Thesis (Doctorat)--Université de Paris. / Includes bibliographical references (leaves 324-340) and index.

The goal of this thesis is to analyze five selected novels of the Norwegian modern literature in terms of the theory of tragedy. The thesis focuses on four basic aspects of the topic. First, we are trying to capture and describe the concept of tragic in general. This is done with help of theories of the tragic that: 1) are generally considered significant in the area of tragedy 2) are interesting in connection with the interpretation of the novels chosen for this thesis. Secondly, we are trying to describe main topics that could help us to identify and investigate the tragic in the above mentioned works. After this, the thesis brings a closer analysis of the novels with regard to the previously described theories. It also focuses in this connection on some additional characteristics of tragedy, as well as more theories connected to the tragic area. Furthermore, these analyses lead to repeated encounters of various interpretations of classical and modern features of tragedy. The conclusion of the thesis points out the most significant features of the analyzed works that form, according to my opinion, the tragic basis in the novels (in this context, the thesis compares the five chosen novels with each other, thus showing that one of them differs from the rest). As a result, I come to the conclusion...

Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (p. 206-216).

Thesis (Ph. D.)--University of Texas at Austin, 1981. / Vita. Includes bibliographical references (leaves 356-361).

Some of the main goals of the present study are to understand what are the main problems that the “postmigrant generation” (descendants of immigrants, “mixed” people, and transnational adoptees) are forced to face in contemporary Norwegian society, how the authors present these challenges in diverse ways, and what strategies are put in place to critique and counter oppressive mechanisms. This means that it is also important to investigate the ways in which these works criticize a widespread understanding of the concept of Norwegianness, which a priori excludes all those who, for aesthetic, cultural, linguistic, and religious reasons, cannot be associated with a – false – idea of national homogeneity and Nordic purity. At the same time, it is intended to bring into focus all those cultural and linguistic practices and hybridisms that help to highlight how the old hegemonic paradigms are no longer able to represent contemporary Norway, whose national identity is constantly renegotiated in relation to migratory phenomena, which have triggered processes of transculturalization and transnationalization. In recent years, one of the most innovative and stimulating notions aimed at understanding this new era of migrations and hybridisms, which redefine societies from their foundations, is that of postmigration, which, among other things, proposes to consider the entire society as postmigrant, since migration has now greatly influenced not only the social fabric but also the identity status of European countries. One of the main goals of the postmigrant perspective is to overcome the dichotomies that contrast the figure of the migrant with that of the non-migrant, the idea of a homogeneous “us” with a “them” as a deviation from the norm, the majority population with minorities. This work seeks to combine the theoretical-methodological framework of postmigration with that of intersectionality. Intersectionality presupposes that the social, biological, and cultural categories of class, gender, race, ethnicity, sexual orientation, religion, age, disability, nationality, etc., are inseparable from each other if one wants to fully understand the identity of an individual or group of individuals and, above all, how systemic injustices and inequalities act simultaneously on multiple levels that overlap and intersect with each other. Chapter 1 is divided into three parts and is devoted to A) the theory, method and research objectives, B) the presentation of the postmigrant condition in Norway, and C) the description of postmigration literature – of which a new conceptualization is proposed based on the definition of postmigrant society – and the introduction of the works chosen for analysis: 1) Pakkis (Paki) by Khalid Hussain (1986); 2) Alle utlendinger har lukka gardiner (All Foreigners Have Their Curtains Closed) by Maria Navarro Skaranger (2015); 3) Tante Ulrikkes vei (Tante Ulrikkes Street) and 4) Gul bok (Yellow Book) by Zeshan Shakar (2017; 2020); 5) Kvinner som hater menn (Women Who Hate Men) by Sumaya Jirde Ali (2017); 6) La oss aldri glemme hvor godt det kan være å leve (Let Us Never Forget How Good It Can Be to Live) by Sarah Zahid (2018); 7) Hør her'a! (Listen Up!) by Gulraiz Sharif (2020); 8) Eg snakkar om det heile tida (I Talk About It All the Time); and 9) De må føde oss eller pule oss for å elske oss (They Must Birth Us or Fuck Us to Love Us) by Camara Lundestad Joof (2018; 2022); 10) Kvit, norsk mann (White, Norwegian Man) by Brynjulf Jung Tjønn (2022); 11) Da vi var yngre (When we were younger) by Oliver Lovrenski (2023). Chapter 2 focuses on the comparative analysis of two texts to show how themes and style change, from migration to postmigration literature, regarding the dynamism of migration-related social transformations in Norway. Chapter 3 focuses on the linguistic analysis of the only four novels written so far in the Norwegian multiethnolect (Kebabnorsk), while Chapter 4 aims to understand what translation strategies have been employed to render two of these novels in Italian. Chapter 5 discusses the multiethnic satellite towns on the outskirts of Oslo and how they are the focus of stigmatizing discourses of various kinds. Chapter 6 investigates the correlation between social class and migration background for descendants of immigrants, with a focus on processes of social mobility. Chapter 7 deals with Muslim Norwegians, Islamophobia and the counter-narratives deployed to fight stereotypes and as well as define their space within society. In Chapter 8, focusing on racialization and whiteness, an attempt is made to shed light on the processes of marginalization related to racial categorizations and the life experience of non-white people in Norway. In the conclusions, we reflect on how what has been said in the various chapters connects to the concept of Norwegianness, and in particular to the parameters of inclusion and exclusion from it in contemporary Norway. Norwegian society appears to be an arena in which conflicts, ambivalences, and negotiations occur. These can be traced back to the processes of identity and national redefinition that have been triggered by and related to migration phenomena. Certainly, the selected authors, through their works, contribute to criticizing and at the same time redrawing the boundaries of Norwegianness.

The subject of this master thesis is a comparison of four Czech translations of Knut Hamsun's novel Hunger (Sult, 1890) - from 1902 (Hugo Kosterka), 1932 (Milada Lesná-Krausová), 1959 (Milada Lesná-Krausová) and 2016 (Helena Kadečková). The thesis consists of a theoretical part, dealing with the analysis of the original text and the historical context of trends in translation, and a practical part, analysing and comparing the translations. The aim of the thesis was to assess the adequacy of the translations and the correlation between the methods and the corresponding contemporaneous trends. As we expected, the language and methods applied in the translations correspond with the practices in the respective periods. In terms of the method consistency and thoroughness, the versions of Kosterka and Kadečková proved to be the most adequate.

A une période où la Norvège cherchait à affirmer son identité, les auteurs du romantisme national comme Wergeland, Bjørnson ou Ibsen ont largement puisé dans une tradition qui faisait du paysan (bonde) le représentant le plus typique de l’Histoire nationale. Ils ont toutefois instrumentalisé cet héritage culturel, tout comme les auteurs de la génération suivante, Hamsun ou Olav Duun, et l’importance qu’ils ont accordée à la nature invite à considérer celle-ci comme la « matrice » des œuvres de cette époque. Une lecture chronotopique inspirée de Bakhtine permet de mettre en évidence cette mise en scène du passé et de la nature. L’illusion d’authenticité historique cache un travail d’écriture novateur qui ouvre des perspectives vers un monde imaginaire et apporte un réconfort face à la mort. / At a time when Norway was trying to assert its identity, authors of national romanticism such as Wergeland, Bjørnson or Ibsen widely took their inspiration from a tradition which made the peasant (bonde) the most representative icon of national History. They however manipulated this cultural heritage, as have authors from the next generation such as Hamsun or Olav Duun. The predominant role these authors attributed to nature brings us to consider nature as the “matrix” for the works of that time. A chronotopic analysis inspired by Bakhtine brings into perspective this staging of the past and of nature. The illusion of historical authenticity hides a creative exercise on writing that opens to an imaginary world and brings a spiritual relief to those facing death.

Esta investigação consiste de uma leitura psicanalítica da peça Peer Gynt, de Henrik Ibsen. Inicialmente, o autor apresenta a obra mencionada de forma sintética e explicita a sua trajetória de conhecimento e interesse pela obra. Em seguida, situa sua leitura numa tradição que remonta não apenas à longa história das interpretações psicanalíticas de obras de arte, mas também àquela das análises realizadas sobre essa obra em particular. Dentre as últimas, apresenta e critica as análises feitas sobre a peça por W. Reich, G. Groddeck, M. Little e R. May. Também resgata os comentários de Freud sobre Ibsen e suas obras. A partir daí, apoiando-se em uma perspectiva metodológica dialógica, inspirada por M. Bahktin, bem como no método psicanalítico de investigação, o autor investe na criação de uma construção interpretativa do drama. Ao longo dessa construção, certas passagens da obra ganham visibilidade e sentidos renovados a partir do diálogo com referenciais teórico-clinicos de alguns autores da psicanálise contemporânea (D. Winnicott, C. Bollas, T. Ogden, entre outros). É desta forma que certos temas como a impossibilidade de sonhar, a mentira, o trauma, a convenção, o falso, a amorfia, o self, entre outros, vão surgir e ser desdobrados. Tal investigação se torna, por fim, uma possibilidade de ampliar e atualizar a compreensão da peça, inserindo-a no debate sobre a condição humana desde o viés do pensamento psicanalítico contemporâneo / This research consists of a psychoanalytic reading of Henrik Ibsens play \"Peer Gynt\". Initially, the author presents the aforementioned play in a concise way and makes explicit the history of his knowledge and interest for this work. Then he places his reading amongst a tradition that goes back not only to the long history of psychoanalytic interpretations of works of art, but also to that of the interpretations about this particular work. Among the latter he presents and criticizes the interpretations made by W. Reich, G. Groddeck, M. Little and R. May. He also recollects Freud\'s comments on Ibsen and his works. Thereafter, relying on a dialogical methodological perspective, inspired by M. Bahktin, as well as on the psychoanalytic method of investigation, the author engages in drawing up an interpretative construction on the drama. Throughout this construction, certain parts of the play gain visibility and renewed meanings rise from the dialogue with theoretical and clinical references from some contemporary psychoanalytic authors (D. Winnicott, C. Bollas, T. Ogden, and others). This is how certain themes such as the impossibility of dreaming, the lie, the trauma, the convention, the false, the formlessness, the self, and others will appear and be unfolded. This research becomes, finally, an opportunity to broaden and update the understanding of the play, casting it into the debate around the human condition from the bias of contemporary psychoanalytic thought

The aim of this thesis is to document the process of translating literary texts that have no stylistic equivalent in the target culture. The research is based on selected works by three contemporary Norwegian authors whose style is perceived as very specific. The theoretical part discusses current tendencies in Norwegian as well as in Czech prose writing and also approaches to literary translation developed in translation studies are presented in this part of the thesis. The other part of this thesis focuses on the unique styles of Hanne Ørstavik, Erlend Loe and Jon Fosse. The significant features of their styles are documented in analyses of their novels. These analyses at then used for the assessment of the Czech translations.

Esta investigação consiste de uma leitura psicanalítica da peça Peer Gynt, de Henrik Ibsen. Inicialmente, o autor apresenta a obra mencionada de forma sintética e explicita a sua trajetória de conhecimento e interesse pela obra. Em seguida, situa sua leitura numa tradição que remonta não apenas à longa história das interpretações psicanalíticas de obras de arte, mas também àquela das análises realizadas sobre essa obra em particular. Dentre as últimas, apresenta e critica as análises feitas sobre a peça por W. Reich, G. Groddeck, M. Little e R. May. Também resgata os comentários de Freud sobre Ibsen e suas obras. A partir daí, apoiando-se em uma perspectiva metodológica dialógica, inspirada por M. Bahktin, bem como no método psicanalítico de investigação, o autor investe na criação de uma construção interpretativa do drama. Ao longo dessa construção, certas passagens da obra ganham visibilidade e sentidos renovados a partir do diálogo com referenciais teórico-clinicos de alguns autores da psicanálise contemporânea (D. Winnicott, C. Bollas, T. Ogden, entre outros). É desta forma que certos temas como a impossibilidade de sonhar, a mentira, o trauma, a convenção, o falso, a amorfia, o self, entre outros, vão surgir e ser desdobrados. Tal investigação se torna, por fim, uma possibilidade de ampliar e atualizar a compreensão da peça, inserindo-a no debate sobre a condição humana desde o viés do pensamento psicanalítico contemporâneo / This research consists of a psychoanalytic reading of Henrik Ibsens play \"Peer Gynt\". Initially, the author presents the aforementioned play in a concise way and makes explicit the history of his knowledge and interest for this work. Then he places his reading amongst a tradition that goes back not only to the long history of psychoanalytic interpretations of works of art, but also to that of the interpretations about this particular work. Among the latter he presents and criticizes the interpretations made by W. Reich, G. Groddeck, M. Little and R. May. He also recollects Freud\'s comments on Ibsen and his works. Thereafter, relying on a dialogical methodological perspective, inspired by M. Bahktin, as well as on the psychoanalytic method of investigation, the author engages in drawing up an interpretative construction on the drama. Throughout this construction, certain parts of the play gain visibility and renewed meanings rise from the dialogue with theoretical and clinical references from some contemporary psychoanalytic authors (D. Winnicott, C. Bollas, T. Ogden, and others). This is how certain themes such as the impossibility of dreaming, the lie, the trauma, the convention, the false, the formlessness, the self, and others will appear and be unfolded. This research becomes, finally, an opportunity to broaden and update the understanding of the play, casting it into the debate around the human condition from the bias of contemporary psychoanalytic thought