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This thesis is an attempt to interpret the novel of Ladislav Fuks - The duchess and the art of cookery. It is focused on the relationship of its fictional world with culture and with the philosophy of biedermeier. Biedermeier is thought to be a value stream, a harmonizing approach to life, and also a method, which prefers idylls. The analytic source is Gérard Genette's theory of transtextuality, chosen because of Fuks's distinctive intertextuality of his work.

The purpose of this thesis is to analyze two Spanish versions of Čapek's drama R. U. R. with regard to the English text they both originate from. The theoretical part examines the phenomena of indirect translation, metatextuality (especially as far as adaptations for children are concerned) and translation of theatre plays according to Jiří Levý (1963). In the empirical part, R. U. R. is first analyzed with regard to various quotes the author himself said about his play. Next, Paul Selver's English version of R. U. R. is examined: it is explained how the text originated, what kind of changes it contains in comparison to the original text and how it was received. Finally, the thesis focuses on Consuelo Vázquez de Parga's Spanish rendition of R. U. R., which is a translation of Selver's English text. Again, changes on both compositional & ideological-esthetical level and stylistic level are analyzed. Here, Popovič's (1975, 1983) typology of stylistic shifts and changes in translation was used as the main methodological instrument. Last but not least, the thesis also addresses Juan Cervera Borrás's Spanish adaptation of R. U. R. for youth theatre. Key words: R. U. R., Čapek, Spain, indirect translation, metatextuality, adaptation, mediating text, adaptations for children, Selver, Vázquez de Parga,...

Ce mémoire interroge la place qu’occupe le personnage historique, Joris-Karl Huysmans (1848-1907) dans le roman Soumission (2015) de Michel Houellebecq. Située en France en 2022, l’histoire met en scène François, spécialiste de Huysmans. Afin de cerner le rôle de Huysmans dans l’histoire, nous nous sommes intéressée à l’amitié que François exprime pour lui, leurs affinités et leurs divergences. Les polémiques suscitées lors de la parution du roman nous ont poussé à également considérer la moralité de l’histoire. L’aspect temporel du roman, situé dans un futur proche, est important car il laisse supposer une comparaison. Ainsi, notamment la notion de politique-fiction - anticipation de faible amplitude -, ainsi que des concepts narratologiques empruntés à Genette - transtextualité, voix et mode -, ont fourni des outils d’analyse. De même, la recherche de Viard sur la vision politique de Houellebecq, et sa conception comtienne de la religion, a servi de guide. En premier lieu, nous avons ainsi montré que Houellebecq a créé l’illusion d’une réalité possible dans un cadre familier aux lecteurs, puis, en deuxième lieu, nous avons constaté que le narrateur est autodiégétique et la focalisation interne, ce qui nous a permis de faire le rapprochement entre le héros et la vie et l’oeuvre de Huysmans. Plus loin, l’association des caractéristiques de la politique fiction avec les fonctions testimoniale et idéologique du narrateur ont fait apparaître la figure de Huysmans comme plus largement le représentant de la décadence de la modernité. La vision antilibérale et critique exprimée par François rappelle donc le désenchantement dans la littérature « fin de siècle » dont Huysmans était un grand représentant. De plus nous avons constaté que si François et Huysmans ne partagent pas la même vision de la religion, ils partagent le même idéal conservateur de la femme et du couple. Enfin, ces éléments réunis, nous en sommes arrivée à la conclusion que plutôt que nihiliste, la moralité exprimée serait altruiste. / This essay interrogates the part played by the historical figure, Joris-Karl Huysmans (1848-1907) in Michel Houellebecqs novel Submission (2015). The story, set in France in 2022, revolves around François, specialist in Huysmans. In order to establish Huysmans role, we have focalized on François’s friendship, expressed by him, their affinities and their differences. The polemics brought on when the novel was published has also made us consider the moral of the story. The temporal aspect is important since it underscores a comparison between a plot set in the future and a historical figure. Here especially one notion of political fiction – speculation in a nearby future – has proven useful. It was furthermore the case of concepts in the field of narratology developed by Genette, intertextuality and metatextuality, voice and mode. Moreover, we have been guided by Viards theory regarding Houellebecqs political view as well as his vision on religion, inspired by Auguste Comte. Considered all together, this shows that Houellebecq has created an illusion of reality taking place in a familiar environment to which readers can relate. Further on, the narrator being homo-diegetic with an internally focalized perspective, makes it possible for us to conciliate the life of the hero with the life and works of Huysmans. We have also seen that the notions of political fiction, combined with the testimonial and ideological functions of the narrator, relates to the character of Huysmans as a representant of the decadency of modernity. Moreover, François’s anti-liberal and critical vision of France has a clear affinity with the disenchantment expressed in the 19th century, fin de siècle literature, of which Huysmans was a principal figure. We argue that although François and Huysmans don’t share the same vision of religion, they share the same conservative ideal of femininity and the couple. This all together has led us to the conclusion that the moral of the story rather than nihilistic is altruistic.

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

Cette thèse analyse comment la fiction espagnole contemporaine renoue avec la tradition de l’exemplarité littéraire, à travers l’étude d’un corpus de sept œuvres publiées au tournant du XXe (1998-2004). Elle tente de mettre en lumière l’évolution de la notion d’exemplarité dans une perspective diachronique mais aussi synchronique, à travers le prisme du paradigme de pensée contemporain centré sur la notion d’individu. Les nouvelles modalités de l’exemplarité au sein de la prose narrative actuelle sont appréhendées à partir de la réactivation de son support traditionnel — la figure du héros — mais aussi des possibilités nouvelles qu’offrent le questionnement des frontières génériques et l’ambiguïté du pacte de lecture. Dans un monde dépourvu de consensus idéologique, les auteurs du corpus forgent leur propre grille d’interprétation du réel et substituent des réponses éthiques particulières, mais toutefois crédibles et acceptables par le lecteur, à l’imposition de vérités globales et universelles. L’exemplarité, telle qu’elle est à l’œuvre dans le roman actuel, entraîne alors une nouvelle forme d’engagement caractérisée par l’énoncé d’une éthique consubstantielle à la création littéraire. / This thesis analyses how the contemporary Spanish fiction revives the tradition of literary exemplarity, through the study of seven novels published at the turn of the XXth and the XXIst centuries (1998-2004). This work tries to underline the evolution of the exemplarity notion in both diachronic and synchronic perspectives, and the study of the current analytical paradigm focused on the individual. The new forms of exemplarity in contemporary literature are considered through the reactivation of its traditional shape —the hero— but also with the new possibilities given by the questioning of boundaries between genre and the ambivalence of the reading pact. In a world devoid of ideological consensus, the authors of the corpus shape their own frames of understanding. Rather than a universal moral, they suggest subjective ethical answers that can be shared by the reader. The exemplarity, in its actual forms, produces new types of commitment that are based on an ethic inseparable from literary creation.

The following text is an excerpt from the book Narrative Instability: Destabilizing Identities, Realities, and Textualities in Contemporary American Popular Culture, which was originally published in 2019 with Universitätsverlag Winter as part of the series American Studies – A Monograph Series. The book introduces the concept of ‘narrative instability’ in order to make visible a new trend in contemporary US popular culture, to analyze this trend’s poetics, and to scrutinize its textual politics. It identifies those texts as narratively unstable that consciously frustrate and obfuscate the process of narrative understanding and comprehension, challenging their audiences to reconstruct what happened in a text’s plot, who its characters are, which of its diegetic worlds are real, or how narrative information is communicated in the first place. Despite—or rather, exactly because of—their confusing and destabilizing tendencies, such texts have attained mainstream commercial popularity in recent years across a variety of media, most prominently in films, video games, and television series. Focusing on three clusters of instability that form around identities, realities, and textualities, the book argues that narratively unstable texts encourage their audiences to engage with the narrative constructedness of their universes, that narrative instability embodies a new facet of popular culture, that it takes place and can only be understood transmedially, and that its textual politics particularly speak to white male middle-class Americans.