This thesis examines the representation of home and hospitality in Zoë Wicomb’s Playing in the Light, Ishtiyaq Shukri’s The Silent Minaret, and Ivan Vladislavić’s Double Negative. It attempts to trace the un-homeliness of the central characters and to account for their feelings of discomfort. As such, it argues that the home is incapable of being inviolable because the invasion of the public is always a possibility. The implication is that master narratives such as race, history and politics are always entering the space one constructs as private. That said, this study also argues that the home and those things with which it is most closely associated, such as belonging, comfort and safety, may actually hide a form of violence. By this I mean that in the desire for homeliness, one may exclude others from one’s home. Consequently, this argument draws on Jacques Derrida’s writings on the aporia of conditional and unconditional hospitality to investigate what ethical possibilities might, somewhat unexpectedly, be created by the un-homely home. The study is therefore an exploration of the potentials that inhere in a certain kind of un-homeliness, the most important of which is the chance to respond ethically to the alterity of the other. In sum, there is a necessity to extend hospitality beyond condition and beyond limit, and this ethical imperative is at odds with the desire for comfort and safety. The way in which post-transitional novels explore these issues of hospitality and home is the primary focus of this study.

In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-11-01T21:02:10Z No. of bitstreams: 1 MauricioDaSilvaOliveiraJunior_DISSERT.pdf: 9223001 bytes, checksum: 7309eb0efda3da685c99c0bc2d037ee8 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-11-06T23:14:22Z (GMT) No. of bitstreams: 1 MauricioDaSilvaOliveiraJunior_DISSERT.pdf: 9223001 bytes, checksum: 7309eb0efda3da685c99c0bc2d037ee8 (MD5) / Made available in DSpace on 2017-11-06T23:14:22Z (GMT). No. of bitstreams: 1 MauricioDaSilvaOliveiraJunior_DISSERT.pdf: 9223001 bytes, checksum: 7309eb0efda3da685c99c0bc2d037ee8 (MD5) Previous issue date: 2017-09-06 / A charge ? um g?nero discursivo que circula em variados ve?culos de not?cia e, atualmente, difundido tamb?m em in?meros outros meios de comunica??o. Esse g?nero discursivo permite uma maior visibilidade da opini?o do autor, isto ?, o "autor falante" produz o conte?do tem?tico carregando-o ideol?gico e axiologicamente. A produ??o de tais enunciados concretos (charges) ? voltada para um ouvinte/leitor que tamb?m ? hist?rico e tamb?m est? situado em um ambiente social, fazendo com que esse direcionamento seja responsivo ao leitor, ? situa??o e aos fatos. Para esta pesquisa, tomamos como referencial te?rico as concep??es advindas do C?rculo de Bakhtin no que concerne ?s rela??es dial?gicas, ? heterodiscursividade, a posicionamento e a embates dial?gicos. Para compreender o riso charg?stico, apoiamos nossas reflex?es em Bergson, Propp e Bakhtin. Dada a especificidade do g?nero discursivo charge, buscamos ancorar nossas incurs?es no trabalho de Ivan Cabral, Ramos, Eisner e McCloud. O corpus desta pesquisa s?o as charges produzidas pelo chargista potiguar Ivan Cabral durante o per?odo do processo de impeachment da ex-presidente Dilma Rousseff, que ocorreu entre 02 de dezembro de 2015 e 13 de maio de 2016. A pesquisa se insere na ?rea da Lingu?stica Aplicada mesti?a, fronteiri?a e indisciplinar cujo objetivo ? construir inteligibilidade sobre as pr?ticas discursivas, considerando, para tanto, os sujeitos, as esferas de atividade e a historicidade das intera??es humanas. A investiga??o analisa os dados constru?dos a partir da vertente qualitativointerpretativista e o m?todo indici?rio de Ginzburg, que se volta para os ind?cios, os sinais que denunciam sentidos e posicionamentos. Os resultados permitem concluir que a charge, enquanto enunciado concreto, suscita responsividade que permite dar visibilidade aos embates dial?gicos entre sujeitos situados e posicionados, confirmando que na intera??o os sujeitos ocupam lugares e posi??es a partir de sua vis?o de mundo e de um conjunto de valores. / The cartoon is a discursive genre that circulates in varied news vehicles and, currently, also diffused in numerous other means of communication. This discursive genre allows a greater visibility of the author's opinion, that is, the "talking author" produces the thematic content carrying it ideologically and axiologically. The production of such concrete utterances (cartoons) is directed towards a listener / reader who is also historical and is also situated in a social environment, making this direction responsive to the reader, the situation and the facts. For this research, we take as theoretical reference the concepts coming from the Circle of Bakhtin in what concerns to dialogic relations, heterodiscursivity, positioning and dialogic clashes. To understand the laughter from the cartoon, we support our reflections in Bergson, Propp and Bakhtin. Given the specificity of the discursive cartoon genre, we sought to anchor our forays into the work of Ivan Cabral, Ramos, Eisner and McCloud. The corpus of this research are the cartoons produced by the potiguar cartoonist Ivan Cabral during the impeachment process of former president Dilma Rousseff, which occurred between December 2, 2015 and May 13, 2016. The research is part of the mestiza, frontier and indisciplinary Applied Linguistics whose objective is to build intelligibility on discursive practices, considering, for that, the subjects, the spheres of activity and the historicity of human interactions. The research analyzes the data constructed from the qualitative-interpretative perspective and the Ginzburg indicationary method, which turns to the signs, the signs that denounce meanings and positions. The results allow us to conclude that the charge, as a concrete statement, elicits responsiveness that allows to give visibility to the dialogic clashes between subjects situated and positioned, confirming that in the interaction subjects occupy places and positions from their world view and a set of values.

The final thesis is focused on a linguistics analysis of the debut Pestré vrstvy (Colourful layers; 1999) by Ivan Landsmann. The attention is also payed to specific linguistics forms and their function in the text. The theoretical part deals with a short characterization of functional style of artistic literature and textual and linguistics composition. The part about differentiation and stratification of national language follows. The practical part deals with an analysis which is done at four linguistics levels: phonetic-phonological, morphological, syntactic and lexical. The attention is especially payed to marked phenomena which are different from standard, neutral or unexpressive phenomena. The modes how to enrich the vocabulary of the characters seem to be also a component of this part. The result of the final thesis is considered to be the characterization of Ivan Landsmann?s language and style in the prose Colourful layers.

No description available.

No description available.

This dissertation contains a study of the multitext manuscript Codex Holmiensis D 3 based in Material Philology and its focus on the material conditions underlying manuscripts. The aim of the investigation is to describe D 3 in order to increase understanding of its material conditions including content and circumstance of copying, as well as its use and purpose. D 3 contains 14 text works in different genres, for example romances, chronicles, and edifying works. The paper manuscript in the format of a holster book has been dated through its watermarks to around 1487/1488. It was written for the noblewoman Elin Gustavsdotter (Sture). An older manuscript, Codex Holmiensis D 4a, has previously been identified as the exemplar of D 3. These manuscripts are very similar as regards language and content. However, it is shown here that D 4a could not have been the model for D 3 in the case of the romance Flores och Blanzeflor; nor can the manuscript as a whole be a copy of D 4a. There are few traces of use in D 3, but the first work, Herr Ivan Lejonriddaren, has several concluding texts before its final closing. These concluding texts suggest that parts of the work were being read while the rest was being copied. There are also dual quire signatures in this work, implying that the quires were in disarray, possibly because they were in use when the signatures were added. The purpose of D 3 was to educate and provide examples of good and bad behaviour for the nobility. Moreover, there is an owner-epilogue which also stresses courtly ideals and can be linked to the concept of exemplary behaviour. The contents can also be ordered thematically, with first a Carolingian connection, followed by one connected with Ireland and finally one focused on the Christian community. Codicological breaks divide the manuscript into two parts, which leads to the assumption of at least two common exemplars for D 3 and D 4a. An emphasis on the materiality of the manuscript reveals it to be not so much an unwieldy collection of unrelated text witnesses as a book created for a certain person and her time. / <p>Felaktigt ISBN i den tryckta versionen: 978-91-506-2618-6</p>

The thesis deals with the Ukrainian monarchist movement on the territory of Czechoslovakia in the interwar period. It describes its ideological origin, development, number of adherents, relations with other Ukrainian political movements and its cooperation with Czechoslovakian agrarian organizations. It tries to analyze its relation to the European centre of Hetmanite movement. It also pays attention to the Czech attitude to this movement. Further on, the thesis studies the accounts which the Czechoslovakian police and intelligence services held of the activities of Skoropadsky's adherents in Czechoslovakia and abroad. The last chapter is dedicated to the life and deeds of Nykyfor Horbanyuk, Ivan Poltavets-Ostrianytsia's representative in Prague.

Dans les années 1870, Émile Zola bénéficia d’une popularité exceptionnelle en Russie, comptant parmi les auteurs étrangers les plus lus. Nous nous proposons d’écrire précisément dans notre thèse l’histoire de cette extraordinaire rencontre franco-russe en nous appuyant sur des documents majoritairement inédits en français.Dans la première partie de cette étude, nous voyons que Zola se trouvait encore à l’heure difficile des débuts lorsqu’il fit la connaissance, en 1872, d’Ivan Turgenev. L’écrivain russe promit de lui trouver un engagement en Russie. Il négocia avec Mihail Stasulevič, le directeur de l’une des principales revues libérales de Saint-Pétersbourg. En 1875, au vu des premières critiques russes très favorables au romancier français, Stasulevič se laissa convaincre de recruter Zola au Messager de l’Europe comme correspondant parisien. Anna Engelhardt, la traductrice attitrée de Zola au Messager de l’Europe, joua un rôle clé dans son triomphe en Russie.Dans la seconde partie, nous analysons la correspondance échangée entre Zola, Turgenev et Stasulevič pendant près de dix ans, que nous avons intégralement reconstituée et traduite en français, pour établir précisément l’histoire de la collaboration d’Émile Zola au Messager de l’Europe. Les soixante-quatre textes que Zola composa à destination du lectorat russe – les Lettres parisiennes – sont présentés chronologiquement, rythmant notre lecture de la correspondance à trois voix. Régulièrement, les critiques russes émises en réaction aux écrits zoliens viennent enrichir notre réflexion.Cette approche nous permet d’évaluer objectivement quelle fut en son temps la réception de l’oeuvre d’Émile Zola en Russie. / In the 1870’s, Émile Zola enjoyed exceptional popularity in Russia, counting among the most read foreign authors. In the context of this thesis, we propose to write the precise story of this extraordinary Franco-Russian encounter, relying on mostly unpublished documents in French.In the first part of this study, we see that Zola was in an awkward situation when he made Ivan Turgenev’s acquaintance in 1872. The Russian writer offered his aid, promising to find a commitment for him in Russia. He negotiated to this end with the director of one of the leading liberal reviews of Saint-Petersburg, Mihail Stasulevič. In 1875, in view of the first Russian critical appreciations which were very favourable to the French writer, Stasulevič was persuaded to recruit Zola in "Вестник Европы" [The Herald of Europe], as Parisian correspondent. Anna Engelhardt, who was one of the first Russian critics to focus on Zola, played a key role in his triumph by becoming his official translator at the Herald of Europe.In the second part, we analyze the correspondence exchanged between Zola, Turgenev and Stasulevič for nearly ten years, which we have entirely reconstituted and translated into French, to establish the detailed story of Emile Zola’s collaboration to the Herald of Europe. The sixty four texts which Zola composed for the Russian readership, the Parisian Letters, are presented chronologically, punctuating our reading of the tripartite correspondence. Regularly, the Russian critical appreciations ventured in response to Zola’s publications come to enrich our reflection.This approach allows us to estimate objectively which was the reception of Emile Zola's work in Russia at this time.

Cette présente étude répond aux trois questions de recherche suivantes : Y-a-t-il une épistémologie africaine (francophone) ? Comment la méthodologie de la recherche littéraire se définit-elle ? Quelles sont les méthodes exactes employées par la recherche littéraire dans un contexte africain ? En nous appuyant sur l’oeuvre philosophique de Paulin J. Hountondji nous avons développé un concept de savoir africain. En l’absence des théories africaines sur la recherche littéraire nous recourrons aux théories formulées dans un contexte européen, par des chercheurs tels que Kathrin Busch, Ivan Jablonka et Corina Caduff. Ensuite, quatre oeuvres littéraires africaines, Wala Bok. Une histoire orale du hip hop au Sénégal de Fatou Kandé Senghor, Bribes d’une vie nigériane de Françoise Ugochukwu, La Gloire des imposteurs, lettres sur le Mali et l’Afrique d’Aminata Dramane Traoré et de Boubacar Boris Diop et Bogo. Notes de travail chez des potières à Bamako d’Emmanuelle Samson ont été analysées pour identifier les méthodes exactes employées par la recherche littéraire en Afrique. / This study answers the following three research questions : Does an African (francophone) epistemology exist ? How is the methodology of literary research defined ? What are the exact methods used by literary research in Africa ? Building on the philosophical work of Paulin J. Hountondji we develop a concept of African knowledge. In the absence of African theories of literary research we call upon European theories proposed by researchers such as Kathrin Busch, Ivan Jablonka and Corina Caduff. Next, four literary works, Wala Bok. Une histoire orale du hip hop au Sénégal by Fatou Kandé Senghor, Bribes d’une vie nigériane by Françoise Ugochukwu, La Gloire des imposteurs, lettres sur le Mali et l’Afrique by Aminata Dramane Traoré and Boubacar Boris Diop and Bogo. Notes de travail chez des potières à Bamako by Emmanuelle Samson are analyzed to identify the exact literary research methods used in Africa.