The aim of this research entitled Narrative Strategies in Selected Amharic Novels from 2000 until 2010 was to shed light on the relationship among form, meaning (content) and social milieuin establishing the textual and contextual features of fictional narratives. It mainly contends that it is possible to unravel the textual and contextual qualities of fictional narratives by studying form as a narrative strategy. In this research, form, when understood as a narrative strategy, is not only considered as a textual construct which motivates textual meaning but also regarded as a product of the social milieu from which the text emerges. Having this conception, form as a narrative strategy is investigated in selected Amharic novels published from 2000 until 2010 in view of expounding the artistic and thematic features of contemporary Amharic novels, endeavouring to fill the knowledge gap in Amharic literary scholarship about their literary features. The present research applies narratological approaches that range from classical to post-classical narratology. However, it dominantly uses post-classical conceptions of narratology as guidelines for its discussion. The dissertation comprises six chapters. The first one is an introductory chapter in which the research problems, goals and assumptions are explicated. Chapter two deals with the theoretical framework where the theoretical insight the research utilizes as a guideline is outlined and methodological issues are specified. The following three chapters focus on the analysis. In the third chapter, story is investigated as a narrative strategy in Yeburqa Zemeta (Burka’s Silence) (2000); in the fourth one, focalization is treated as a narrative strategy in Gerač.a Qač.eloč (Grey Bells) (2005), and in the fifth chapter, characterization is studied as a narrative strategy in Dèrtogada (Dertogada) (2010). The dissertation concludes with a chapter in which independent findings in the three analysis chapters are summed up and generalizations on the textual and contextual features of the present day Amharic novels are made. / Afrikaans & Theory of Literature / D. Litt. et Phil. (Theory of Literature)

In this studyi apply a feminist-narratological grid to the works under discussion. I show how narration is used as strategy to highlight issues of concern to women, hereby attempting to make a contribution in the relatively new field of feminist narratology. Chapter One provides an analysis of Pride and Prejudice as an example of a feminist statement by Jane Austen. The use of omniscient narration and its ironic possibilities are offset against the central characters' perceptions, presented by means of free indirect style. Chapter Two examines The Tenant of Wildfell Hall as a critique of Wuthering Heights, both in its use of narrative frames and in its at times moralistic comment. The third and fourth chapters focus on Charlotte Bronte. Her ambivalences about the situation of women, be they writers, narrators or characters, are explored. These are seen to be revealed in her narrative strategies, particularly in her attainment of closure, or its lack. Chapter Five explores the increasing sophistication of the narrative techniques of Elizabeth Gaskell, whose early work Mary Barton is shown to have narrative inconsistencies as opposed to her more complex last novel Wives and Daughters. Finally, I conclude that while the authors under discussion use divergent methods, certain commonalities prevail. Among these are the presentation of alternatives women have within their constraining circumstances and the recognition of their moral accountability for the choices they make. / English Studies / D. Litt. et Phil. (English)

This thesis analyzes narrative strategies of Kurt Vonnegut as a postmodern author with a specific style. The first part defines postmodernism as opposed to modernism and explains all essential notions to provide the theoretical background. This part also includes a biographical element, describing the important events of the author's life, as these had a major influence on his work. Second part of the thesis analyzes the narrative style of the two selected books, Breakfast of Champions and Mother Night. The conclusion summarizes the most important specifics of the author's narrative strategies and style in the given books. This thesis presents Kurt Vonnegut as a significant and influential representative of postmodern American literature of the second half of the 20th century. Vonnegut fully employs the narrative strategies typical for this period, and by experimenting he creates his own unique style.

Work "Short exotic stories in work of Julius Zeyer" deals with five selected Zeyer's works that are set in the exotic land of India and Far East. One prose is associated with India, the other four with China and Japan. The works are a result of careful collecting, translating and creative work of Julius Zeyer. The present diploma thesis outlined in brief the life of Julius Zeyer and its role in the contemporary literature. It characterized Zeyer's interest in the exotic motives and way he followed them. The diploma thesis also considered form of the Zeyer's prose. The present work examined characteristics of plot and main characters and as well as the representation of the exotic places. It showed that the narrative places take part in creating the atmosphere that corresponds to the current experience of the characters. The nature of the characters is revealed against the background of the plot. Zeyer elaborated mutual connection between the characters and areas. Part of the interpretation was in each case devoted to the overall Zeyer's evocation of India, China and Japan and its artistic depth.

La présente thèse a pour but de ressortir l’implicite de l’œuvre de Tierno Monénembo. Elle se structure autour de trois axes principaux ; le premier étudie les instances narratives ; le deuxième porte sur les principaux actants du récit ; le troisième axe permet d’élaborer la genèse du mythe personnel de l’écrivain à travers l’exil. L’analyse psychocritique de l’œuvre de Monénembo se veut être aussi une étude portant sur la psychologie des personnages, elle tâche de mettre en exergue le malaise identitaire des personnages et celui de l’exilé en somme, face à des traumatismes sociopolitiques, les personnages éprouvent la nostalgie du royaume de l’enfance. Cette structure récurrente dans l’œuvre est la résultante d’un passé troublant. Celui-ci se traduit dans le discours des narrateurs. Ces derniers s’inspirent en général de l’univers familial ou de celui du pays natal « mal sorti » du joug colonial français / The present theses is aimed at taking out again the implicit of literary oeuvre of Tierno Monenembo. It is structured around three main axles ; the first studies narrative authorities ; second door on the main actors of the tale ; the third axles allows to work out the origin of the personal myth of the writer across banishment. The analysis psychocritique of oeuvre of Monenembo Is meant be also a study concerning the psychology of the figures. It tries to head with the self-defining feeling of faintness of the figures and with that of the exile. All in all, faced with traumas sociopolitiques, the figures feel the nostalgia of the infantile stadium. This recurrent structure in oeuvre is the result of a disturbing past. This one is translated by speeches on the sly of storytellers. These last draw inspiration in general from the family world or from that of the natal country “badly taken out” from French colonial yoke

Made available in DSpace on 2016-04-28T19:59:04Z (GMT). No. of bitstreams: 1 Flavia Regina Oliveira Leao.pdf: 1078930 bytes, checksum: 82670d39a47c0fa85a8a7818f1fc4e5c (MD5) Previous issue date: 2007-10-04 / Secretaria da Educação do Estado de São Paulo / This dissertative work promotes a stylistic-literary approach between two short stories from the Portuguese Literature, from the nineteenth century  Singularidades de uma rapariga loura, by Eça de Queiroz, and Manuel Maçores, by Trindade Coelho  through the comparative description of the construction of their characters. As they are transitory and transitive between two realities, the romantic and the realistic, we have defined our objectives which consists of differentiating the treatement that is dedicated to them, based on the ficcional techniques used by their respective narrators in their ficccional projects: the manking and the unmasking. In particular, we analyse the role of the transformation of the indirect speech into the direct one, and the lexical choice as a complementary technique, keeping in mind that this analysis led us to the reading of alternatives in the critical space of the relation narrator and character. In the first chapter, studies of Ernesto Da Cal, Wayne Booth, Mikhail Bakhtin and Jean Starobinski, among others, assisted us in presenting the narrator-character discursive play, in Singularidades de uma rapariga loura, short story that keeps in itself the complexity of the structure between being and seeming in the ficcional context in discursive revelation. In the second chapter, we resort to Segolin s contemporary studies, in order to prove the autonomy that the character achieves by means of narrating technique, in Manuel Maçores, a handmade work which revealed the transitivity of the character from Romantism to Realism, by using the critical space in the narrative setting. In the third chapter, with theoretical supporters as Lukács and Barthes, we deal with the differentiation of the language in the composition of the Portuguese realistic short story that favored the drawing of a parallel between the transitive characters in Singularidades de uma rapariga loura and Manuel Maçores. We conclude, therefore, that the operational variations occured in the narrator-character s distance provoke a diversion in the characters voices in a perspective that takes the tale to the platform of a potential educational novel, under a methodological dominance in the act of permutation, which we believe that contributes to a higher level of social singularity of the Portuguese short story in a historical moment of transformation / Este trabalho dissertativo promove uma aproximação estilístico-literária entre dois contos da Literatura Portuguesa, do século XIX  Singularidades de uma rapariga loura, de Eça de Queiroz, e Manuel Maçores, de Trindade Coelho , através da descrição comparativa da construção de suas personagens. Sabendo-as transitórias e transitivas entre duas realidades, a romântica e a realista, definimos nosso objetivo que consiste em diferenciar o tratamento que lhes é dedicado, a partir das técnicas ficcionais utilizadas pelos respectivos narradores em seus projetos ficcionais: o mascaramento e o desvelamento. Em particular, analisamos o papel da transformação do discurso indireto em discurso direto, e a escolha lexical como técnica complementar, sabendo que essa análise nos conduziu à leitura de alternativas no espaço crítico da relação narrador e personagem. No primeiro capítulo, estudos de Ernesto Da Cal, Wayne Booth, Mikhail Bakhtin e Jean Starobinski, entre outros, auxiliaram-nos na apresentação do jogo discursivo narrador-personagem, em Singularidades de uma rapariga loura, conto que reserva em si a complexidade da estruturação entre o ser e o parecer no contexto ficcional em revelação discursiva. No segundo capítulo, recorremos aos estudos contemporâneos de Segolin, para comprovar a autonomia que a personagem logra por meio da técnica do narrar, em Manuel Maçores, trabalho artesanal esse que nos revelou a transitividade da personagem do romantismo para o realismo, pela via do espaço crítico no cenário narrativo. No terceiro capítulo, com suportes teóricos como Lukács e Barthes, lidamos com a diferenciação da linguagem na composição do conto realista português, o que nos favoreceu o traçado de um paralelo entre as personagens transitivas em Singularidades de uma rapariga loura e Manuel Maçores. Concluímos, portanto, que as variações operacionais ocorridas no distanciamento narrador-personagem provocam desvios nas vozes das personagens em uma perspectiva que lança o conto para o estrado de um possível romance de formação, sob uma dominante metodológica em ato de permuta, e que julgamos contribuir para um maior grau de singularização social do conto português em histórico momento de transformação

Denna uppsats redogör för och undersöker berättarperspektiv och maktrelationer i Emily Brontës roman Wuthering Heights. På vilket sätt läsaren tar del av romanens komplexa berättande, om det är samma berättare genom hela romanen eller om det skiftar, vilka maktrelationer som existerar mellan romangestalterna och förhållanden mellan makt och berättarperspektiv undersöks genom analys av verket.

A ficção de Paulo Francis - um corpus formado por dois romances, Cabeça de papel e Cabeça de negro, partes de uma trilogia inconclusa, mais duas novelas, “Mimi vai à guerra” e “Clara, Clarimunda...”, publicadas sob o título geral Filhas do segundo sexo, e um romance póstumo, Carne viva - se apresenta como um experimento interessante do panorama literário brasileiro das últimas décadas. Jornalista de interesses culturais e políticos, Francis dotou suas narrativas de procedimentos usados nas crônicas publicadas ao longo de décadas na imprensa nacional, principalmente nos dois primeiros romances, cujo narrador, Hugo Mann, é extremamente digressivo, opinativo, irreverente e provocativo. É esse narrador, que filia o resultado a um tipo de subgênero que se poderia chamar de “romance de ideias”, que se quer investigar. Produto característico do século XX, Francis parece ter usado o romance de ideias para alcançar um tipo de fabulação que diagnosticasse as mazelas do Brasil, em um tipo de texto que se pretende também um painel histórico, sociológico, comportamental. Como coadjuvantes, entram os demais títulos de sua novelística. / Paulo Francis’s fiction - one corpus formed by two romances, Paper Head and Negro Head, which are parts of an unfinished trilogy, plus two novels, ‘Mimi goes to War’ and ‘Clara, Clarimunda...’ both published under the general title Daughters of the Second Sex, and the posthumous romance Live Flesh - appears as an interesting experiment in the Brazilian literary panorama of the last decades. A journalist with cultural and political interests, Francis produced his narrative using the same procedures he used in his chronicles published in national newspapers for decades, mainly in this two first romances, whose narrator, Hugo Mann, is extremely digressive, opinionated, irreverent and provocative. What this study aims to investigate is this narrator who links the result to a sort of subgenus that might be classified as ‘romance of ideas’. As a characteristic 20th Century product, Francis seems to have used his romance of ideas with the purpose of achieving a sort of fable that would diagnose Brazil’s sores. His writing also intends to be a historic, sociological and behavioural panel of the nation. His other novels enter like coadjutants.

The aim of this research entitled Narrative Strategies in Selected Amharic Novels from 2000 until 2010 was to shed light on the relationship among form, meaning (content) and social milieuin establishing the textual and contextual features of fictional narratives. It mainly contends that it is possible to unravel the textual and contextual qualities of fictional narratives by studying form as a narrative strategy. In this research, form, when understood as a narrative strategy, is not only considered as a textual construct which motivates textual meaning but also regarded as a product of the social milieu from which the text emerges. Having this conception, form as a narrative strategy is investigated in selected Amharic novels published from 2000 until 2010 in view of expounding the artistic and thematic features of contemporary Amharic novels, endeavouring to fill the knowledge gap in Amharic literary scholarship about their literary features. The present research applies narratological approaches that range from classical to post-classical narratology. However, it dominantly uses post-classical conceptions of narratology as guidelines for its discussion. The dissertation comprises six chapters. The first one is an introductory chapter in which the research problems, goals and assumptions are explicated. Chapter two deals with the theoretical framework where the theoretical insight the research utilizes as a guideline is outlined and methodological issues are specified. The following three chapters focus on the analysis. In the third chapter, story is investigated as a narrative strategy in Yeburqa Zemeta (Burka’s Silence) (2000); in the fourth one, focalization is treated as a narrative strategy in Gerač.a Qač.eloč (Grey Bells) (2005), and in the fifth chapter, characterization is studied as a narrative strategy in Dèrtogada (Dertogada) (2010). The dissertation concludes with a chapter in which independent findings in the three analysis chapters are summed up and generalizations on the textual and contextual features of the present day Amharic novels are made. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Theory of Literature)

In this studyi apply a feminist-narratological grid to the works under discussion. I show how narration is used as strategy to highlight issues of concern to women, hereby attempting to make a contribution in the relatively new field of feminist narratology. Chapter One provides an analysis of Pride and Prejudice as an example of a feminist statement by Jane Austen. The use of omniscient narration and its ironic possibilities are offset against the central characters' perceptions, presented by means of free indirect style. Chapter Two examines The Tenant of Wildfell Hall as a critique of Wuthering Heights, both in its use of narrative frames and in its at times moralistic comment. The third and fourth chapters focus on Charlotte Bronte. Her ambivalences about the situation of women, be they writers, narrators or characters, are explored. These are seen to be revealed in her narrative strategies, particularly in her attainment of closure, or its lack. Chapter Five explores the increasing sophistication of the narrative techniques of Elizabeth Gaskell, whose early work Mary Barton is shown to have narrative inconsistencies as opposed to her more complex last novel Wives and Daughters. Finally, I conclude that while the authors under discussion use divergent methods, certain commonalities prevail. Among these are the presentation of alternatives women have within their constraining circumstances and the recognition of their moral accountability for the choices they make. / English Studies / D. Litt. et Phil. (English)