Confronté à un projet de traduction de manuels d’histoire du français à l’anglais, destinés aux écoles publiques anglophones au Québec, Michael Varga définit une méthode qui ne s’appuie pas sur les théories de traduction classiques reliées aux structures binaires, mais qui s’inspire plutôt du modèle de la narratologie (narrative theory) prôné par Mona Baker. Varga reconnaît la légitimité d’une pluralité de narrations en compétition entre elles qui se manifestent parmi les différents groupes socioculturels faisant partie d’une même société (le Québec). Il identifie des passages en provenance du texte d’origine qui mettent en relief des conflits reliés à l’accommodation culturelle. Il traite la façon dont ces conflits échouent à communiquer adéquatement des réalités culturelles appropriées, lesquelles seront en concert avec les normes et valeurs propres à la société québécoise. Il propose des traductions, apte au domaine pédagogique, qui désamorceront ces conflits et les accommoderont tout en respectant la pluralité des réalités culturelles en évidence dans la société québécoise. / Faced with the task of translating history textbooks from French to English for use in Québec’s English-language public school system, Michael Varga outlines a translation approach that circumvents classical translation theories based on binary constructs in favour of a model inspired by narrative theory as proposed by Mona Baker. Acknowledging the legitimacy of multiple parallel narratives as they pertain to different socio-cultural groups within the same society (Québec), he identifies source text sections that expose conflicts related to intercultural harmony. He discusses how these conflicts may fall short of communicating appropriate cultural realities that conform to the norms and values that govern Québec society. With a focus on the educational context, he proposes translations that defuse these conflicts in a spirit of harmonization and respect for the pluralist cultural realities in evidence in Québec society.

Opera fantasias have been denigrated as insufficiently intellectual or serious, as derivative, as merely popular or sentimental. However, many of the perceived flaws were, if not hallmarks, at least accepted realities of Italian opera composing. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. I approach opera fantasias, instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material, both historically and theoretically, concentrating on compositions written for and by woodwind-instrument performers in Italy in the second half of the nineteenth century. Important overlapping strands in my theoretical framework include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. I have uncovered a large body of compositions and composers, many of whom have not been written about in English, through archival research in Milan, Naples, Parma, Bologna, and Palermo. This reveals trends in operas used for fantasias, temporally, spatially, and between instruments, as well as further trends in the use of specific melodies. I use contemporary reviews of performances and compositions to attest to the popularity of the opera fantasia throughout the second half of the nineteenth century in Italy, including oboist Antonio Pasculli as a case study. This often overlooked genre is intimately tied to the central canon and deeply connected to its social and musical contexts. Approaching the opera fantasia as a coherent and meaningful group of works clarifies a genre that has been consciously stifled and cultural resonances that still impact music reception and performance today.

Confronté à un projet de traduction de manuels d’histoire du français à l’anglais, destinés aux écoles publiques anglophones au Québec, Michael Varga définit une méthode qui ne s’appuie pas sur les théories de traduction classiques reliées aux structures binaires, mais qui s’inspire plutôt du modèle de la narratologie (narrative theory) prôné par Mona Baker. Varga reconnaît la légitimité d’une pluralité de narrations en compétition entre elles qui se manifestent parmi les différents groupes socioculturels faisant partie d’une même société (le Québec). Il identifie des passages en provenance du texte d’origine qui mettent en relief des conflits reliés à l’accommodation culturelle. Il traite la façon dont ces conflits échouent à communiquer adéquatement des réalités culturelles appropriées, lesquelles seront en concert avec les normes et valeurs propres à la société québécoise. Il propose des traductions, apte au domaine pédagogique, qui désamorceront ces conflits et les accommoderont tout en respectant la pluralité des réalités culturelles en évidence dans la société québécoise. / Faced with the task of translating history textbooks from French to English for use in Québec’s English-language public school system, Michael Varga outlines a translation approach that circumvents classical translation theories based on binary constructs in favour of a model inspired by narrative theory as proposed by Mona Baker. Acknowledging the legitimacy of multiple parallel narratives as they pertain to different socio-cultural groups within the same society (Québec), he identifies source text sections that expose conflicts related to intercultural harmony. He discusses how these conflicts may fall short of communicating appropriate cultural realities that conform to the norms and values that govern Québec society. With a focus on the educational context, he proposes translations that defuse these conflicts in a spirit of harmonization and respect for the pluralist cultural realities in evidence in Québec society.

Stroke recovery is complex and poorly understood. As a legacy of pervasive pessimism in the face of limited treatment, it is conceptualised and researched from biomedical and psychosocial perspectives that address impairment, problems of performance, quality of life, burden and disruption. Little stroke research is conducted once professional input has ceased, and yet considerable change occurs after this period with evidence that post-stroke wellbeing is independent of impairment and function -- many people do well in the face of poor prognoses, while others remain miserable despite 'good recovery'. Current advances in acute stroke management are generating increasing optimism, but lack of understanding about individuals' post-stroke experiences and long-term outcomes continues. While it is recognised that the impact of stroke on the lives of survivors and families is profound, rehabilitation focuses on recovery as task achievement and measured functional outcomes. For many survivors and their families 'recovery' is contested, ambiguous and extended. For some, it becomes a lifetime marathon because stroke represents an assault, not only to the body, but to the self and the lifeworld -- it is a 'life' event. This narrative inquiry into life after stroke explores recovery as a process taking place over time and conceptualised as a life transition. The work is grounded in narrative theory with the concept of transition providing the lens and focus for the research, its processes and analyses. Individuals' stories remain intact enabling evocation of diverse stroke meanings and the mapping of individual experience. Bringing these whole stories into conversation with each other elucidates post-stroke transition which is interpreted in light of theories of response to traumatic loss and informed by narrative theory. The thesis presents stories of trauma, loss and grief, situated in past lives and selves where assumptions about selves and future lives are shattered. The future makes no sense in terms of participants' past and present lives; life plots are lost and stroke therefore represents 'lost futures'. Stories of moving on to new lives are focused on being and doing in the present and have an expectant view of life. Although mindful of past lives and enduring losses, survivors actively engage in processes to reconfigure their lives with hope for a meaningful future. Transition is interpreted as 'reconfiguring the future'. The life tasks of reconfiguration are embedded in dynamic models of traumatic loss where grief is conceptualised as recursive movement between loss and meaning reconstruction evident in narratives that slowly move towards wellbeing. Despite broad recognition that loss and grief are part of the stroke experience, they are rarely addressed; where attention is paid it is likely embedded in explanatory models of staged response that oversimplify human experience. This thesis offers a new framework. It represents a fresh interpretation that highlights the ongoing traumatic impact of stroke. The post-stroke journeys of survivors and families are affected by individual circumstances and meanings. Although their stories are permeated with loss, many people move forward towards lives worth living. This interpretation suggests ways of reconfiguring lives in the face of devastation and ongoing traumatic loss. The work identifies a complex interaction of individual, emotional and social factors contributing to transitions to wellbeing following stroke and thus adds to a prospective vision of post-stroke life that can inform rehabilitation, discharge and stroke support strategies. Post-stroke transition will be enhanced when we use narrative framing and understanding to guide rehabilitative practice that uses meaning-centred models to prepare survivors and their families for a return to the lifeworld. / Thesis (PhD)--University of South Australia, 2009

Stroke recovery is complex and poorly understood. As a legacy of pervasive pessimism in the face of limited treatment, it is conceptualised and researched from biomedical and psychosocial perspectives that address impairment, problems of performance, quality of life, burden and disruption. Little stroke research is conducted once professional input has ceased, and yet considerable change occurs after this period with evidence that post-stroke wellbeing is independent of impairment and function -- many people do well in the face of poor prognoses, while others remain miserable despite 'good recovery'. Current advances in acute stroke management are generating increasing optimism, but lack of understanding about individuals' post-stroke experiences and long-term outcomes continues. While it is recognised that the impact of stroke on the lives of survivors and families is profound, rehabilitation focuses on recovery as task achievement and measured functional outcomes. For many survivors and their families 'recovery' is contested, ambiguous and extended. For some, it becomes a lifetime marathon because stroke represents an assault, not only to the body, but to the self and the lifeworld -- it is a 'life' event. This narrative inquiry into life after stroke explores recovery as a process taking place over time and conceptualised as a life transition. The work is grounded in narrative theory with the concept of transition providing the lens and focus for the research, its processes and analyses. Individuals' stories remain intact enabling evocation of diverse stroke meanings and the mapping of individual experience. Bringing these whole stories into conversation with each other elucidates post-stroke transition which is interpreted in light of theories of response to traumatic loss and informed by narrative theory. The thesis presents stories of trauma, loss and grief, situated in past lives and selves where assumptions about selves and future lives are shattered. The future makes no sense in terms of participants' past and present lives; life plots are lost and stroke therefore represents 'lost futures'. Stories of moving on to new lives are focused on being and doing in the present and have an expectant view of life. Although mindful of past lives and enduring losses, survivors actively engage in processes to reconfigure their lives with hope for a meaningful future. Transition is interpreted as 'reconfiguring the future'. The life tasks of reconfiguration are embedded in dynamic models of traumatic loss where grief is conceptualised as recursive movement between loss and meaning reconstruction evident in narratives that slowly move towards wellbeing. Despite broad recognition that loss and grief are part of the stroke experience, they are rarely addressed; where attention is paid it is likely embedded in explanatory models of staged response that oversimplify human experience. This thesis offers a new framework. It represents a fresh interpretation that highlights the ongoing traumatic impact of stroke. The post-stroke journeys of survivors and families are affected by individual circumstances and meanings. Although their stories are permeated with loss, many people move forward towards lives worth living. This interpretation suggests ways of reconfiguring lives in the face of devastation and ongoing traumatic loss. The work identifies a complex interaction of individual, emotional and social factors contributing to transitions to wellbeing following stroke and thus adds to a prospective vision of post-stroke life that can inform rehabilitation, discharge and stroke support strategies. Post-stroke transition will be enhanced when we use narrative framing and understanding to guide rehabilitative practice that uses meaning-centred models to prepare survivors and their families for a return to the lifeworld. / Thesis (PhD)--University of South Australia, 2009

Stroke recovery is complex and poorly understood. As a legacy of pervasive pessimism in the face of limited treatment, it is conceptualised and researched from biomedical and psychosocial perspectives that address impairment, problems of performance, quality of life, burden and disruption. Little stroke research is conducted once professional input has ceased, and yet considerable change occurs after this period with evidence that post-stroke wellbeing is independent of impairment and function -- many people do well in the face of poor prognoses, while others remain miserable despite 'good recovery'. Current advances in acute stroke management are generating increasing optimism, but lack of understanding about individuals' post-stroke experiences and long-term outcomes continues. While it is recognised that the impact of stroke on the lives of survivors and families is profound, rehabilitation focuses on recovery as task achievement and measured functional outcomes. For many survivors and their families 'recovery' is contested, ambiguous and extended. For some, it becomes a lifetime marathon because stroke represents an assault, not only to the body, but to the self and the lifeworld -- it is a 'life' event. This narrative inquiry into life after stroke explores recovery as a process taking place over time and conceptualised as a life transition. The work is grounded in narrative theory with the concept of transition providing the lens and focus for the research, its processes and analyses. Individuals' stories remain intact enabling evocation of diverse stroke meanings and the mapping of individual experience. Bringing these whole stories into conversation with each other elucidates post-stroke transition which is interpreted in light of theories of response to traumatic loss and informed by narrative theory. The thesis presents stories of trauma, loss and grief, situated in past lives and selves where assumptions about selves and future lives are shattered. The future makes no sense in terms of participants' past and present lives; life plots are lost and stroke therefore represents 'lost futures'. Stories of moving on to new lives are focused on being and doing in the present and have an expectant view of life. Although mindful of past lives and enduring losses, survivors actively engage in processes to reconfigure their lives with hope for a meaningful future. Transition is interpreted as 'reconfiguring the future'. The life tasks of reconfiguration are embedded in dynamic models of traumatic loss where grief is conceptualised as recursive movement between loss and meaning reconstruction evident in narratives that slowly move towards wellbeing. Despite broad recognition that loss and grief are part of the stroke experience, they are rarely addressed; where attention is paid it is likely embedded in explanatory models of staged response that oversimplify human experience. This thesis offers a new framework. It represents a fresh interpretation that highlights the ongoing traumatic impact of stroke. The post-stroke journeys of survivors and families are affected by individual circumstances and meanings. Although their stories are permeated with loss, many people move forward towards lives worth living. This interpretation suggests ways of reconfiguring lives in the face of devastation and ongoing traumatic loss. The work identifies a complex interaction of individual, emotional and social factors contributing to transitions to wellbeing following stroke and thus adds to a prospective vision of post-stroke life that can inform rehabilitation, discharge and stroke support strategies. Post-stroke transition will be enhanced when we use narrative framing and understanding to guide rehabilitative practice that uses meaning-centred models to prepare survivors and their families for a return to the lifeworld. / Thesis (PhD)--University of South Australia, 2009

Ce mémoire propose une conception narrative du système de justice criminel. Pour ce faire, l’auteure mobilise la théorie narrative suivant laquelle le procès contradictoire est appréhendé comme un concours entre différentes histoires. Le caractère général de cette théorie confère à l’auteure l’espace nécessaire pour analyser et expliquer différents aspects du traitement judiciaire des faits, que ce soit la preuve judiciaire, le processus de détermination judiciaire des faits, l’intervention judiciaire en appel ou encore le droit qui encadre chacun de ces aspects. La notion d’« histoire » favorise l’adoption d’une perspective qui sort du cadre restreint du procès dans lequel la notion de « preuve » est enfermée. La théorie narrative permet ainsi à l’auteure d’expliquer et d’organiser en un tout unifié divers aspects du processus judiciaire comme l’enquête, le dépôt des accusations, la théorie de la cause, le contre-interrogatoire ou encore la façon dont les faits sont d’abord choisis et assemblés par les parties avant d’être administrés et traités au procès sous forme de « preuve ». Appliquée au procès, cette théorie implique une approche holistique de la preuve suivant laquelle la détermination judiciaire des faits est une évaluation de la vraisemblance relative des histoires en compétition. Cela remet en question la vision traditionnelle (ou rationaliste) atomiste de la preuve où les faits sont déterminés suite à une décision sur la véracité ou la fausseté de chacun des éléments de preuve. Le nouvel éclairage qu’apporte cette vision narrative du procès et ses diverses implications mènent l’auteure à remettre en question le bien-fondé de la vision traditionnelle voulant que le procès mène à une détermination judiciaire des faits qui soit exacte. Au terme de son illustration de la valeur heuristique de la théorie narrative, l’auteure revisite sous la perspective narrative les récentes études en matière d’erreurs judiciaires. Elle en conclut que le droit commande au juge d’atteindre une vérité hybride sur les faits, à michemin entre, d’une part, ce qui est survenu dans la réalité et, d’autre part, ce qui permet de conférer un maximum de cohérence aux éléments de preuves effectivement présentés au procès. / This master’s thesis proposes a narrative conceptualization of the criminal justice system. The author employs the narrative theory framework that conceives the adversarial trial as a contest between different stories. This comprehensive theory offers a lens through which the author analyzes and explains multiple aspects of the judicial processing of facts including evidence at trial, fact-finding, appellate review and the law governing these aspects. The concept of “story” allows a broader perspective than the concept of “evidence” which is limited to the trial. This umbrella theory is therefore used to explain, organize and provide a united understanding of various aspects of the judicial system, such as the investigatory process, the laying of charges, the theory of a case, the cross-examinations, as well as how facts are chosen and organized before being presented and processed at trial as “evidence”. At trial, the global perspective of the narrative theory challenges the traditional (or rationalist) atomist approach to evidence, which explains fact-finding as a decision based on the truthfulness or the falseness of each individual piece of evidence adduced at trial. The narrative perspective, rather, suggests a holistic approach – fact-finding is a decision regarding the relative plausibility between two competing stories. Thus, these insights from the narrative theory call into question the traditional assumption that trials lead to accurate findings of fact. After her demonstration of the heuristic value of the narrative theory, the author applies the narrative framework to recent studies on miscarriages of justice. She concludes that the law enables triers of fact to reach only a hybrid truth, halfway between what happened in reality and an assessment of the consistency between the evidence adduced at trial.

<div> <p>The idea of “the book” overflows with extraneous significance: books are presented as windows, gateways, vessels, lighthouses, and gardens. Books speak to us and feed us, and they are a method of escape. The book has long represented much more than a static, hinged, bound, covered object inscribed with words. Even when a book is not performing an elaborate, imaginative function, the word “book” very often signifies the text it holds or even the text’s author: You can open <i>The Bluest Eye</i> or carry Toni Morrison in your bag. Fourteenth-century author Geoffrey Chaucer invokes a “book” by “Lollius” as authoritative source of his<i> Troilus and Criseyde</i>, though no person exists; likewise, to conclude the same text, Chaucer asks directs his project to “go, litel bok, go.” When a book makes an appearance in narrative, it is rarely j<i>ust a book</i>—without legs, the book moves, and without breath, it lives. This dissertation asks what about the shape of the codex has helped the book become such a metaphorically rich signifier.<br></p> <p>This dissertation attempts to unravel the various threads of meaning that make up the complex “idea of the book.” I focus on one of these threads: the book as a material object. By focusing on how the book as object—not the book as idea—functions within narrative, I argue that we can identify what about the book object enables its metaphorical range. I analyze moments in literature, television, and film when metaphorical functions are assigned, not to an ephemeral, complex idea of the book, but rather to the material realities of the book as an object. In these moments, the codex’s essential, material shape (what I am calling its bookishness) enables metaphorical functioning; I show that, by examining when mundanely physical bindings, pages, covers, and spines initiate metaphorical action, we can identify how the material book has come to mean so much more than itself.</p> <p><a></a>Indeed, despite a renewed appreciation for the book as both material and cultural object, books have become so significantly meaningful that attempts to define “the book” evade simplicity, rendering books as everything and nothing at the same time. My inquire explores this complexity by starting with a simple premise: Metaphors are based on some element of physical truth. Though the book has sprouted in a variety of metaphorical directions, many of those metaphors are grounded in the book’s material realities. Acknowledging this, especially in an age of fast-evolving media and bookish fetishism, offers a valuable and novel perspective on how and why books are both semantically rich and culturally valued objects.</p> </div> <br>

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