This research comprises a comparative examination of the transformation of Afrikaans and Dutch youth narratives into drama texts. Attention has been paid to the story elements embodied in various narratives and dramas, and, in addition, to aspects related to narrative and drama. By means of the comparison of the constants and variants with regard to the four texts, the possibility of creating a transformation model has been examined. The transformation model derived from the research, is applicable, firstly, to the narratives and drama texts upon which this study has been based. It is therefore presented as a conception for the conversion of a narrative text into a drama text, but the uniqueness of each separate narrative is taken into consideration; hence the model is not prescriptive, and it is assumed that the model may be adjusted in line with each adaptation. The comparison is effected between Afrikaans and Dutch texts, in view of the existence in the Low Countries of an established culture of bookshops, publishers and theatrical companies, focused on youth literature and theatre. Some publishers and bookshops, moreover, exclusively publish and sell youth narratives and dramas. Theatre productions aimed at children and young adults are plentiful, and attract a large percentage of young people. Should the fact that some theatres specialise in youth theatre productions be taken into account, also, the contrast and the gaps pertaining to the Afrikaans literary system are marked. The research in respect of the transformation of prose texts into drama texts has identified those procedures employed to adapt the narrative aspects (narrator, focalization, character, event, time and space) in such a way that it is reconcilable with the unique nature of the dramatic aspects (didascalia, dialogue, character, action, time and space). By virtue of the transformation of youth narratives into drama texts (with the purpose of the eventual performance thereof), the adolescent reader is made aware in a different manner of the value of narrative. / Thesis (M.A. (Afrikaans and Dutch))--Potchefstroom University for Christian Higher Education, 2003

In this essay i examine the adaption process of the book Robinson Crusoe (1719) and the movie Robinson Crusoe from 1997. From my findings i will discuss the didactic potential of working with classic literature in a widened textual sense. I aim to answer the following questions: 1. What could be found in the adaption process between text and movie? 2. How can film be used as didactical tool in teaching classical literature in upper secondary school? The methods i have used in this essay are narrative method which means that you study the story as a whole and it´s parts. In specific I have studied the plot, use of time and the characters. I have found that the characters have been modernized in order to fit in a changed society. Which is also shown is the polarization of the characters´ religion. A women is added to the story which change the cultural context in comparison to the original story. I found several potential didactic dimensions; for example the use of a female character in the movie which can engage a larger audience, different living conditions and the questions of different religions.

Läraryrket är ett av de mest omdiskuterade yrkena i Sverige under senare år. Samtidigt som skolan har genomgått en rad förändringar har det också ställts nya krav på lärare. Inte minst lärarnas roll och lärarnas villkor har diskuterats i den mediala debatten. Ofta verkar det som att alla har något att säga om lärare. Denna uppsats utgår från att det som sägs och diskuteras om lärare också får faktiska konsekvenser för hur verksamma lärare formar sin yrkesidentitet. Även skönlitteratur kan ha en roll i att forma verkligheten och i denna uppsats analyseras romanen Inte gå under (2015) av Malin Hedin. Romanen är skriven av och om en gymnasielärare och kan ses som en dagsaktuell inblick i hur skolan fungerar idag. Den metod som använts i uppsatsen har varit en innehållsanalytisk läsning utifrån ett intertextuellt perspektiv. Syftet med undersökning är att analysera hur lärarrollen konstrueras i romanen. Undersökningen kommer fram till att läraren konstrueras i berättelsen genom de kopplingar som finns till omgivningen, vilka är delaktiga i att konstruera vad vi uppfattar som verklighet. Tre olika aspekter av yrkesidentitet framkommer i romanen: att vara lärare är att vara utbildad, att vara lärare är att inte ha det lätt och att vara lärare är att komma till undsättning. / The teaching profession is one of the most debated occupations in Sweden in later years. The Swedish school has gone through a series of changes which has led to new demands on teachers. Not least, is it the teachersʼ roles and the teachersʼ working conditions that have been discussed in the media. It often seems like everyone has something to say about teachers. This paperʼs outset is that what is said and debated about teachers also gets actual consequences to how working teachers form their professional identity. Literature can also have a role in shaping reality and this paper analyses the novel Inte gå under (2015) by Malin Hedin. The novel is written by and about a highschool teacher and can be viewed as an up-to-date insight to how the Swedish school works today. The method used in this paper is a content analytical reading with an intertextual perspective. The aim with this investigation is to analyse how the role of teachers are constructed in the novel. The result of this paper is that the teacher is being constructed through the connections to the surroundings, which take part in the construction of what we perceive as reality. There are three different aspects of professional identity that appear in the novel: to be a teacher is to be well educated, to be a teacher is not easy and to be a teacher is to come to the rescue.

This is the first study to identify and analyse postmodern romances as a new development of the romance and to relate this late twentieth-century subgenre to its tradition. Based on a selection of works published between 1969 and 1994, by A. S. Byatt, Lindsay Clarice, Michael Dorris and Louise Erdrich, John Fowles, Iris Murdoch, Susan Sontag and Jeanette Winterson, it seeks to demonstrate how this new orientation of the romance produces meaning in dialogue with generic conventions and traditional works and, in doing so, both criticises and rehabilitates the genre.A 'postmodern romance' is a double-natured or hybrid text influenced both by inherited romance strategies and experimental postmodern techniques, such as those specified in Linda Hutcheon's study of the "poetics* of postmodernism: ambiguity, parody, paradox, contradiction and self-reflexivity. Hutcheon's theories, as well as theories of the romance, of intertextuality, of feminism, of New Historicism and of popular culture provide the theoretical framework for my argument.Intertextuality is an important manifestation of literary postmodernism, and I isolate three kinds of intertextual relationships which 1 see as characteristic of postmodern romances. Taking as its starting point Julia Kristeva's view that intertextuality includes social, political and cultural, as well as literary, contexts, 1 argue that feminist ideologies appear as cultural intertexts in postmodern romances, thereby challenging the association between the romance genre and a patriarchal world-view. The connections between postmodern and chivalric, historical and women's popular romances are instances of generic intertextuality, where particularly postmodern literary strategies are fused with more conventional attributes of the romance. The links between the postmodern works and the various subgenres of romance affect both the former and the latter, making the postmodern texts accessible to a larger audience, but also revealing forgotten or overlooked complexities in earlier examples of the romance. The return to individual texts is an instance of specific intertextuality, where postmodern romances reinterpret and rewrite particular, earlier romances. Since the relationship between the texts involved is dialogic and, hence, unpredictable, the modern works are also reinterpreted by their intertexts.Postmodern romances transcend the boundaries between real and unreal, male and female, "high" and "low" literature, and in the process they show that this might be equally characteristic of traditional romances. As a result of the fusion of postmodern and romantic literary modes, the inherent duality of the romance genre as such is brought to the fore at the same time as the genre is revived. / <p>Swedish Science Press, Uppsala (distribution).</p> / digitalisering@umu

This thesis makes an inquiry into the literary translation and creation in the early twentieth-century China, particularly between the years 1900 and 1925. I combine the theoretical approaches of both translation studies and intertextuality studies to form the overall methodological framework that informs the discussions in the thesis. Although the modern transformation of Chinese literature has long been discussed and debated in various scholarly works, which often attribute the transformation to foreign influences and reconstruction of indigenous literary tradition, a theoretical language is urgently required to articulate the exact process of literary adaptation and appropriation. Rather than taking the concept of “influence” at face value, I probe the intricate process of influence by examining the way Chinese writers and translators creatively translated and intertextualized foreign literary works to construct new literary texts. The two modalities of literary production – translation and intertextuality – call for the approaches of translation studies and intertextuality studies, and only when both approaches are taken into account can a fuller understanding of the literary scene in the early years of twentieth-century China be obtained. I apply my methodology to the study of the transformation of emotional expressions which are most frequently found in love fiction. By combining translation and intertextuality, some Chinese writer-translators such as Bao Tianxiao and Zhou Shoujuan creatively translated foreign fiction, conveying emotions different from those intended by the original texts while at the same time introducing new modes of emotional expression to Chinese literature. Others, such as Su Manshu and Yu Dafu, borrowed foreign literary texts to construct their own literary creations, appropriating the emotions conveyed by the foreign texts. As a result of the vigorous adaptation and appropriation of Chinese writer-translators, new modes of emotional expression emerged in modern Chinese literature.

The new world of academic discourse is complex and necessitates that L1 and L2 graduate students learn a multiplicity of texts, master intertextuality, and actively participate in emerging literacies or genres of their disciplines (Molle & Prior, 2008; Swales, 2004; Warren, 2013). Challenges arise about how doctoral students produce, interpret, and learn texts and genres, and how they act and react around text production in particular multicultural institutional contexts (Hyland, 2000; Prior, 2004). Little is known about how students, particularly those in higher education, establish intertextual connections among different modes of texts (e.g., written, oral, visual) for actively engaging in literacy (Belcher & Hirvela, 2008; Seloni, 2012). The purpose of this study is to examine how L1 and L2 doctoral students use intertextual practices to create meaning and develop their academic literacies during the literacy events of Global Conversations and Literacy Research (GCLR) web seminars. Drawing upon microethnographic discourse analysis, more particularly the constructs of intertextuality (Bloome, & Carter, 2013), I investigate the following questions a) How are the L1 and L2 students engaged in intertextual practices in the literacy events of GCLR web seminars? b) How does the use of intertextuality contribute to L1 and L2 students’ academic literacies? The participants are two L1 and two L2 doctoral students, who are also multilinguals, had different first languages (i.e., Korean, English, Chinese), and actively engaged in the GCLR web seminars. Data drew upon interviews, chat transcriptions, video recordings of the web seminars, and visuals. Data collection and analyses began in September 2014, and continued through November 2015. Microethnographic discourse analysis showed how participants constructed intertextual connections during the literacy events of the GCLR web seminars. The findings show how L1 and L2 doctoral students used intertextuality to socialize into academic discourse, mediate discoursal identities, and develop cultural models. The study has implications for L1 and L2 pedagogy, multilingual’s learning, and research: Future research should investigate academic literacies with intertextual connections to oral, written, and online discourses. Educators and graduate students are encouraged to exploit the full potential of intertextuality through metacognition in emerging academic literacies and mediated discoursal identities.

The late antique figure of the female monk has been commented upon within the spheres of socio-history, theology, and literary analysis, but no comprehensive study has focused on the contemporary historical and gendered context. This thesis therefore reexamines female transvestite monk hagiographies, revealing that the female protagonists are portrayed as possessing a holy womanhood regardless of having layers of masculinity applied to them. Three layers of masculinity, namely outward, social, and inward, are identified in the characterizations of the female monks. Each masculine layer is scrutinized separately to explore its purpose in the plot structures and to show plausible motivations for the utilization of transvestite figures in religious literature. The use of an intertextual method reveals gendered intertexts, or literary motifs, in the hagiographies which serve as familiar ideological vehicles carrying the intended inspirational, instructional, and theological messages of the writers. Through the removal of these holy women’s masculine layers, this thesis reveals that outward and social masculinity are superficial and heavily relied upon as a means of concealment, but inward masculinity, considered akin to genuine expressions of self in these literary characters, is essentially non-existent. Hagiographers had no intention of transforming their religious protagonists into anything but determined, holy women who are forced to act drastically to sustain ascetic dreams begun while mothers, wives, daughters, and sisters. Masculinities and intertexts located in these Vitae contextualize praise for a holy womanhood within acceptable gendered language, which seems to support a belief in the spiritual potential of women. In comprehending the intertexts’ function in these legends, this thesis highlights the potential for complex irony to develop around the figure of a female transvestite, which supplies religious tales with intrigue and interest, the ability to instruct or chastise mixed audiences, and the potential to portray the reversal inherent in the human drama of salvation.

ENGLISH ABSTRACT: Despite the fact that intertextuality is regarded as an established concept in the field of literary studies, research regarding the role of intertextuality within translation studies is relatively limited. In studies concerned with the problematic nature of the relationship between intertextuality and translation, the majority of scholars focus on the rendering of intertextual references that figure in the source text, while the use of intertextuality in the target text is often overlooked. This study addresses this latter facet of intertextuality by looking at the Afri-Frans translation project, and the way in which intertextuality is intentionally used in the target text. Conceptualised by Matthys Maree, the Afri-Frans project concerns the translation of thirteen Afrikaans songs into French, with the aim of introducing the Afrikaans culture abroad. The project is therefore concerned not only with the translation of the Afrikaans language, but also with the translation of the Afrikaans culture. Therefore Venuti‟s strategies of domestication and foreignisation are applied as theoretical basis of this study. These strategies are discussed in Chapter 3, together with other translation theory focused specifically on the functionalist approach, as well as the interaction between translation and culture. These translation theories are supplemented by a discussion of theories on intertextuality in Chapter 4. This thesis investigates the effect that target text intertexts have on translation, specifically with regard to domestication and foreignisation, so doing determining the potential of intertextuality as a translation tool. In order to establish whether the (Afrikaans) source text culture is properly represented in the (French) target text, the microstructural analysis, in Chapter 5, looks at specific textual fragments and the translation of culture-specific items. The macrostructural analysis, in Chapter 6, is concerned with extratextual analysis, where the focus is on intertextual, paratextual and metatextual aspects. These analyses show that translation inevitably involves a compromise between domesticating and foreignising strategies. Even though microstructural translation methods in Afri-Frans tend to domesticate, intertextuality shows promise as an effective translation tool with the potential to connect the target text audience with the source text culture, thereby bridging the two cultures. The use of intertextuality in translation enables the translator to remain loyal to both the source text culture and target text audience by providing the target text audience with interpretable cultural frames within which the source text culture can be better understood. / AFRIKAANSE OPSOMMING: Ten spyte daarvan dat intertekstualiteit as ʼn gevestigde konsep in die letterkunde beskou word, is navorsing wat die rol van intertekstualiteit in vertaling betref, redelik beperk. In studies oor die problematiese aard van die verhouding tussen intertekstualiteit en vertaling, is die hooffokus op die vertaling van intertekstuele verwysings wat in die bronteks voorkom, terwyl die gebruik van intertekstualiteit in die doelteks tot op hede nog min aandag gekry het. Hierdie studie hanteer laasgenoemde aspek van intertekstualiteit deur meer aandag te skenk aan die Afri-Frans vertaalprojek, en die manier waarop intertekstualiteit doelbewus in die doelteks gebruik word. Die Afri-Frans projek, geesteskind van Matthys Maree, behels die vertaling van dertien Afrikaanse liedjies in Frans, en beoog om die Afrikaanse kultuur aan die buiteland bekend te stel. Die projek onderneem dus om nie net die Afrikaanse taal te vertaal nie, maar ook die Afrikaanse kultuur. Venuti se strategieë van domestikering en vervreemding word om hierdie rede as die teoretiese grondslag vir hierdie studie gebruik. Hierdie vertaalstrategieë word in hoofstuk 3 bespreek, tesame met ander vertaalteorie wat spesifiek gefokus is op die funksionalistiese benadering, asook die wisselwerking tussen vertaling en kultuur. Hierdie vertaalteorieë word aangevul deur ‟n bespreking van teorieë oor intertekstualiteit in hoofstuk 4. Hierdie tesis ondersoek die effek van doelteksintertekste op vertaling, veral met betrekking tot domestikering en vervreemding, om sodoende die potensiaal van intertekstualiteit as ʼn vertaalhulpmiddel te bepaal. Ten einde te bepaal of die (Afrikaanse) brontekskultuur bevredigend verteenwoordig word in die (Franse) doelteks, kyk die mikrostrukturele analise, in hoofstuk 5, na die vertaling van kultuurspesifieke items. Die makrostrukturele analise, in hoofstuk 6, behels ‟n ekstratekstuele analise, waartydens die intertekstuele, paratekstuele en metatekstuele aspekte ondersoek word. Hierdie analises wys dat vertaling onvermydelik ʼn kompromie tussen domestikering- en vervreemdingstrategieë vereis. Ten spyte daarvan dat mikrostrukturele vertaalmetodes in Afri-Frans geneig is om te domestikeer, blyk intertekstualiteit ʼn effektiewe vertaalhulpmiddel te wees met die potensiaal om die doelteksgehoor te verbind met die brontekskultuur, en sodoende dien dit as ʼn brug tussen die twee kulture. Die gebruik van intertekstualiteit in vertaling stel die vertaler in staat om getrou te bly aan sowel die brontekskultuur as die doelteksgehoor, deur die doelteksgehoor te voorsien van verstaanbare kultuurraamwerke waardeur die brontekskultuur beter verstaan kan word.

Η μελέτη αναφέρεται στα βασικά σημεία της ποίησης και της ποιητικής του Νάσου Βαγενά, όπως αυτά εγγράφονται από την έκδοση της πρώτης του ποιητικής συλλογής "Πεδίον Άρεως" (1974) μέχρι τη συλλογή "Στη νήσο των Μακάρων" (2010), στη διασαφήνιση των όρων παρωδία και διακειμενικότητα και στη μεταξύ τους σχέση. Το μεγαλύτερο μέρος αυτής αφορά την εξέταση της επανεγγραφής των ειδών, την παρώδηση προγενέστερου ποιητικού λόγου και μύθου, τον εντοπισμό των κειμένων-προτύπων και τη μελέτη της λειτουργίας τους. Σκοπός της μελέτης είναι να αναδείξει ποιες από αυτές τις διακειμενικές σχέσεις λειτουργούν ανατρεπτικά, αναδεικνύοντας την ειρωνική και παρωδιακή διάσταση της ποίησής του από κοινού και σε συμφωνία με τη διαλογική. / The study refers to the main points of poetry and poetic of Nasos Vayenas, as registered by the publication of his first poetry collection "Πεδίον άρεως" (1974) to "Στη Νήσο των Μακάρων" (2010), to clarify the terms parody and intertextuality and their relationship. Most of this concerns the examination of the rewriting of species, the parody of poetry and myth, identifying the text-patterns and study their function. This study aims to show which of these intertextual relations operate subversively, highlighting the ironic and burlesque dimension of his poetry together and in agreement with the interactive.

Composition is a process of applied research. In a portfolio of eight original pieces, the technical and aesthetic components of this process are investigated from the perspective of several theoretical precepts which both inform and underpin its creative strategy. Drawing on theories of intertextuality, composition is collocated within a broad current of thought in which ideas and material from pre-existing ‘texts’ across a variety of disciplines are utilised and explored to create new compositional ‘texts’. This procedure is tested from several, key perspectives, characterised variously as: (i) problem-seeking, (ii) serendipitous, (iii) transgressive, and (iv) transcriptive. The first of these draws on John Dewey’s notions of art as a form of creative problematisation. In the second, techniques are developed in which performance flexibility is balanced against structural exactitude, aided by a series of parametric tables that outline a range of variables across the different elements of musical sound. As a transgressive process, compositional procedure is informed by Viktor Shklovsky’s theory of aesthetic defamiliarisation. Finally, as a form of transcription, the research draws on Ferruccio Busoni’s observations about notation and its key transmutational role in manipulating and recasting musical ideas. By adopting an eclectic attitude towards materials and techniques, a compositional strategy is formulated which offers an alternative to the assumption that advancement in the field is inevitably shaped by an ineluctable, dialectical process. A polyvalent approach and direct interaction with materials, it is argued, are the important creative ingredients which present valuable and meaningful developments in compositional language, form and technique.