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David Foster Wallace felt that literature was at a historical crossroad, and thatpostmodernism had passed the point which it could still be considered a'revolutionary' cultural phenomenon. He felt that the capitalistic machinery of TVand advertisement had absorbed the postmodernist techniques of pastiche,deconstruction and rejection of a distinction between high and low culturalmodels, to a point where there was no longer a difference between reality and itsown representation. Something that represented a problem for both youngnovelists and readers.This thesis analyses Infinite Jest as a response to this very problem, trying tounderstand in which way Wallace wanted to get over postmodernism, establishinga new kind of literature that highlights the artificiality of reality, by using differenttools than postmodernism. Cross-referencing media and literary studies, my thesisargues that Infinite Jest is a novel that emphasizes the fact that it is a construct. Ishow how the book acknowledges, and gives value to the subjectivity of everyhuman experience, but still stressing the idea that all the data that the reader isreceiving is and will always be heavily mediated information. Therefore, I showhow Wallace uses his characters as if they were human recording devices, creatingin this way a book that is some sort of hybrid between literature and TV.Furthermore, I explain how, by means of narrative devices (such as a disruptiveand incomplete plot, hundreds of endnotes), Wallace wanted to restore thecommunicative function of a text, making himself sure that the reader is invited toactively cooperate in the formation of the novel's meaning, ultimately meeting,and engaging into a dialogue with the author's consciousness in the novel'slanguage, breaking that state of self-consciousness and isolation into which thereader has been condemned by postmodernism and capitalism. Showing that“There's more to life than sitting there simply interfacing”1 David Foster Wallace; Infinite Jest; media studies; Postmodernism; Image-fiction Television; intermediality; transmediality; narratology; heteroglossia. 1 David F. Wallce, Infinite Jest, (Back Bay Books 2016), p. 14.

A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad. / Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’

This study investigates the previously neglected literary phenomenon of game novels, a genre that is part of the increasing significance that games are having in culture. Intermedial studies is one of the principal fields that examines these types of phenomena, which provides perspectives for understanding the interactions between media. Furthermore, it forms the foundation for this study that analyses the relation between the four novels by Drew Karpyshyn (Mass Effect: Revelation, 2007; Mass Effect: Ascension, 2008; Mass Effect: Retribution, 2010) and William C. Dietz (Mass Effect: Deception, 2012), and the Mass Effect Trilogy. Differences and similarities between the media are delineated using semiotic theories, primarily the concepts of modalities of media and transfers of media characteristics. The thesis further investigates the narrative discourse, and narrative perspectives in the novels and how these instances relate to the transferred characteristics of Mass Effect. Ultimately, the commonly transferred characteristic in the novels is the storyworld, which reveals both differences and similarities between the media. Regardless of any differences, the similarities demonstrate a relationship where the novels expand the storyworld.

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Cette thèse étudie la production de l’auteure irlandaise Anna Jameson relative au voyage qu’elle entreprit au Canada de décembre 1836 à décembre 1837, à savoir : le récit de son périple, Winter Studies and Summer Rambles in Canada (1838), l’album d’illustrations réalisées tout au long de celui-ci, et la correspondance rédigée pendant cette période. L’analyse conjointe de ces trois média met au jour la portée politique de l’élaboration de l’identité de l’écrivaine voyageuse. En effet, les manipulations génériques, qui livrent un récit au croisement du journal, de la lettre, et du récit de voyage, l’écriture ethnographique de l’Indien, ou encore l’appréhension du paysage canadien, servent toutes un propos proto-féministe qui défend avant tout l’éducation des femmes. De l’Europe au Canada, dans une tension perpétuelle entre identité individuelle et collective, le voyage permet ainsi de faire retour : la représentation du Canada est révision de la Grande-Bretagne, l’écriture de l’Autre est reconstruction de soi, et vice versa. Ainsi, le récit de voyage se fait le lieu de la refiguration de l’identité de celle qui, au contact d’Autres, colons ou Indiens, tantôt sur un mode de différenciation, tantôt sur un mode d’identification, s’écrit en femme libre. Cette liberté, que permet l’écriture, se manifeste dans le jeu des identités, dans le vagabondage doublé de divagations, au travers duquel Anna Jameson reconfigure la définition de la femme au XIXe siècle. / This dissertation focuses on Irish authoress Anna Jameson’s artistic and personal production during her travel to Canada from December 1836 to December 1837, namely: her travel narrative, Winter Studies and Summer Rambles in Canada (1838), the album of sketches she drew while there, and the letters she wrote during the period. A joint analysis of these three media reveals the political scope of the traveller-writer’s elaborating of her identity. Her generic negotiations — delivering a narrative at the crossroads between diary, letter and travel writing —, her ethnographic writing of the Indian, as well as her perception of the Canadian landscape, all serve a proto-feminist agenda, arguing first and foremost for the education of women. From Europe to Canada, in a perpetual shift between collective and individual identity, travelling enables re-envisioning: the representation of Canada becomes a revision of Great Britain, the writing of the Other turns into a reconstruction of the Self, and conversely. The travel narrative becomes the locus of the refiguration of Jameson’s identity, as her contact with Others — settlers or Indians —, at times through differentiation, at times through identification, enables her to rewrite herself as a free woman. The freedom which writing allows for is manifest in the play of identities, in the rambling through which Anna Jameson reconfigures the definition of woman in the 19th century.

This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investigating their connection with wider socio-political and economic developments. The thesis should not be read as a survey, despite being the first book-length analysis of Greek performance art in both English and Greek. The material included here has been selective (drawn out of years of field research) and yet presents, and represents, the spectrum of themes and positions making up the history of performance art in Greece. My contention is that the rise and establishment of performance art in Greece reflected both the political ferment of the time (early 1970s) and an enquiry into the possibility of flight from traditional media. The dual aim of this study is, first, to facilitate and encourage the integration of performance art in a revised Greek art history; and, second, to contribute to an expansion of performance art histories in an international context through the negotiation of hitherto unknown material synthesised in a study of adequate length. This thesis has required large-scale in situ research and overcoming the major obstacle of the absence of relevant publicly held archives. This was one reason why even an elementary linear history of performance art had been such an overwhelming task in the past; a second reason is the overall marginalisation of performance art theory in the Greek context. Through the Greek paradigm, the thesis illuminates new aspects not only of performance but also of post-performative participatory practices, engaging new conceptualisations. By identifying fundamental issues in the production, dissemination, and reception of performance art in Greece, I provide a critical analysis not only of its achievements and potential but also of its impasses and failures. My intention in undertaking this research has been to disprove the notion - implied or stated as a matter of fact in histories of contemporary Greek art - that performance art has had only a sporadic and inconsistent presence in this 'periphery' scene. I argue that the artists investigated in this study are conclusively part of the history of performance in the 20th and 21th centuries, thereby setting the terms and calling for further research on the subject.

Ce doctorat porte sur un motif visuel qui circule entre les arts : le personnage vu de dos. Par l’entremise de notions que j’ai approfondies ou développées – l’apparaître, l’inévidence, la dorsalité –, j’interroge comment cette posture fait naître une manière d’habiter l’image et le monde, et j’analyse ses implications dans les pratiques artistiques comme dans le champ philosophique et social. Pour mener cette enquête, je me suis inspirée d’un geste d’Aby Warburg, celui de la fabrication d’atlas d’images. La fabrication d’atlas m’a permis de faire apparaître trois modalités expressives du dos qui traversent l’histoire de l’art et du cinéma, et qui se retrouvent au sein de mes planches. J’aborde ces questions dans le premier chapitre de la thèse. Le deuxième chapitre, intitulé « Repli(s) », porte sur ma première planche d’images, consacrée aux personnages de dos qui se dérobent et s’esquivent, exprimant un retrait de la signifiance expressive. Le troisième chapitre aborde ma deuxième planche d’images, dans laquelle je cherche à faire voir une forme d’absorbement mené par le personnage de dos depuis l’âge romantique. Le quatrième et dernier chapitre, intitulé « Exclusion(s) », traite d’une violence faite au sujet. En me penchant sur la représentation des Afro-Américains dans les films de plantation états-uniens, j’explore comment une forme d’exclusion esthétique, sociale et politique s’est fabriquée par la posture de dos. Que nous disent les personnages repliés, absorbés ou exclus en regard de la frontalité qui prévaut encore aujourd’hui ? Les personnages vus de dos présentés dans ma thèse introduisent une dorsalité des représentations et de l’existence. / The research topic addressed in this paper is a visual motif circulating widely among the arts: the figure seen from behind. Through notions that I have been led to further or develop – appearance, inevidence, dorsality, I examine how this posture depicts a way of inhabiting the image and its world, and analyze its implications in artistic practices as well as in the philosophical and social field. In order to carry out this survey, I was inspired by a gesture of Aby Warburg, the creation of atlases of images. Atlas making allowed me to reveal three expressive modalities of the back running through the history of art and cinema, and which are also found within my boards. I address these questions in the first chapter of the thesis. The second chapter, titled "Repli (s)", focuses on my first picture board, devoted to figures from behind who avoid and sneak away, conveying a withdrawal of expressive meaning. The third chapter addresses my second picture board, in which I sought to depict a form of absorption led by the figure from behind since the Romantic Age.The fourth and last chapter, entitled "Exclusion (s)", examine a violence committed upon the subject. By focusing on the portrayal of African-Americans in American plantation films, I try to show how a form of aesthetic, social, and political exclusion has been created by the representation from behind. What are withdrawn, absorbed or excluded characters telling us in view of the frontality that still prevail today? The figures seen from behind, as presented in my thesis, introduce a dorsality of representations and of existence.

RésuméLa notoriété de Marcel Pagnol n’est plus à attester, mais force est de reconnaître que les universitaires ne manifestent généralement pas de considération pour lui. Ce magicien des mots, ce conteur héritier de la tradition orale provençale, joue avec virtuosité de la parole, et sa création est le résultat d’interférences littéraires. Les différentes perspectives de l’œuvre de Marcel Pagnol, qui prend sa source dans sa formation classique, ont déterminé cette recherche, laquelle se concentre sur une analyse de certains de ses écrits. Ainsi vise-t-elle à une reconnaissance de son capital symbolique et de son apport à la littérature. Le classicisme qui imprègne l’éducation qu’il a reçue, a orienté l’ensemble de ses réalisations littéraires, théâtrales et cinématographiques; en conséquence, il en a déterminé sa réception, car le caractère de son œuvre, enrichie par l’héritage antique et le patrimoine culturel provençal, est d’avoir atteint l’universel. Ce travail porte sur les aspects de ses écrits qui reflètent non seulement l’éducation, mais surtout la capacité de l’auteur d’utiliser des genres différents tels que la bucolique et ses ramifications qui vont de la poésie au roman et au théâtre, puis au cinéma avec lequel il entretiendra des rapports étroits et complémentaires. Influencé par la musique et par la culture latine et provençale, Marcel Pagnol est sorti des sentiers battus de la littérature de son époque, en mettant son originalité créatrice au service de la poésie, de la prose, du théâtre et du cinéma. / AbstractThe notoriety of Marcel Pagnol is no longer to be attested to, but it is clear academics do not generally show any consideration for him. This magician of words, this storyteller heir to the Provencal oral tradition, plays as a virtuose with speech, and his creation is the result of literary interferences. The different perspectives of the work of Marcel Pagnol, which has its source in his classical training, have determined this research, which focuses on analysis of some of his writings. Thus, this aims at recognizing his symbolic capital and contribution to literature. The classicism that permeates the education he received has guided all his literary, theatrical and cinematographic achievements; consequently, it determined his reception because the character of his work, enriched by the ancient heritage and the Provençal cultural patrimony, is to have reached universality. This thesis focuses on aspects of his creations, which reflect not only his education, but especially the ability of the author to use different genres such as the pastoral and its ramifications, which range from poetry to novel and to theater, then to film with which he will maintain close and complementary relations. Influenced by Music, Latin and Provençal culture, Marcel Pagnol diverged from the beaten track of literature of his time, by putting his creative originality at the service of poetry, prose, theater and film.

<p>Doktorska teza pod naslovom<br />Illusztr&aacute;ci&oacute; &eacute;s sz&ouml;veg intermedi&aacute;lis kapcsolata<br />Janikovszky &Eacute;va<br />&bdquo;gyermekpr&oacute;z&aacute;j&aacute;banˮ(Intermedijalna<br />povezanost ilustracije i teksta u &bdquo;prozi za decuˮ<br />Eve Janikovski) se bavi proznim stvarala&scaron;tvom<br />za decu Eve Janikovski (Janikovszky &Eacute;va). Ova<br />spisateljica svetsku slavu postigla je<br />prvenstveno sa svojim &bdquo;slikovnicamaˮ, preveli<br />su ih čak na trideset i pet jezika, pa ipak, stručne<br />literature i detaljnih analiza o njenim delima<br />praktično nema. Dakle, kritička recepcija<br />njenog opusa je veoma oskudna, a i monografija<br />o njenom stvarala&scaron;tvu je objavljena tek 2014.<br />godine.<br />Autorka doktorske disertacije smatra da<br />ove &bdquo;slikovniceˮ zauzimaju posebno mesto u opusu Eve Janikovski. One su stvorile jedan</p><p>novi tip, novi žanr knjige u mađarskoj<br />književnosti; u ovim knjigama za decu tekst i<br />ilustracija čine jednu nerazdvojivu celinu. Tako<br />da one svakako zaslužuju na&scaron;u posebnu pažnju.<br />Rad sa jedne strane poku&scaron;ava da<br />žanrovski odredi pojedina dela napisana za decu<br />Eve Janikovski. U okviru toga smatra se<br />potrebnim i da se pronađe mesto &bdquo;slikovniceˮ u<br />njenom celokupnom opusu, a i da se ukaže na to<br />za&scaron;to se koriste navodnici za ovaj termin, za<br />ovu vrstu knjige. Nadalje, doktorska teza skreće<br />pažnju i na glavnu izražajnu formu ove<br />spisateljice, a to je monolog, te na večitu temu<br />njenih knjiga, na međusobni odnos deteta i<br />odraslih.<br />Sa druge strane doktorska teza posebno<br />se bavi i Laslom Reberom (R&eacute;ber L&aacute;szl&oacute;),<br />isključivim ilustratorom knjig&acirc; Eve Janikovski.<br />Autorka teze je ubeđena da bez poznavanja<br />umetnosti, grafičkog sveta ovog crtača, bez<br />razumevanja dinamike njegovih ilustracija, ni<br />&bdquo;slikovniceˮ ne možemo da tumačimo i<br />analiziramo na adekvatan način.<br />Ako je i sama umetnost diskurs, onda u<br />ovom slučaju možemo govoriti u susretu dvaju<br />diskursa, književnog teksta Eve Janikovski i<br />ilustracije Lasla Rebera. U centru pažnje<br />autorke disertacije, dakle, stoji intermedijalni<br />odnos između ovih, verbalnih i vizuelnih,<br />diskursa.<br />Uzimajući u obzir najznačajnije i<br />najsavremenije teorijske radove o<br />intermedijalnosti, one teorijske diskurse koje<br />analiziraju međusobni odnos verbalne i vizuelne<br />reprezentacije u knjigama, oslanjajući se na<br />rezultate istoričara umetnosti i naučnih radova<br />koji se bave istraživanjem ilustracije, autorka<br />doktorske teze vr&scaron;i analizu &bdquo;slikovnicaˮ prema<br />sopstveno izrađenom, posebnom metodičkom<br />pristupu.<br />Naposletku vr&scaron;i se i analiza jezika Eve<br />Janikovski, te komparativna analiza originalnog<br />teksta &bdquo;slikovnic&acirc;ˮ i prevoda istih. Posmatra se i<br />to kakav će biti intermedijalni odnos teksta u<br />nemađarskom jezičkom okruženju i crteža Lasla<br />Rebera, po&scaron;to se i prevodi ovih knjig&acirc; uvek se<br />objavljaju sa originalnim ilustracijama.</p> / <p>The doctoral dissertation entitled<br />Illusztr&aacute;ci&oacute; &eacute;s sz&ouml;veg intermedi&aacute;lis kapcsolata<br />Janikovszky &Eacute;va &bdquo;gyermekpr&oacute;z&aacute;j&aacute;banˮ<br />(English translation: Intermedial<br />correspondence between text and illustrations<br />in &bdquo;children&#39;s proseˮ by &Eacute;va Janikovszky) deals<br />with fiction prose for children written by &Eacute;va<br />Janikovszky. This writer has become world<br />famous primarily thanks to her &bdquo;picturebooksˮ.<br />They have been translated into as many as<br />thirty-five world languages and yet there is<br />practically no scholarly research or detailed<br />analysis of her works. Obviously, her literary<br />opus has not been paid enough critical attention<br />and even the first monograph on her work<br />appeared only in 2014.<br />The author of this doctoral dissertation<br />believes that these &bdquo;picturebooksˮ have a<br />special place in the literary opus of &Eacute;va Janikovszky. Namely, with her &bdquo;picturebooksˮ</p><p>she has created a completely new and unique<br />literary genre in Hungarian literature. In these<br />books for children, text and illustrations make<br />one inseparable whole. As such, they certainly<br />ought to be given special attention.<br />On the one hand, this doctoral<br />dissertation attempts at determining the genre of<br />selected prose works for children by &Eacute;va<br />Janikovszky. In line with that, it is considered as<br />necessary to analyze and evaluate the<br />importance of &bdquo;picturebooksˮ among all other<br />works by this author, as well as to explain the<br />usage of inverted commas when referring to this<br />type of books. Furthermore, this doctoral<br />dissertation also addresses monologue as the<br />main narrative form of &Eacute;va Janikovszky and<br />finally analyzes the relationship between<br />children and adults, as the predominant topic in<br />all of her books.<br />On the other hand, this doctoral<br />dissertation gives special attention to the work<br />of L&aacute;szl&oacute; R&eacute;ber, as a single illustrator working<br />exclusively on &Eacute;va Janikovszky&#39;s books. The<br />author of this thesis strongly holds it that<br />without knowing R&eacute;ber&#39;s artistic expression and<br />dynamics of his illustrations, we cannot even<br />fully and correctly analyze and discuss the<br />&bdquo;picturebooksˮ.<br />If we consider art to be a special<br />discourse, then in this case we can talk about the<br />interplay between two discourses- literary text<br />by &Eacute;va Janikovszky and R&eacute;ber&#39;s illustrations. Hence, the focal part of this doctoral</p><p>dissertation is the intermedial correspondence<br />between these two discourses: verbal and visual.<br />Based on the most influential and most<br />contemporary theoretical studies on<br />intermediality, in particular such theoretical<br />discourses that analyze the peculiar interplay<br />between verbal and visual representations in<br />books, while at the same time relying on<br />findings of art historians and scholarly papers<br />dealing with illustration, the author of this thesis<br />analyzes &bdquo;picturebooksˮ according to her own,<br />specially created methodological concepts.<br />Finally, the author also touches upon<br />language used in &Eacute;va Janikovszky&#39;s works,<br />making a comparative analysis of original text<br />in her &bdquo;picturebooksˮ and their translation<br />counterparts. Considering the fact that translated<br />versions of her books always appear with<br />original illustrations, this dissertation also<br />observes the intermedial correspondence<br />between L&aacute;szl&oacute; R&eacute;ber&#39;s drawings and<br />translation equivalents in languages other than<br />Hungarian, which is the source language of &Eacute;va<br />Janikovszky&#39;s literature.</p>