Texte remanié de : doctoral dissertation : ? : Cambridge University : 2003. / Bibliogr. p. 223-245. Index.

Thesis (Ph. D.)--University of Wollongong, 2004. / Title from PDF title page (viewed on Mar. 6, 2006). Includes bibliographical references (p. 299-323). Also issued as a print manuscript. Print manuscript includes ill. omitted from online version.

Le cinéma est un art qui repose sur des moyens techniques de capture et de reproduction du mouvement et du son. Il s’impose après la littérature, la peinture et la photographie par sa virtuosité nouvelle à créer des artifices à l’image du monde. Une fois défait de l’objectif mimétique, il conquiert sa légitimité artistique par l’écart discursif esthétique ou critique. Il ne reproduit plus seulement les images en mouvement de la nature, des hommes et des sociétés, il les met en scène et les met en tension. Le discours universitaire a investigué et continue d’interroger les traces du monde qu’il propose, la spécificité de ses images, ses techniques et sa grammaire, la conception de l’art et de l’artiste qu’il offre. En histoire du cinéma, la littérature consacrée aux cinématographies nationales et aux monographies de réalisateurs est importante tandis que la sémiologie, l’analyse de films et la philosophie du cinéma ont construit les concepts opératoires nécessaires à la considération transversale des œuvres par-delà les frontières nationales et génériques. Les travaux de recherche consacrés à la réalisatrice martiniquaise Euzhan Palcy s’inscrivent dans cette tradition. En effet, l’analyse a à cœur de rendre compte de son travail et de la placer dans l’histoire du cinéma et de l’art. / Cinema is an art based on technical devices to capture and reproduce motion and sound. It surpasses literature, painting and photography by its virtuosity in creating new reality-like images of the world. Once rid of its mimetic purpose, cinema conquered its artistic legitimacy by making full use of its technical specificities to develop discursive, aesthetic and/or critical perspectives. It no longer simply displays moving images of nature, people and society, it stages them and builds narrative tension. The academic discourse has investigated and continues to examine the traces of the world it offers, the specificity of its images, techniques and grammar, the conception of art and the understanding of the artist it suggests. In film history, the literature on national cinematography and monographs about directors is important while semiotics, film analysis and the philosophy of cinema gave rise to the operational concepts needed to consider works across national liens and genres.The research devoted to Martinican director Euzhan Palcy fits into this tradition. The analysis aims to account for her body of works and places her in the history of cinema and the arts.

Esta Tese visa aprofundar algumas questões da poética nabokoviana, a partir de uma tradução inédita do russo para o português brasileiro de capítulos de (Druguíe Beregá), de 1954, uma das variações de sua autobiografia, chamada, na Rússia, de romance. Incluída em seleções e antologias no mundo todo, esta obra de Nabókov possui uma história repleta de matizes linguísticos e estilísticos: um de seus princípios foi um conto-ensaio escrito em francês, Mademoiselle O (1936), recomposto e traduzido para o inglês, tornando-se uma primeira versão em livro de memórias, Conclusive Evidence, ou Speak, Memory (1951, EUA e Inglaterra, respectivamente), revertido e reformulado em russo, por sua vez retransformado em uma versão final, Speak, Memory: An Autobiography Revisited (1967). A comparação entre os textos corrobora a hipótese de que as transformações que se concretizam na recriação de , obra mediadora, são fundamentais para a leitura tanto da última versão em inglês, como também da primeira. Para Nabókov, essa reescritura, além do processo criativo inerente ao ato tradutório, passa a ser uma releitura e revisão de sua própria obra, com alterações que vão além das peculiaridades de cada língua. Dessa forma, faz-se necessário ler, traduzir e examinar cada versão como texto independente. A tradução, em todas as suas formas e manifestações, como mote e como prática, tem papel essencial na obra e na vida de Nabókov. É com ela que ele inicia sua trajetória literária, é por meio dela que ele retorna à Rússia e à língua russa. A relação do escritor com o tradutor e a (auto)tradução é crucial e a Tese tem o propósito de refletir sobre não uma Arte da Tradução nabokoviana, mas Artes da Tradução, já que transformam o tradutor em escritor, o autotradutor em revisor, e o revisor em reescritor. / This dissertation aims to deepen some issues about the Nabokovian poetics, presenting the first Russian translation into Brazilian Portuguese of some chapters of (1954), one of the variations of his autobiography, known as a novel in Russia. Included in selections and anthologies around the world, this work has a history full of linguistic and stylistic nuances: one of the first versions was a story-essay written in French, Mademoiselle O (1936), recomposed and translated into English, becoming a memoir, Conclusive Evidence, or Speak, Memory (1951, USA and England, respectively), reworked in Russian, and then reprocessed into a final version: Speak, Memory: An Autobiography Revisited (1967). A comparison of the texts shows that the transformations performed in recreating , an interposed work, are key to reading the last version in English, as well as the first. For Nabokov, this rewriting, besides the creative process inherent to the act of translation, becomes a reinterpretation and revision of his own work, full of changes beyond the peculiarities of each language. Thus, it is necessary to read, translate and study each version as a autonomous text. Translation in all its forms and expressions, as a theme and as a practice, plays an essential role in Nabokov\'s work and life. It is translating that he began his literary career, it is through it that he returns to Russia and Russian language. The writer\'s relationship with the translator and (self)translation is critical and the dissertation aims to reflect on not a Nabokovian Art of Translation, but multiple Arts of Translation since they transform the translator into a writer, the self-translator into an editor, the editor into a rewriter.

The project examines how German- and English-speaking translators of selected Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural and linguistic specificity, with a view to shedding light on how culture and language translate. Following a survey of different theories of translation, an integrated theory is applied in order to highlight what Simenon’s translators have retained and lost from three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of linguistic and cultural specificity is facilitated by application of an integrated theory of translation coupled with the methodology devised by Hervey, Higgins and Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of detective fiction across the three cultures involved, and Simenon’s biography and wider oeuvre, help elucidate the salient features of the selected source texts. In view of the translators’ decisions, strategies for minimising various types of translation loss are presented. While other studies of translation theory have examined literary and technical texts, this study breaks new ground by focussing specifically on the comparative analysis of detective fiction in translation.

The number of overseas and immigrant students enrolled in post-secondary institutions has been increasing throughout North America, resulting in culturally and linguistically diverse classrooms. In response to this major social change, Canadian college and university educators seek ways to integrate students of diverse linguistic and cultural backgrounds and nurture mutual understanding. The challenge of educators, as well as both native English-speaking and English language learning students, is to understand how norms and values shaped by language and embedded in texts, classroom tasks, and interpersonal relationships are translated across cultures. This idea of translation offers a lens through which the intersections of languages and cultures may be richly explored. This study examines how different conceptions of translation operate in socioculturally diverse classroom spaces, while pointing to strategies for reducing barriers to productive and harmonious learning. The study first analyzes various conceptions of translation. It focuses on a hermeneutic concept of language as interpretation, helping us perceive an emerging new space where languages and cultures meet and interrelate. The study also analyzes sociocultural and political effects of translation, in particular, approaches derived from cultural studies and postcolonial studies. Using translations between Japanese and English as examples, the study examines how asymmetrical relations of power construct national identities. Then the focus shifts to post- secondary education. The study examines and interprets the conceptions of translation reflected in textbooks and literature in two curricula areas—college preparatory ELL courses, and first-year English literature courses—in order to clarify how these texts embody particular educational principles and values. As applied in this study, the hermeneutic conceptions of translation illuminate the educational potentialities of texts. Conceptions of translation derived from postcolonial and cultural studies demonstrate how texts can manipulate representation of power and historicity, and hinder opportunities to embrace differences and to create inclusive learning environments. Conceptions of translation with hermeneutic interest, on the other hand, suggest that texts can open up a border world—a third, in-between space—where newness can emerge. The study illustrates how this space, a borderless generative space and a locus to share and appreciate difference, can enrich the educational experience of students and teachers alike. / Education, Faculty of / Language and Literacy Education (LLED), Department of / Graduate

The main topic of this document is singer Jaromir Nohavica. I would like to describe the evolution of his poetics. The primary goal is to establish, that the year of revolution - 1989 is the critical impulse to his production. Reader is briefly introduced to Jaromir Nohavica's life, but also acquaint with concepts like popular culture and kitsch. Basically I focuse on Jaromir Nohavica's song poetics interpretation. The specific examples show that Nohavica shift towards the mainstream of popular literature, in thematic level, in level of production and presentation himself in the way of rendering Jaromir Nohavica, compared to songwriters of his time, does not lose the audience, he can beraised according to the new conditions and new age.

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The thesis deals with one major issue of how the amaXhosa authors reflect change and transition in the lives of their characters in the period under consideration. This change pertains both to the socio-politico-economic life of the people concerned and the contents of the books and the style of the authors' writings. The study is ground-breaking in that it goes beyond common dissection of the structural elements of the books to a synthetic study of their themes, subject matter, character portrayal and setting. The primary aim is to give a holistic overview of the changing culture of the black people against the backdrop of subjugation and transformation. Chapter 1 contains all the formal preliminary information such as aim, method, context, relevance and topicality of study. Chapter 2 anchors the study in the newspaper age as a solid foundation for the amaXhosa literature. Chapter 3 is an overview of the beginnings of literary endeavours among the amaXhosa and how they reflect the impact of socio-economic pressures in the lives of the people. Chapter 4 further illustrates the impact of education and Christianisation on the blacks as well as growing political awareness among the authors. Chapter 5 focuses on culture-clash among the amaXhosa as a result of the alienating influence of both the church and the school. Chapter 6 highlights changes in society at the height of oppression under the previous political dispensation. Chapters 7 and 8 reflect the authors' thinking and how they depict changes in post-apartheid South Africa while Chapter 9 focuses on the role of Language Boards in restricting freedom of writing and expression during the apartheid years. Chapter 10 is a general conclusion that encapsulates the main points of the thesis. / African Languages / D. Litt, et Phil. (African Languages)

A ideia do País de Gales como uma nação que detém sua identidade própria foi-se diluindo aos poucos, na medida em que se incorporou à história geral e à cultura do Reino Unido, as quais por sua vez são determinadas pela Inglaterra e pelos valores ingleses. A identidade galesa, como qualquer outra identidade nacional, é uma construção feita a partir de muitos fatores determinantes, entre eles os eventos históricos. Nesta tese, apresento minha leitura do romance histórico Here Be Dragons, da autora estadunidense Sharon Kay Penman, para explorar e analisar a questão da identidade nacional galesa e para examinar como o conceito de Identidade Galesa se configura naquele universo ficcional. Este trabalho representa também uma busca pessoal e uma investigação sobre minha identidade e memória galesa, já que fui criado e educado numa Gales gerida pelo sistema educacional inglês, que excluía dos currículos quase todas as referências à história, ao idioma e aos valores do País de Gales. O romance estudado se passa em um período da Baixa Idade Média em que Gales luta por manter sua cultura e sua identidade, ao ser confrontada com um poder maior, o dos reis e barões anglo-normandos que buscam construir seu império. Como se trata de um romance histórico, considero importante explorar as relações entre narrativa histórica e narrativa histórica ficcional. Para tanto, apresento um esboço historiográfico e certas considerações sobre o romance histórico como gênero literário. Mais ainda, acredito ser necessário apresentar um pouco da história do País de Gales, não apenas para termos uma ideia do que seja a identidade galesa, mas também para colocar o romance analisado no seu contexto histórico apropriado. Esta tese está construída em três partes. Na primeira, examino os conceitos de identidade e memória cultural e nacional e aspectos históricos formadores da identidade galesa. Para tanto, me apoio em obras escritas por Anthony D. Smith, professor de Etnia e Nacionalismo da Escola de Economia de Londres, como embasamento teórico para os conceitos de nacionalismo e identidade cultural. A segunda parte, que trata sobre História, é dividida em três subseções. Na primeira apresento um esboço sobre historiografia, com considerações sobre como a História é apreendida e estudada. A segunda trata sobre o romance histórico, comentando como se tornou um gênero literário e como se relaciona com a narrativa histórica. A última subseção apresenta traços da história do País de Gales, para estabelecer as ligações com as questões de identidade nacional. A terceira seção da tese apresenta a minha leitura de Here Be Dragons, na qual examino como é construída na narrativa a questão da identidade galesa através das personagens principais e nas descrições das paisagens e de estruturas medievais como castelos e mansões. Na conclusão, apresento as últimas considerações sobre os processos que levaram ao apagamento e à consequente busca de resgate da identidade nacional galesa. Acredito assim estar cumprindo minha parte neste processo que é tão bem representado no romance Here Be Dragons de Sharon Kay Penman. / Wales, as a nation in itself, has to some extent been forgotten and absorbed into the general history and culture of the United Kingdom, which for the most part, is dominated by England and “English” values. Welsh identity, or indeed any national identity, is a construct of many determining factors, not the least of which are historical events. In this dissertation, I present my reading of the historical novel, Here Be Dragons by American author Sharon Kay Penman, in order to explore and analyze the question of Welsh national identity and to examine how the concept of Welshness is configured in this fictional universe. This work is also a personal search and exploration into Welsh identity and memory, as I was brought up and educated through an English educational system – in Wales – which excluded a greater part of Welsh history, language and values from the curriculum. The novel covers a late medieval period of between 1183 and 1234, during which Wales struggles to maintain its unique identity and culture against the greater power of the empire-building Anglo-Norman kings and barons. As this dissertation concerns a historical novel, in order to better understand the relationship between a history narrative and a historical-novel fictional narrative, an outline of historiography and a background to the genre of the historical novel are important. Furthermore, a description of the historical background of Wales is necessary, not only to give us an idea of the formation of the Welsh identity, but also to place the novel into its correct historical context. The dissertation is divided into three parts. In part one, I examine the concepts of national and cultural identity and memory and the cultural and historical aspects which form the identity of Wales. I have used the works of Anthony D. Smith, professor of Ethnicity and Nationalism at the London School of Economics as a theoretical basis for the concepts of national and cultural identity. Part two, which deals with history, is divided into three sub-sections. In the first sub-section I examine and briefly outline historiography, how history is studied and presented. The second sub-section deals with the historical novel, how it developed as a literary genre and its relationship with the history narrative. The final sub-section is a historical background to Wales in order to have a better understanding of Welsh identity. Part three of the dissertation is my reading of Here Be Dragons, in which I examine the construction of Welsh identity in the narrative in the principal characters and the symbols that represent Wales in the descriptions of landscapes and medieval structures such as castles and manor houses. To conclude, I present my final considerations of the processes which have led to the eradication and the consequent search to restore a Welsh national identity. Thus, I believe I am fulfilling my part in this process that is so well represented in Sharon Kay Penman’s novel Here Be Dragons.