The aim of this study is to apply Genette's narratological theory and Ricoeur's views on narrative identity to selected short stories from J.W. Mashike's Pelo Segole. The study comprises four chapters. The problem statement, a1ms as well as method of research are outlined in chapter one. In chapter two, Genette's narratological theory as well as Ricoeur's vtews on narrative identity, which form the basis of this study, are highlighted and discussed. In chapter three, a narratological analysis of the stories 'Di wele Morerwana', 'Pelo Pholwana' and 'Ga di ke di Mutlhwa di le Pedi' focusing on aspects of duration, namely ellipsis, pause, scene and summary, is undertaken. An interpretation of the stories according to Ricoeur's views on narrative identity is also undertaken in this chapter. In chapter four, a summary of the mam findings of this study as well as a conclusion, will be included. / Thesis (M.A. (African Languages))--Potchefstroom University for Christian Higher Education, 2003

The aim of this study is to apply Genette's narratological theory and Ricoeur's views on narrative identity to selected short stories from J.W. Mashike's Pelo Segole. The study comprises four chapters. The problem statement, a1ms as well as method of research are outlined in chapter one. In chapter two, Genette's narratological theory as well as Ricoeur's vtews on narrative identity, which form the basis of this study, are highlighted and discussed. In chapter three, a narratological analysis of the stories 'Di wele Morerwana', 'Pelo Pholwana' and 'Ga di ke di Mutlhwa di le Pedi' focusing on aspects of duration, namely ellipsis, pause, scene and summary, is undertaken. An interpretation of the stories according to Ricoeur's views on narrative identity is also undertaken in this chapter. In chapter four, a summary of the mam findings of this study as well as a conclusion, will be included. / Thesis (M.A. (African Languages))--Potchefstroom University for Christian Higher Education, 2003

This essay examines the protagonist of Katherine Mansfield’s “The Garden Party” (1922), Laura, and her experiences of events that are made insignificant by the rest of the narrative. Gérard Genette’s narratological theory and the concept of epiphany is put forward in the theroertical framework in order to preform this investigation. Morris Beja’s and Liesl Olson’s studies of the epiphany in modernist literature assists the investigation. Thus, with the support of Genette’s narratological theory and the concept of epiphany, this essay examines epiphanic moments in “The Garden Party”. It will also study how these moments transfer on to the reader through multimodal techniques. This argument is supported by Joseph Conrad’s preface to The Nigger of the ‘Narcissus’.

Regarding the structural logic behind Jacob’s death-bed story (Gen 47.28-50.26), biblical scholars historically have seen its enigmatic features as evidence of diachronic development. Those who treat it as an intentionally composed whole typically either simply assume that intention or else argue for it using only basic logical structures (chiasm, parallel). The story’s composition is better explained, however, through the lens of conventional structures, especially that of a Hebrew death-bed type-scene. In the first chapter I overview approaches to the passage in biblical scholarship and evaluate recent synchronic approaches. Structuralist readings of other biblical texts are considered and mostly dismissed as a precedent, though Propp’s method is similar. I then state my reasons for beginning with 47.28, rather than 47.27. In chapter two, I investigate the first of the four Episodes that make up Jacob’s death-bed story: 47.28-31. Specific issues addressed include: evidence of competing chronologies, phrasal similarities with the chosen-line genealogies of Genesis 5 and 11, and the characterization of Joseph as a Worthy Successor, one of four tale-roles taken by characters in death-bed stories. Chapter three deals with 48.1-22, giving special attention to the similarity of verses 3-12 to covenant-initiation forms, the issue of adoption, the conventional characterization of Joseph and his sons as Worthy Successors, and the grammar of verses 13-20. In chapter four I focus on the climactic aspects of the language of verse 28 and the characterization of all twelve sons as Worthy Co-Successors. Chapter five treats the Preparation and Testament sections (49.29-33) of the fourth and final Episode. Certain words and phrases are best understood in a legal register. In chapter six I turn to the extended conclusion of the fourth Episode, or the Epilogue, which encompasses the three short stories in 50.1-26. All three deal with conventional concerns typically addressed in death-bed stories. Furthermore, 50.22-26 is a conventional death-bed story in its own right. This investigation of conventional structures in Jacob’s death-bed story opens up new and more objective ways of understanding long-recognized problems in the passage as intentional elements, regardless of the process of the text’s composition and transmission.

Thesis (M.A.)--University of the Witwatersrand, Faculty of Humanities, Digital Arts, 2013 / This research report investigates the representations of femininity in the 2012 videogame Mass Effect 3. Using the work of Antony Giddens, Espen Aarseth, Judith Butler, Tracy Dietz, Henry Jenkins, Maja Mikula and Janet Murray, it sets out a theoretical framework of constructions of gender and proceeds to analyse the game in the light of these. The research focuses on the female protagonist and the way in which an alternate representation of femininity is constructed through her. The research takes into account both the narratological and ludological elements in the game and their impact on her performance of gender. In conclusion, the research suggests that due to interactive properties, videogames offer fertile ground for re-examinations of gender.

Nos livros 6 e 7 das Histórias, Tucídides narra a expedição de Atenas à Sicília, que terminaria com a desastrosa derrota ateniense diante dos siracusanos e seus aliados. O relato engloba desde a assembleia em Atenas na qual os preparativos são discutidos até a derrota final do exército ateniense. Nota-se o destaque que a personagem Nícias, um dos generais atenienses que comandavam a expedição, tem no relato, pois muitas das suas ações e dos seus discursos são destacados pelo narrador. O objetivo desta dissertação é investigar a construção da personagem ao longo da narrativa e compreender o motivo do seu destaque. Para isso, utilizamos o instrumental da Narratologia, enfatizando o nível da narrativa (narradores primário e secundário) e as diferenças ou semelhanças entre a focalização primária representada pelo narrador primário (que relata a história principal) e a focalização secundária representada por Nícias. Depois de fazer a comparação entre os narradores, pode-se perceber que um narrador valida as informações transmitidas pelo outro, ou seja, as palavras e ações de Nícias ratificam o relato primário e vice-versa. Além disso, funcionam como um fio condutor no efeito interno no relato, proporcionando ao narrador primário a continuidade na sequência lógica do relato, ou seja, a derrota ateniense na Sicília. A caracterização da personagem Nícias é definida pelo seu modo de ação caracterizado como inação e o medo que demonstra diante da opinião pública desde o livro 6 e se intensifica no livro 7. Nícias, tal como retratado por Tucídides, desempenha uma função proléptica, pois, desde o início, o seu comportamento e os seus discursos já sinalizavam a sua dificuldade diante da liderança do exército. A importância de Nícias está no fato de que é por meio da sua focalização que o narrador indica a mudança da sorte ateniense, ao longo dos dois livros, ante a derrota do exército ateniense. A comparação entre o teor dos discursos de Nícias a medida em que a situação ateniense vai se tornando cada vez mais prejudicada, acompanha e intensifica o desânimo representado pela narrativa primária, corroborando assim com o objetivo do narrador primário de narrar, mais do que a expedição, a derrota. / In books 6 and 7 of Histories, Thucydides recounts the expedition of Athenas to Sicily, which would end after the disastrous Athenian defeat before the Siracusans and their allies. The report includes from the assembly in Athens in which the preparations are discussed until the final defeat of the Athenian army in Sicily. It is noteworthy the prominence that the character Nícias, one of the Athenian generals who commanded the expedition, has in the story, since many of his actions and his speeches are highlighted by the narrator. The objective of the dissertation is to investigate the character\'s presentation throughout the narrative of the books 6 and 7 and to understand the reason for its prominence in the narrative. For this, we use the Narratological instruments, emphasizing the narrative level (primary and secondary narrators) and the differences or similarities between the primary focalizer represented by the primary narrator (which reports the main story) and the secondary represented by Nícias. After comparing the narrators, it can be seen that one narrator validates the information transmitted by the other, that is, the words and actions of Nícias ratify the primary narrative and vice versa. Nícias also has the function as a guiding thread in the internal in the narrative, providing the primary narrator with continuity in the logical sequence of the account, that is, the Athenian defeat in Sicily. The construction of the character Nícias, his mode of action characterized as inaction and the fear he proves before public opinion define the performance of the Athenian general since book 6 and intensifies in the book 7. Nícias, as portrayed by Thucydides, plays a proleptic function, since from the beginning his behavior and his speeches already signaled his difficulty before the leadership of the army. The importance of Nícias lies in the fact that it is through his focalization that the narrator indicates the change in Athenian fortunes over the two books of the defeat of the Athenian army. The comparison between the content of the discourses of Nícias as the Athenian situation becomes increasingly impaired, accompanies and intensifies the discouragement represented by the primary narrative, thus corroborating with the primary narrator\'s purpose of narrating, besides the expedition, the defeat.

Many scholars have argued back and forth regarding the reliability of the narrator Nick Carraway in F. Scott Fitzgerald’s most well-known novel The Great Gatsby. Nick’s attention to detail in his narrative is the element due to which many scholars argue in favour of his reliability. One of these scholars is Wayne C. Booth, who was the first that introduced reliability and unreliability, and marked Nick as a reliable narrator. Nick’s account is a retrospective telling of events which happened two years earlier and Booth argues for Nick’s reliability because he provides the benefit of hindsight. However, in this essay, I will argue that Nick Carraway is an unreliable narrator as the consequence of his selectiveness that is visible in the narrative. Through Nick’s selectiveness, four categories are evident: concealment of information, censorship, memory, and drunkenness. As a result, these categories, alongside the central aspect of selectiveness, verify the suppression of the complete plot which Nick hides from the reader.

In this project I explore the creation of female community in the novels of four contemporary feminist writers: Nicole Brossard, Michelle Cliff, Maryse Condé, and Gisèle Pineau. I contend that in their diverse representations of female community, these women writers provide collaborative feminist models of resistance, creative transformation, and renewal. Building on Judith Butler's articulation of agency as variation on repetition, I argue that these writers transform the space of the novel in order to tell these stories of community, revitalizing this form as a potential site of collaborative performance of identity. They offer an alternative vision that is not only feminist and collective, but also transnational, translinguistic, historical, and epistemological - challenging and reconfiguring the way in which we understand our world. I develop the project thematically in terms of coming-of-age through and into female community (what the communities in these novels look like and the relationship between individuals and communities, seen through the process of individual maturity). I then consider the formal construction of female community through the collective narrative voice (both within the novels and outside them, in the form of each writer's collective body of engaged feminist dialogue in interviews and theory). Finally, I explore female community through alternative genealogies and quests for origin (demonstrating the implications of these novels' vision for transforming a more traditional worldview, with transnational communities and the transmission of historical knowledge across generations of women).

La présente thèse explore les représentations de la femme dans des récits orientalisants de sept auteurs français du XVIIIème siècle, classés par ordre alphabétique : Caylus, Crébillon, Diderot, Mme de Genlis, Hamilton, Montesquieu et Voltaire. Les chapitres analysent cinq types de femmes regroupées selon leur rôle narratif. Dans le chapitre premier, j’étudie les figures féminines orientales dans Zadig et La princesse de Babylone de Voltaire. J’y tiens compte de la façon dont la voix narrative perçoit les femmes dans ces récits et quelle place elle leur attribue dans la narration. Dans le chapitre deux, je me penche sur la représentation des Orientales voilées dans « Aphéridon et Astarté », un récit inséré dans Lettres persanes de Montesquieu, et dans Nourmahal de Mme de Genlis. Je considère la femme voilée comme un personnage Autre, je relève ses caractéristiques principales, j’examine son rôle narratif, et j’identifie la valeur significative de son voile. Dans le chapitre trois, je tiens compte des personnages féminins orientaux dans Fleur d’épine de Hamilton et « Ibrahim et Anaïs », un autre récit enchâssé dans les Lettres persanes. Je m’interroge sur le rôle de la femme qui est représentée dans une situation inverse, je considère la place qui lui est attribuée dans le texte et son influence sur les autres personnages du récit. Dans le chapitre quatre, j’analyse les femmes interlocutrices dans Le Sopha de Crébillon et Les Bijoux indiscrets de Diderot. J’étudie la voix féminine dans ces récits et ses interventions dans la narration. J’examine ensuite l’effet de cet engagement sur le fond et la forme du récit. Dans le cinquième et dernier chapitre, j’étudie les femmes dans les Contes orientaux de Caylus. J’explore les différentes fonctions qu’elles remplissent ; je distingue alors entre les narratrices et les femmes objets du discours. Je m’intéresse particulièrement à montrer comment les personnages féminins qui se chargent de la narration utilisent le récit pour influencer le narrataire.

La présente thèse explore les représentations de la femme dans des récits orientalisants de sept auteurs français du XVIIIème siècle, classés par ordre alphabétique : Caylus, Crébillon, Diderot, Mme de Genlis, Hamilton, Montesquieu et Voltaire. Les chapitres analysent cinq types de femmes regroupées selon leur rôle narratif. Dans le chapitre premier, j’étudie les figures féminines orientales dans Zadig et La princesse de Babylone de Voltaire. J’y tiens compte de la façon dont la voix narrative perçoit les femmes dans ces récits et quelle place elle leur attribue dans la narration. Dans le chapitre deux, je me penche sur la représentation des Orientales voilées dans « Aphéridon et Astarté », un récit inséré dans Lettres persanes de Montesquieu, et dans Nourmahal de Mme de Genlis. Je considère la femme voilée comme un personnage Autre, je relève ses caractéristiques principales, j’examine son rôle narratif, et j’identifie la valeur significative de son voile. Dans le chapitre trois, je tiens compte des personnages féminins orientaux dans Fleur d’épine de Hamilton et « Ibrahim et Anaïs », un autre récit enchâssé dans les Lettres persanes. Je m’interroge sur le rôle de la femme qui est représentée dans une situation inverse, je considère la place qui lui est attribuée dans le texte et son influence sur les autres personnages du récit. Dans le chapitre quatre, j’analyse les femmes interlocutrices dans Le Sopha de Crébillon et Les Bijoux indiscrets de Diderot. J’étudie la voix féminine dans ces récits et ses interventions dans la narration. J’examine ensuite l’effet de cet engagement sur le fond et la forme du récit. Dans le cinquième et dernier chapitre, j’étudie les femmes dans les Contes orientaux de Caylus. J’explore les différentes fonctions qu’elles remplissent ; je distingue alors entre les narratrices et les femmes objets du discours. Je m’intéresse particulièrement à montrer comment les personnages féminins qui se chargent de la narration utilisent le récit pour influencer le narrataire.