Dans cette étude nous nous proposons de mettre au jour ce qui assure la cohérence du texte dans quatre récits autobiographiques d’André Breton : Nadja, Les Vases communicants, L’Amour fou et Arcane 17. Nous proposons de les appeler « tétralogie » bretonienne. Après avoir montré que les approches en narratologie ne sont pas adaptées à cette fin, nous verrons que l’argumentation ayant pour but de transmettre l’idée du surréalisme donne un cadre intégrateur à ces récits pour en assurer la cohérence. Chaque texte doit selon nous être considéré comme une situation de communication entre le lecteur et l’auteur, c’est-à-dire dans sa dimension pragmatique et énonciative. L’illustration photographique, présente dans trois récits de la « tétralogie », fait partie des moyens mis en œuvre par l’acte d’argumenter. Elle contribue au mieux à cette communication-argumentation. Nous démontrons que ces récits doivent être considérés comme des « livres illustrés » modernisés par la photographie. Dans cette optique, nous examinons le rôle et l’évolution de la photographie à travers la « tétralogie ».Nous montrons que la situation de communication est figurée dans chacun des quatre récits comme un espace théâtral car chacun d’eux est construit comme un théâtre virtuel et fantasmatique. La théorie freudienne du rêve et du théâtre nous permet d’explorer la théâtralité de la « tétralogie » tout en résolvant le paradoxe du théâtre chez BRETON. / This study aims at clarifying the textual coherence in four autobiographical narratives of the Surrealist Poet André Breton: Nadja, Les Vases communicants, L’Amour fou and Arcane 17, which we propose to call “bretonian tetralogy”. Our main thesis is the central importance, in this “tetralogy”, of acts and means of convincing the reader of the genuineness of Surrealism. And the author succeeds in establishing a dynamic tête-à-tête relation with his reader, which endows each narrative with its inward coherence. Photography plays a key role in this rhetoric scheme, and we put forward the interpretation of “bretonian tetralogy” as a variation of 19th century’s illustrated book modernized by the medium and visualization device. On the basis of Freud’s theory about dream and theatricality, we demonstrate that these narratives must be considered as virtual theatres since incorporated theatricality is a way of reminding and exploiting, in the shape of a text, the discourse situation underway between communication partners; Breton and his reader.

This paper tries to characterize relation between narrative of novels and computer games. In its first part it points out specifics of the narrative of videogames, but also shows how narrative used in literature reacted in a form of multiform stories. It defines the possible kinds of relations between these two media (genetical influence, influence of structural analogy, influence of functional similarity, influence of shared contextual functioning, metatextual relation and changes caused by shared influences of perception), shows possible directions in which they can be used and finally it shows some of the prominent examples from both media to make these relations clearer. The main interest of the paper is then influence of structural analogy because of comparison of possibilities in both kinds of narrative. KEYWORDS narratology - narrative - fictional worlds - comparatistics - literature - computer games

[pt] A proposta deste estudo é mapear os procedimentos narrativos empregados em dois romances de Carlos Sussekind. Através de uma leitura semiológica das capas, percebe-se a interação entre forma e conteúdo no processo de produção de sentido. A utilização de procedimentos pertencentes à tradição do romance, em um contexto de produção literária denominada pós-moderna, une tradição e ruptura através de uma perspectiva paródica. A duplicação de instâncias narrativas é localizada em Armadilha para Lamartine como principal estratégia que, simultaneamente, cinde e gera uma unidade estrutural. A atribuição autoral apresenta-se, também, como um elemento de indeterminação, gerando uma investigação em um nível paratextual. Em Que pensam vocês que ele fez, a utilização do procedimento de encaixe narrativo revela a união entre convenção e transgressão, sob o aspecto da fragmentação do discurso e da identidade dos narradores. A escrita diarística, como método narrativo, assume, nos dois romances, uma importância distinta como estratégia por ser, nesse caso, uma apropriação e uma ficcionalização de textos de um diário dito real. O resultado da reunião de procedimentos tão distintos é a sofisticação das estruturas narrativas encontradas nos romances analisados. / [en] The purpose of this study is to map the narrative devices used in two novels by Carlos Sussekind. A thorough semiological reading of the book covers points to the interaction between form and content within the process of generating meaning. The use of conventional narrative devices in the context of postmodern literary production links tradition and transgression through a parodic perspective. In Armadilha para Lamartine the duplication of narrative levels is shown to be the main strategy, simultaneously fracturing and generating structural unity. The unclear authorship of the novel generates a paratextual approach. In Que pensam vocês que ele fez the use of frame tales as a narrative device reveals the combination of tradition and transgression, in the form of fragmentation of the discourse and of the narrator`s identity. Diary writing as a narrative method assumes in both novels a distinctive strategic importance because it is, in this case, appropriation and fictionalization of a so-called real diary. This combination of different devices results in a sophisticated narrative structure in both novels.

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Garden of Eden imagery is ubiquitous in contemporary print advertising in North America, especially in advertisements directed at women. Three telling characteristics emerge in characterizations of Eve in these advertising reconstructions. In the first place, Eve is consistently hypersexualized and over-eroticized. Secondly, such Garden of Eden images often conflate the Eve figure with that of the Serpent. Thirdly, the highly eroticized Eve-Serpent figures also commonly suffer further conflation with the Garden of Eden itself. Like Eve, nature becomes eroticized. In the Eve-Serpent-Eden conflation, woman becomes nature, nature becomes woman, and both perform a single narrative plot function, in tandem with the Serpent. The erotic and tempting Eve-Serpent-Eden character is both protagonist and antagonist, seducer and seduced. In this dissertation, I engage in an ecofeminist narratological analysis of the Genesis/Fall myth, as it is retold in contemporary fashion magazine advertisements. My analysis examines how reconstructions of this myth in advertisements construct the reader, the narrator, and the primary characters of the story (Eve, Adam, the Serpent, and Eden). I then further explore the ways in which these characterizations inform our perceptions of woman, nature, and environmentalism. Using a narratological methodology, and through a poststructuralist ecofeminist lens, I examine which plot and character elements have been kept, which have been discarded, and how certain erasures impact the narrative characterizations of the story. In addition to what is being told, I further analyze how and where it is told. How is the basic plot being storied in these reconstructions, and what are the effects of this version on the archetypal characterizations of Eve and the Garden of Eden? What are the cultural and literary contexts of the reconstructed narrative and the characters within it? How do these contexts inform how we read the characters within the story? Finally, I examine the cultural effects of these narrative reconstructions, exploring their influence on our gendered relationships with each other and with the natural world around us.

This study explores the archetypes, motifs, and stages of the Joseph Campbell's Hero's Journey as they are found in the Moldvay revision of the rules to Basic Dungeons & Dragons, that emerge from playing the game using the seven adventure modules printed for these rules. Using narratological concepts, the definition of what makes narrative is expanded to include the narrative that emerges by playing story-based roleplaying games like Dungeons & Dragons. These narratives, based on the seven adventure modules, are the analyzed using Campbell's monomyth as an interpretive tool, showing that these types of narratives are up to similar academic scrutiny as other forms of narrative. Such scrutiny shows that the types of narrative that emerge from playing a tabletop roleplaying game like Dungeons & Dragons need an expansion of the models for narrative analysis. This expansion presents a myriad of opportunities for future study.

This thesis examines gender relations in the war novel Ḥikāyat Zahra (1989) by the Lebanese author Hanan al-Shaykh. The analysis focuses on interpersonal relations among male and female characters in the novel as well as perceptions of gender and sexuality within a patriarchal order as depicted in the writing of Hanan al-Shaykh. The analysis is derived from a theoretical approach inspired by the work of Evelyne Accad’s Sexuality and War: Literary Masks of the Middle East. The thesis applies narratology as a method to show how gender and sexuality are constructed within the text. The analysis is divided into four main sections (1) dysfunctional family relations: patriarchy and false landmark (2) Defective gender relations: the reification of Zahra and the obsession of virginity (3) From inner to outer madness and (4) Illusions of agency and freedom during the war. Together these sections demonstrate the significance of sexuality and gender relations in women’s writing on the Lebanese Civil War. I argue that the novel presents a society where issues that eventually cause the breakout of a destructive civil war are rooted in the social structure which is based on patriarchal values. Due to these values, women are never seen as independent beings with agency capable of balancing between desire and morals. Thus, women become the primary victims of both political and social violence in the context of war.

This study examines Mologadi Ngwana’ Magolego Sepedi tale Mo_emane wa moimana as an example of fantasy. Fantasy as a genre creates a headache for theorists, because they struggle to distinguish this genre from other types of narratives. One theorist, Rottensteiner (1978:8), sees all narratives as fantasies. He admits that this creates a problem, since not all narratives are fiction. This problem is exacerbated by the fact that narratives broadly represent the thoughts of an author. If the definition of fantasy is too broad, everything that comes from the mind of an author can be seen as an imaginary text, in other words, a fantasy. Butler’s (2006) description of fantasy is narrower, explaining that the concept of fantasy is broader than other tales. This is because it is influenced by traditional fairy tales and by modern scientific fiction (Butler 2006:75). By contrast, Day (1984:277) suggests that in many cases, fantasy can be related to myth. This highlights how broad descriptions of the genre can be, and may lead to some confusion if fantasy is confused with other types of narratives which contain elements of myth. Furthermore, he sees the genre as important because it pushes the boundaries of the human imagination. According to Luckens (1995:27), fantasy often relies on magic and miracles. This argument is also problematic, considering that many fairy tales also contain magic and miracles. Sutherland (1991:247) makes the dubious claim that the actions of a fantasy can never be repeated and supports this claim with the argument that the actions may be truthful as they have a sequence. The argument of the theorists above indicates that they do not distinguish clearly between fantasy and other genres of narratives. This is the problem to be resolved in this study. This study directly investigated the plot of a fantasy, Mo_emane wa moimana, because it is important to demonstrate that the plot of a fantasy has specific elements (parts). These elements must be classified according to their importance. The elements found in the plot of a fantasy are the ones that justify the classification of this genre as this type of literature. To reach this justification, the study focused on three objectives. The first was to explain the plot of a fantasy, taking into consideration the content, the plot and the style. The second was to distinguish fantasy from other forms of folklore. The third was to call for the preservation of this kind of literature because there are so few in Sepedi. There was a need to conduct this investigation with an in-depth focus on a Sepedi tale to develop Sepedi folklore. Aside from the problem of the different views of literary theorists, another reason to conduct research on this topic is that thus far, investigations into such tales have failed to perform critical analysis. The research was therefore conducted by critically analysing one Sepedi fantasy (because of the magnitude of the investigation), while focusing on important distinctive features of the plot of that fantasy, Mo_emane wa moimana to demonstrate the power of miracles (and magic) in the plot and style of this tale. To resolve this problem of whether this story is a fantasy or a fairy tale, this study followed the following research methods: define, interpret and compare. The study also adopted narratology theory. This theory is directly linked to the plot of the text, and does not focus on the author. It is also important in helping to explain the distinction between these two types of narratives, because various types of narratives (including essays or short stories of various kinds) may wrongly be seen as fairy tales. The contents of a short story may show events that have never happened in reality, but are in a world of possibilities of such actions. Even though a fairy tale does not narrate the literal truth, it is literature, because this genre has all the characteristics of literature, namely content, a plot and style, as well as characters, a reader/listener and an author/narrator. The function of the reader/listener of a fairy tale is not to identify ‘mistakes’, but to enjoy the narration, and to realise the depth that the author/narrator has to create the tale. / Thesis (PhD)--University of Pretoria, 2019. / African Languages / PhD / Unrestricted

In 1912 Hjalmar Söderberg wrote what came to be a Swedish classic, The serious game, about the two young lovers Lydia and Arvid and their failed attempts to be with each other. 1973 Gun-Britt Sundström responded with her own novel, For Lydia, that tells the same story but from Lydia´s point of view.  This essay discusses if the macro perspective, Sundström´s tendency in giving Lydia an agency, can be seen in the structure of the language, the micro perspective. To enable this, the essay has been using parts of the narratology theory founded in the 1960’s that was partly produced by Gérard Genette and supplemented by Mieke Bal. Looking at focalization (from what angle the story is told), it is possible to investigate what kind of information the reader can assimilate of Lydia and her progress. Susan Lanser defined feminist narratology and in accordance to her theory the essay examines the context and author of the novel to fully understand the writings. Sundström in a higher degree than Söderberg includes intern focalization when it comes to Lydia, which gives the reader more information about Lydia and her agency. Söderberg focalizes Arvid rather than Lydia which gives the reader the impression that Lydia acts selfish and unaccountable. Both novels arose in circumstances characterized by female emancipation and by regarding that, a more prominent picture of Sundström´s intention to make For Lydia a feministic response to The serious game can be seen. In conclusion, the essay shows that, the tendency of Sundström, to make a feministic response to Söderberg´s novel, can be seen even in the micro perspective of the language.

Governance is a predominant paradigm in political science, characterizing how current regimes are increasingly steered by multiple societal actors and structures. The specific purpose and processes of such arrangements however, remain vague in theory and in practice. This thesis relies on narratological and ethnographic methods to describe how motivations, goals, and interactions of collaborative governance arrangements advance theoretical and empirical definitions. The focus of this paper is the Swedish National Innovation Council (NIC), which provides a rare case of collaborative governance at the national government level. By interpreting the active narratives of this council, theoretical definitions of collaborative governance are stabilized. I rely on semi-structured elite interviews and document analyses to gain access to the council’s otherwise exclusive arrangement. I find that this constructivist approach adds sociopolitical dimensions to the concept of collaborative governance, including a deeper understanding of collaboration, change and contribution. These theoretical findings are grounded on empirical observations, including my concept of ‘bilateral opportunism,’ the semantics presented in the concept of change, and the reconceptualization of public service. The will to improve expressed by the NIC has political and democratic implications that this thesis will discuss.