O objetivo da tese é estudar o narrador do romance A Menina que Roubava Livros, publicado em 2005 pelo autor australiano Markus Zusak. A história enfoca Liesel Meminger, uma menina de nove anos adotada por um casal alemão que, não sendo entusiasta do regime Nazista, esconde um Judeu em seu porão durante a Segunda Guerra Mundial. A imagem da morte como narrador é a principal característica da obra de Zusak, que apresenta uma entidade coletora de almas que observa as experiências de Liesel e tece comentáros sobre os seres humanos. A fim de analisar tal narrador, esta dissertação se apóia em estudos de Carl Gustav Jung, Gilbert Durand e, em certa medida, em Sigmund Freud. Também utiliza premissas teóricas do campo da narratologia, tendo Gérard Genette e Mieke Bal como principais vozes representativas. A dissertação está dividida em três capítulos. O capítulo 1 oferece um panorama acerca da construção da morte enquanto imagem arquetípica, enquanto personificação e enquanto narrador. Nesse capítulo, as perspectivas teóricas de Jung, Durand, Genette e Bal são prevalentes. O objetivo é entender como a morte é representada como ideia e como imagem. O capítulo 2 foca nas implicações da morte. Assim, analiso a morte de indivíduos, a pulsão de morte (que toma de assalto muitas das personagens), a morte em massa e a morte social como uma consequência direta da guerra. O objetivo desse capítulo é visualizar a morte como um tema. Para tanto, são aplicados alguns conceitos freudianos, como pulsão de morte e melancolia. O capítulo 3 oferece uma leitura narratológica do romance, ao relacionar a morte aos aspectos de focalização, tempo e espaço. O obejtivo do último capítulo é analisar como a morte se posiciona enquanto observador dos fatos narrados. Na conclusão, apresento minhas considerações finais acerca da utilização desse peculiar narrador em A Menina que Roubava Livros e seu papel na construção do romance e na formulação do tom da narrativa. / The aim of this dissertation is to study the narrator of the novel The Book Thief, published in 2005 by the Australian author Markus Zusak. The story centers upon Liesel Meminger, a nine-year old girl fostered by a German couple who are not enthusiasts of the Nazi regime and hide a Jewish man in their basement during World War II. The image of death as the narrator is the main feature in Zusak’s novel, which presents a soul collecting entity who observes Liesel’s experiences and makes comments about the human beings. In order to analyze such narrator, the dissertation relies on studies by Carl Gustav Jung and Gilbert Durand and, to some extent, to Sigmund Freud. The dissertation also borrows theoretical assumptions from the narratological field, having Gérard Genette and Mieke Bal as its main representatives. The dissertation is divided in three chapters. Chapter 1 offers an overview about the construction of death as an archetypal image, as a personification and as a narrator. In this chapter, the theoretical perspectives of Jung, Durand, Genette and Bal are prevalent. The objective here is to try to understand how death is represented as an idea and as an image. Chapter 2 focuses on the implications of death through the book. Hence, I analyze the death of individuals, the death drive (which assaults many of the characters), mass death and social death as a direct consequence of war. The objective of this chapter is to view death as a theme. In order to do that, some concepts from Freud, such as death drive and melancholia, are applied. Chapter 3 offers a narratological reading of the novel through the link of death to focalization, time and space. The objective in this last chapter is to analyze how death positions himself as an observer of the facts narrated. In the conclusion, I present my final considerations about the use of such peculiar narrator in The Book Thief and its role for the construction of the novel and the setting of the tone for the narrative.

Este estudo apresenta a escritora chilena María Luisa Bombal ao cenário da crítica literária brasileira, destacando brevemente suas obras, porém detendo-se em A amortalhada, escrita em 1938. Assim, buscar-se-á mostrar alguns recursos recorrentes nesta obra da autora, sobretudo no que tange à(s) voz(es) apresentada(s) no desenvolver-se da narrativa, ou seja, analisar como se dá o discurso. Em particular, na pesquisa, tratar-se-á de ritmo, rima e sinestesias, recursos que contribuem para que a obra seja de uma simbologia, rara e precisa. / We intend to introduce this study about Chilean writer María Luisa Bombal´s life and work to the scenery of Brazilian literary criticism, trying to analize more closely La amortajada (The shrouded woman) (1938) considered extremely important in Chilean and international literary milien. We will emplacize certain narrative devices like the use of differet voices in the discourse, all along the plot, rhythm, rhyme and synesthesy which contribute to the creation of a typical symbology, rare and need.

O objetivo desta dissertação é realizar uma leitura da obra Como se o mundo não tivesse leste (1977), de Ruy Duarte de Carvalho, com foco especial na configuração do espaço, procurando compreender a relação que se estabelece entre a ordem colonial, com seu sistema legal, e o universo comunitário que a invasão colonial busca romper.No capítulo 1, examinamos alguns dados biográficos do autor e seu projeto artístico, bem como o contexto histórico dessa produção. Também, analisamos a estória As águas de Capembáua com ênfase nos espaços da onganda e da fazenda. No capítulo 2, concentramos a análise em João Carlos, natural do Chinguar, no Bié, observando os espaços do sambo e da sanzala. No capítulo 3, focamos em Como se o mundo não tivesse leste, o contraponto entre a geografia do sul de Angola e a cosmogonia (terra, homem, antepassado) aos espaços da loja e do posto administrativo colonial. Nos três capítulos, procuramos apontar a presença da dualidade jurídica ( direito costumeiro e legislação colonial), bem como a técnica narrativa do autor, cuja característica central é reorganizar, por meio do narrador, as diferentes versões de cada uma das três estórias. / The objective of this dissertation is to perform a reading of the work \" Como se o mundo não tivesse leste\" (1977), by Ruy Duarte de Carvalho, with special focus on the configuration space, seeking to understand the relationship that is established between the colonial order, with its legal system, and the community universe that seeks to break the colonial invasion. In chapter 1, we review some biographical details of the author and his art project as well as the historical context of this production. Also, we analyze the story \"As águas de Capembaúa\" with emphasis on spaces of onganda and farm. In chapter 2, the analysis focused on \"João Carlos, natural Chinguar, no Bié\" noting the spaces sambo and sanzala. In chapter 3, we focus on \"Como se o mundo não tivesse leste\" counterpoint the geography of southern Angola and cosmogony (earth/land, man, ancestor) to the space of the store and the colonial administrative post. In all chapters, we point to the presence of legal duality (customary law and colonial law), and the author\'s narrative technique, whose central feature is to reorganize, through the narrator, the different versions of each of the three stories.

In a narrative the narrator tells the story, and the focalizer is a character through whose eyes the story is seen. The narrator is thus the one who speaks, whilst the focalizer is silent. The identification of these two narratological features is made with the help of verbal cues such as personal pronouns for instance. Determining the narrator and the focalizer can sometimes be challenging due to ambiguous cues in the analyzed text, as well as narratological aspects which at times can be difficult to distinguish from each other. Determining the narrator and the focalizer in graphic narratives (comics) with no narrative voice, or which completely lack words, must be done with the help of pictorial cues instead. In this thesis, Shaun Tan’s wordless graphic narrative The Arrival is used in order to show how the narrator and the focalizer can be determined by combining pictorial cues with the reader’s general knowledge of storytelling as well as his or her experiences from real life scenarios. To analyze narratological features in The Arrival, I employ terminology from comics studies, literary and film narratology. My analysis shows that determining the narrator and the focalizer in narratives lacking explicit narrative voice is possible by using only pictorial cues.

La figure de lecteur, prégnante dans les romans britanniques des XVIIIe et XIXe siècles, est porteuse de sens pour l’histoire du roman. Intimement liée à l’histoire du livre et à la discontinuité de lecture qu’impose la publication des romans en plusieurs volumes ou épisodes, elle s’impose aussi comme une représentation plus ou moins fidèle du lectorat. La figure de lecteur reconstruit ainsi l’histoire complexe que le roman entretient avec ses lecteurs. Derrière une bienveillante volonté d’inviter le plus grand nombre à la lecture romanesque se cache en réalité une tendance à la définition du lectorat par exclusion. Pour aussi paradoxal que cela soit, le roman a peur de ses lecteurs. Mus par la volonté de dissocier le genre des vulgaires « romances », les auteurs ne vont avoir de cesse de repousser en marge de leur texte tant de lecteurs indésirables susceptibles de faire échouer l’édifice littéraire aux préceptes encore très classiques qui se met en place. Au-delà, la figure de lecteur ne saurait être qu’une simple affaire de représentation : elle est aussi un double narratif, une sorte de miroir érigé au narrateur-auteur qui met à profit ce reflet inversé pour construire l’instance narrative encore bien peu légitime qu’il représente. Figure de lecteur et narrateur-auteur sont indissociablement liés. Ainsi les variations d’apparition de la figure de lecteur dans le texte n’ont d’égal que la fragilité de la voix auctoriale et l’expression de l’angoisse de réception que trahit une très symptomatique rhétorique de dépréciation. / Pregnant as it is in 18th and 19thC British novels, the reader in the text is potent with meaning for the history of the novel. Related to the history of the book and the discontinuous act of reading imposed on readers by the publication of novels in different volumes or episodes, the reader figure may also be seen as a more or less faithful representation of actual readers. The reader figure thus retraces the complex history of the relationship between the novel and its readers. Behind what appears as a complacent will to invite the widest audience to the reading of novels, a more systematic tendency to define readership by exclusion can hardly be concealed. Paradoxical as this may be, the novel has much to fear from its readers. Moved by their will to have the genre clearly distinguished from vulgar romances, the authors will repeatedly push those unwelcome readers likely to lead the whole literary edifice to a collapse back to the margins of their texts. But the reader cannot just be a matter of representation: it also is a narrative double, a sort of mirror erected to the self-conscious narrator who uses it to build up the hardly legitimate literary authority he stands for. Thus the reader figure and the self-conscious narrator are linked by an indissolvable bond. The variations in number of reader figures only reverberate the frailty of the authorial voice and the anxiety of reception expressed in a highly symptomatic text-undermining rhetoric.

<p>Abstract</p><p>Purpose/Aim: The aim is to investigate if there are any differences in the reporting from the Olympic games and the Paralympic games, according to different periodicals or magazines, with focus on Paralymics and sports for handicapped. If so, what are those differences?</p><p>Material/Method: The material consists of two periodicals, or magazines; Svensk idrott which is the official paper for the swedish Riksidrottsförbundet, and Handikappidrott, which is the official paper for the swedish Handikappidrottsförbundet. Articles considering the summer games in 1972 and 1976, 1984, 1996 and 2000 was studied with regard to models developed by Algirdas J. Greimas. The methods are both quantitative and qualitative.</p><p>Main results: The main results are that the biggest difference between the periodicals really lie in the selection of articles and also in the amount of articles published, considering the games. In Handikappidrott, the articles are aimed towards an initiated audience who are supposed to know much about handicapped people and their sports. Svensk idrott focuses a lot more on different aspects of the Olympic games, such as politics and economy. Also has the aspect of normalisation been of current interest – the problem is that the more of handicapped people and issues that are presented to the audience in order to pinpoint the normality of the issue, the more focus come to lie on what is different from the non-handicapped, and in that way enlarge the gap between handicapped an non-handicapped.</p><p>Keywords: Olympic games, Paralympics, actants, narrator, implied author, normalisation</p>

Abstract Purpose/Aim: The aim is to investigate if there are any differences in the reporting from the Olympic games and the Paralympic games, according to different periodicals or magazines, with focus on Paralymics and sports for handicapped. If so, what are those differences? Material/Method: The material consists of two periodicals, or magazines; Svensk idrott which is the official paper for the swedish Riksidrottsförbundet, and Handikappidrott, which is the official paper for the swedish Handikappidrottsförbundet. Articles considering the summer games in 1972 and 1976, 1984, 1996 and 2000 was studied with regard to models developed by Algirdas J. Greimas. The methods are both quantitative and qualitative. Main results: The main results are that the biggest difference between the periodicals really lie in the selection of articles and also in the amount of articles published, considering the games. In Handikappidrott, the articles are aimed towards an initiated audience who are supposed to know much about handicapped people and their sports. Svensk idrott focuses a lot more on different aspects of the Olympic games, such as politics and economy. Also has the aspect of normalisation been of current interest – the problem is that the more of handicapped people and issues that are presented to the audience in order to pinpoint the normality of the issue, the more focus come to lie on what is different from the non-handicapped, and in that way enlarge the gap between handicapped an non-handicapped. Keywords: Olympic games, Paralympics, actants, narrator, implied author, normalisation

The eyewitnessed reportage has a pronounced character of narrating. The imaginative power of the text helps the reader to empathise with the characters. That makes constructing empathy a necessary skill of reporters. But how can this be done? Despite a tradition of story telling among reporters, narratologists virtually have neglected the reportage genre. The purpose of this thesis is to examine how narrative strategies can be used in reportages and, at the same time, suggest methods for investigating those strategies. The main question is: How can empathy be constructed? Empathy is here defined as a function of presence, perspective, selection and disnarration. A screen of covert values is also added. The study applies a narratological and a media rhetorical approach to journalistic narratives, and focus is on basic discussions supported by analysis samples. Theories by Gérard Genette, Dorrit Cohn, Seymor Chatman, William C. Booth, Gerald Prince, Göran Rossholm, Bengt Nerman and others are discussed. Even though a reportage is about real events, it always represents a personal interpretation. It presents the readers with a represented reality. In a narratological model for the macro level of the reportage I identify the trait of construction as an interaction between three instances: the producer (i. e. the implied author), the narrator and the experiencing reporter. On a micro level this model helps me to explain, for example, how a homodiegetic narrator can be combined with external focalisation, and how another character than the experiencing reporter can be focalised. In the former case I examine the interplay between showing and telling relative to the narrator’s visibility. In the latter case I especially focus on a complex technique for shifting perspectives, both those concerning thoughts, like Free, Indirect Discourse (FID), and those concerning perception. At the same time I study different degrees of perspectivity.

This dissertation is comprised of two distinct but related components. The larger component is a short novel, titled A Cop, a Thief and a Priest. This is the story of three very different men, the woman they all want, her daughter who gets in the way, the secrets they all try to hide, and a few bedtime stories. Plus a Canadian Native or two. And maybe a bomb, as well. This work of fiction is written with a shifting perspective and varying degrees of adherence to the rules of grammar, depending on the narrator and characters in the scene. The story focuses on seriously flawed people in potentially harmful, though ceaselessly humorous, relationships and how they try to choose the best out of the poor options in front of them. In the course of the novel several Native Canadian/First Nations characters appear. Some are characters within the story, and others are cast members of several bedtime stories told by the three primary male characters. As I am not Canadian First Nations, I had concerns over writing dialogue and characterization of Canadian Native characters. In response to these misgivings, the accompanying critical essay component of this dissertation deals with the issue of a non-Native author writing Native characters. The thesis essay explores this question in the fiction of three Canadian authors who are not Canadian First Nations. I examine specifically their use of grammatical errors in the dialogue of their Native characters as a device to present diction as an element of the character’s status, education, gender, age, race or culture. The three authors chosen are W.P Kinsella, Anne Cameron, and Thomas King. These writers use diction variously, and each is scrutinized according to guidelines drawn from writing theory texts, commercial writing guides, and writing practice prescriptions from successful authors. The conclusions are considered in the crafting of my own First Nations characters.

This dissertation is comprised of two distinct but related components. The larger component is a short novel, titled A Cop, a Thief and a Priest. This is the story of three very different men, the woman they all want, her daughter who gets in the way, the secrets they all try to hide, and a few bedtime stories. Plus a Canadian Native or two. And maybe a bomb, as well. This work of fiction is written with a shifting perspective and varying degrees of adherence to the rules of grammar, depending on the narrator and characters in the scene. The story focuses on seriously flawed people in potentially harmful, though ceaselessly humorous, relationships and how they try to choose the best out of the poor options in front of them. In the course of the novel several Native Canadian/First Nations characters appear. Some are characters within the story, and others are cast members of several bedtime stories told by the three primary male characters. As I am not Canadian First Nations, I had concerns over writing dialogue and characterization of Canadian Native characters. In response to these misgivings, the accompanying critical essay component of this dissertation deals with the issue of a non-Native author writing Native characters. The thesis essay explores this question in the fiction of three Canadian authors who are not Canadian First Nations. I examine specifically their use of grammatical errors in the dialogue of their Native characters as a device to present diction as an element of the character’s status, education, gender, age, race or culture. The three authors chosen are W.P Kinsella, Anne Cameron, and Thomas King. These writers use diction variously, and each is scrutinized according to guidelines drawn from writing theory texts, commercial writing guides, and writing practice prescriptions from successful authors. The conclusions are considered in the crafting of my own First Nations characters.