of History and English, this project draws from a range of narratological materials: parliamentary debates contained in Hansard, and novels and short stories written by men with publicly avowed queer identities. This thesis explores how both 'normative' identity and the category of 'the homosexual' were constructed and mobilised in the public domain, in this case, the House of Representatives. It shows that members of the House have engaged with an extensive tradition of defining and excluding; a process by which state and public discourses have constructed largely unified, negative and othering narratives of 'the homosexual'. This constitutes an overarching narrative of queer experience which, until the mid-1990s, excluded queer subjects from its construction. At the same time, fictional narratives offer an adjacent body of knowledge and thought for queer men and women. This thesis posits literature's position as an important and productive space for queer resistance and critique. Such texts typically engage with and subvert 'dominant' or 'normative' understandings of sexuality and disturb efforts to apprehend precise or linear histories of 'gay liberation' and 'gay consciousness'. Drawing from the works of Frank Sargeson, James Courage, Bill Pearson, Noel Virtue, Stevan Eldred-Grigg, and Peter Wells, this thesis argues for a revaluing of fictional narratives as active texts from which historians can construct a matrix of cultural experience, while allowing for, and explaining, the determining role such narratives play in the discursively constructed understandings of gender and sexuality in New Zealand.

This thesis is a broadly chronological study of representations of Japan and the Japanese in Australian novels, stories and memoirs from the late nineteenth century to the twenty-first century. Adopting Edward Said???s Orientalist notion of the `Other???, it attempts to elaborate patterns in which Australian authors describe and evaluate the Japanese. As well as examining these patterns of representation, this thesis outlines the course of their development and change over the years, how they relate to the context in which they occur, and how they contribute to the formation of wider Australian views on Japan and the Japanese. The thesis considers the role of certain Australian authors in formulating images and ideas of the Japanese ???Other???. These authors, ranging from fiction writers to journalists, scholars and war memoirists, act as observers, interpreters, translators, and sometimes ???traitors??? in their cross-cultural interactions. The thesis includes work from within and outside ???mainstream??? writings, thus expanding the contexts of Australian literary history. The major ???periods??? of Australian literature discussed in this thesis include: the 1880s to World War II; the Pacific War; the post-war period; and the multicultural period (1980s to 2000). While a comprehensive examination of available literature reveals the powerful and continuing influence of the Pacific War, images of ???the stranger???, ???the enemy??? and later ???the ally??? or ???partner??? are shown to vary according to authors, situations and wider international relations. This thesis also examines gender issues, which are often brought into sharp relief in cross-cultural representations. While typical East-West power-relationships are reflected in gender relations, more complex approaches are also taken by some authors. This thesis argues that, while certain patterns recur, such as versions of the ???Cho-Cho-San??? or ???Madame Butterfly??? story, Japan-related works have given some Australian authors, especially women, opportunities to reveal more ???liberated??? viewpoints than seemed possible in their own cultural context. As the first extensive study of Japan in Australian literary consciousness, this thesis brings to the surface many neglected texts. It shows a pattern of changing interests and interactions between two nations whose economic interactions have usually been explored more deeply than their literary and cultural relations.