The audio visual essay, or ”film/video essay” as it might be better known, has in recent years started to enjoy a level of popularity previously unseen in its long and obscure history; encouraging a proper reexamination of the genre through the years, to see how it has developed and changed throughout its lifetime to finally arrive at where it is today. With a lineage stretching back across the centuries, through to the 16th -century writings of Michel de Montaigne, the essay format, either as it manifests in the traditions of literature or the audio visual mode, is a curious form of expression, preferring an indirect route towards knowledge, marked by quandary, reflection, the trying and retrying ideas in a process built around the act of searching. Because of its unusual and shifting nature, on both a formal and discursive level, coupled with a propensity for analysis and dialectical reasoning, it has been a staple of transgressive aesthetic practices, landing it with several of leading experimental filmmakers and movements of the pre- and postwar eras. Interestingly, however, in the new cultural landscape, shaped by the advent of the digital revolution, it has also been involved in a politically transgressive arena of democratized home productions, sparking discussion about the imperative conditions and potential future possibilities of media creation as a whole. To make sense of these historical proceedings, and the forces which impel them, a cohesive definition of the genre is in order, which can then be used as the basis of a functional historical model. As such, the following questions are prompted: What characteristics define the audio visual essay, in what ways has it manifested throughout its history and, by extension, how does one go about formulating a conception of its history? To accommodate these queries both an essayistic mode of analysis, concerning a work’s discursive and formalistic properties, and a chronological lineage of the audio visual essay, is proposed, and applied to different historical examples, to map out paths of development and progression as well as the genres response to the varying cultural, social, political and technological forces during its lifetime.

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’

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’

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The thesis deals with recent Czech translations of children's poetry in English and their addressees. In the first part, we describe the terminological issues related to the terms dětská literatura and dětská poezie (and their English equivalents), focus on the specific features of children's poetry and the process of translating children's literature, and finally outline the history of children's poetry in the Czech lands, the United Kingdom and the USA. In the second part, we compare target texts with their source texts in terms of content (proper nouns, puns etc.) and form (rhythm, rhyme etc.), thereby showing the strategies the translators used. Finally, we also comment on the issues pertaining to the publishing of children's literature and describe the origination of the Czech translation of Shel Silverstein's A Light in the Attic. Keywords: children's literature, children's poetry, translation, translation analysis, Shel Silverstein, Robert Browning, Robert Louis Stevenson, Alexander Milne, Thomas Stearns Eliot, Lewis Carroll, Norman Lindsay

In the present work, we shall consider some common models in linear thermo-elasticity within a common structural framework. Due to the flexibility of the structural perspective we will obtain well-posedness results for a large class of generalized models allowing for more general material properties such as anisotropies, inhomogeneities, etc.

Eine belangvolle Transformation ist das zwölfte Buch (Lambda) der „Metaphysik“ des Aristoteles durch verschiedene Interpretationen im Laufe der Jahrhunderte widerfahren, sodass es als eine theologische Schrift bis heute überliefert ist (1. Kapitel). Dabei waren sowohl der ursprüngliche Sinn des Autors als auch die Struktur des Textes kaum erkennbar geworden. Die vorliegende Arbeit ist eine historische Rekonstruktion der verschiedenen Interpretationen des Textes seit den ersten peripatetischen Denkern bis zur Gegenwart, insbesondere die von Michael Frede (2. Kapitel), Lindsay Judson (3. Kapitel) und Stephen Menn (4. Kapitel). Frede behauptet, das Buch Lambda sei eine Untersuchung der Substanz (Ousiologie); Judson denkt, dass es die erste Philosophie vorlegt; Menn argumentiert, es sei eher eine Forschung der ersten Prinzipien (Archäologie). Hier wird eine weitere Meinung vertreten, nämlich, dass Lambda die Untersuchung der Prinzipien der Substanz ist und somit verkörpert es Aristoteles’ Verständnis der Sophia (5. Kapitel). Überdies löst diese neuartige Lesart des Textes das Problem der Stelle des zwölften Buches innerhalb der „Metaphysik“ dank der Abfassung einer Karte, die seine Struktur verdeutlicht (Anhänge). / The twelfth book (Lambda) of the “Metaphysics” of Aristotle has undergone a crucial transformation through the diverse interpretations over the centuries. Thus it has been transmitted up to today as a theological writing (chapter 1). But this made hardly recognizable both the original intention of the author and the structure of the text. The present work is a historical reconstruction of the various interpretations of the text since the first Peripatetic thinkers until today, especially those by Michael Frede (chapter 2), Lindsay Judson (chapter 3) and Stephen Menn (chapter 4). Frede states that the book Lambda is an inquiry into the substance (ousiology); Judson thinks that it presents the first philosophy; Menn argues that it is rather an investigation about the first principles (archaeology). A different opinion is set forth here, namely, that the book Lambda explores the principles of the substance, and in doing so it embodies Aristotle’s understanding of the sophia (chapter 5). Moreover, this new reading of the text solves the problem of the position of the twelfth book in the “Metaphysics” thanks to the composition of a map, which clarifies its structure (appendix).

This study undertakes an examination of the representation of nature in works of literature that it regards as early British ‘mythopoeic fantasy’. By this term the thesis understands that fantasy fiction which is fundamentally concerned with myth or myth-making. It is the contention of the study that the connection of these works with myth or the idea of myth is integral to their presentation of nature. Specifically, this study identifies a connection between the idea of nature presented in these novels and the thought of the late-Victorian era regarding nature, primitivism, myth and the impulse behind mythopoesis. It is argued that this conceptual background is responsible for the notion of nature as a virtuous force of spiritual redemption in opposition to modernity and in particular to the dominant modern ideological model of scientific materialism. The thesis begins by examining late-Victorian sensibilities regarding myth and nature, before exposing correlative ideas in selected case studies of authors whose work it posits to be primarily mythopoeic in intent. The first of these studies considers the work of Henry Rider Haggard, the second examines Scottish writer David Lindsay, and the third looks at the mythopoeic endeavours of J. R. R. Tolkien, the latter standing alone among the authors considered in these central case studies in producing fiction under a fully developed theory of mythopoesis. The perspective is then widened in the final chapter, allowing consideration of authors such as William Morris and H. G. Wells. The study attempts to demonstrate the prevalence of an identifiable conceptual model of nature in the period it considers to constitute the age of early mythopoeic fantasy fiction, which it conceives to date from the late-Victorian era to the apotheosis of Tolkien’s work.

In the mid-nineteenth century Métis society re-established itself west of Red River in the Saskatchewan country. This thesis tells the long overlooked story of the English Métis of the Prince Albert Settlement, beginning with James Isbisters initial farm in 1862 and the wave of Métis who followed him west in search of a better life. Questions of Identity, Politics, and Religion are answered to place the English Métis in the historical context of the Métis nation and the events of the Canadian states institutional expansion onto the Western prairies. The place of the English Métis vis-à-vis their French, First Nations, and Euro-Canadian neighbours is examined, as are their attempts to secure a land base and continued collective identity under pressures from hostile state and economic forces. Their importance in the events of the period which would have long lasting national and local significance is also examined. A survey of the community and the changes it went through is given from the initial settlement period to the dissolution of the English Métis as a recognizable collective force following Louis Riels uprising.

In the mid-nineteenth century Métis society re-established itself west of Red River in the Saskatchewan country. This thesis tells the long overlooked story of the English Métis of the Prince Albert Settlement, beginning with James Isbisters initial farm in 1862 and the wave of Métis who followed him west in search of a better life. Questions of Identity, Politics, and Religion are answered to place the English Métis in the historical context of the Métis nation and the events of the Canadian states institutional expansion onto the Western prairies. The place of the English Métis vis-à-vis their French, First Nations, and Euro-Canadian neighbours is examined, as are their attempts to secure a land base and continued collective identity under pressures from hostile state and economic forces. Their importance in the events of the period which would have long lasting national and local significance is also examined. A survey of the community and the changes it went through is given from the initial settlement period to the dissolution of the English Métis as a recognizable collective force following Louis Riels uprising.