Thesis (Ph. D.)--University of California, San Diego, 1985. / Vita. Includes bibliographical references (leaves 191-200).

Een van die fundamenteelste en belangrikste aspekte van 'n roman is die verteller. Die verhouding waarin die verteller tot die verhaalstof staan, die verteller se perspektief op die gebeure, die soort verteller en die manier waarop die verteller sy implisiete leser deur die organisasie van die verhaal definieer en betrek is almal bepalende faktore vir die struktuur, die styl en die ontwikkelingsgang van die roman. Joseph T. Shipley (1966:144) stel die saak so: "In die analysis of a speech or literary composition, nothing is more important than to determine precisely the voice or voices presented as speaking and the precise nature of the address (i.e. specific direction to a hearer, an addressee); for in every speech reference to a voice or voices and implication of address (i.e. reference to a process of speech, actual or imagined) is a part of the meaning, for the interpretation of which it supplies an indispensable control ".

A thesis report submitted in partial fulfilment of the requirement for the degree of Master of Arts in Media Studies to the Faculty of Humanities, University of the Witwatersrand, 2019 / This study examines contemporary representation and imaginings of the black South African family structure in a popular reality television programme, Date My Family. Further categorised in the sub-genre of reality dating television, the programme is also a significant study of the ways in which reality television values intersect with discourses about family, romantic partnering and romantic love. These are the three main themes that have been identified in Date My Family, and are all fundamental and significant social practices that will be explored in a critical discussion of dynamics in black South African families. This study aims to outline the ways in which Date My Family displays contemporary understandings of black identity in relation to the family structure, as well as how the programme either imagines or renegotiates traditional conceptions of family, romantic partnering and romantic love. The study’s examination of its three main themes is informed by literature that serves an introductory and contextual function. Subsequently, I apply theories of identity, race and representation. Using discourse analysis to focus on the visual and verbal discourses, I show that the programme displays significant cultural relevance and a representation of the social circumstances in which it is produced. Date My Family portrays instances in which Western/ European traditions and conceptions of family, romantic partnering and romantic love have been continued in the African context, how some of these traditions and conceptions co-exist with those of Africa, and how these traditions and conceptions have been renegotiated. The structure of the black South African family seems to remain in its traditional form – the extended unit - and notions of female-headed households and an absence of fathers in the family remain topics of representation in the current, local context. / NG (2020)

Habilitationsschrift--Mainz. / Includes bibliographical references (p. [243]-246).

Thesis (Ph.D.)--Baylor University, 2008. / Includes bibliographical references (p. 216-221)

Thesis (Ph. D.)--University of Wisconsin--Madison, 1996. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 203-217).

Orientador: Gabriela Kvacek Betella / Resumo: Este trabalho se propõe a analisar duas traduções audiovisuais do texto literário O tempo e o vento, de Erico Verissimo. As traduções são minisséries homônimas. A primeira, dirigida por Paulo José, em 1985, tem 26 capítulos; a segunda, dirigida por Jayme Monjardim em 2014, três. Nosso objetivo é dar prosseguimento à pesquisa já iniciada em dissertação de Mestrado (MAZIERO, 2013), e a partir das bases dos estudos sobre adaptação e tradução, recorrermos a conceitos das áreas de comunicação, linguagens, cinema e dramaturgia a fim de demonstrar que, embora haja certa convergência entre os textos, devemos tratar cada um de maneira independente. Além disso, investigamos como o texto literário e suas traduções audiovisuais repropõem a narrativa da história de um povo num determinado período de tempo, e de que maneira essa nova forma de contar incide sobre a instância do narrador nas três obras. Por fim, destacamos a categoria da memória, a partir do conceito de memória coletiva (HALBWACHS, 2006), aproximando-o de nossos objetos de estudo, uma vez que nas duas minisséries elege-se uma personagem que nos parece ser a responsável por narrar os feitos de um grupo – sua família – em determinado período histórico, abarcado por sua própria existência e de seus antepassados. / Abstract: This work intend to analyze two audiovisual translations of Erico Verissimo’s novel O tempo e o vento. The are two homonymous miniseries. The first, directed by Paulo José in 1985, has 26 chapters; the second, directed by Jayme Monjardim in 2014, three. Our goal is to continue the research already started in Master's thesis (MAZIERO, 2013), and from the bases of studies on adaptation and translation, we use concepts from the areas of communication, languages, cinema and dramaturgy in order to demonstrate that, although there is some convergence between the texts, we must treat each one independently. In addition, we investigate how the literary text and its audiovisual translations re-propose the narrative of the history of a people over a given period of time, and how this new way of telling focuses on the narrator's instance in the three works. Finally, we highlight the category of memory, based on the concept of collective memory (HALBWACHS, 2006), bringing it closer to our objects of study, since in the two minisseries a character who seems to be responsible for narrating us is chosen. the achievements of a group - its family - in a certain historical period, encompassed by its own existence and its ancestors. / Doutor

This thesis is a contribution to the ongoing debate over standards of criticism for the novel in Africa. After reviewing the three main approaches, the 'Afro-centric', the 'Euro-centric ' and the 'syncretic', and highlighting their shortcomings, I hope to demonstrate that if the devices of point of view ' are used properly they may provide a valuable tool for a useful reading of the novels. Point of view is seen as a holistic device and not, as Lubbock and others suggest, a question of 'the relationship of the narrator to the story'. The views of Boris Uspensky, Gerard Genette and Susan Lanser on this subject are modified to suit the eclectic and comparative designs of the study. Point of view is thus seen as the means through which a given device operates in a specific context, what it reveals, and how it relates to other textual elements. Four main categories are proposed, namely the dramatized, the inward, the multiple and the communal perspectives. These categories demonstrate the flexibility of method which point of view allows and they show how novels from different backgrounds may be examined under one 'convention' without depriving such novels of their originality. Twenty novels by British, American and African novelists are subsequently divided into these four categories and each of the novels is described, allowing them to define one another. The communal perspective is found to be a unique feature of the five African novels examined in the last three chapters. These novels require the reader to modify his opinions about point of view, for the novelists seem to speak on behalf of their communities. The communal pose thus becomes a literary device. It is a device which manifests itself in the case of the novels of Chinua Achebe, Ayi Kwei Armah and Gabriel Okara through the skilful use of character, language and setting. The reader who comes to the novels with the conviction that character is a paradigm of traits will need to bear in mind that traits in these novels are what are normally known as characters in other novels and that in the novels, therefore, characterisation is largely transferred from the individual person to the communal personality. This is the contribution these African novelists have made to world fiction. It is nevertheless shown that this distinct feature need not deny a common ground from which the critic of the African novel can define the novels' themes and methods and that ultimately the isolation which the three main approaches seem to recommend is neither desirable, nor is it helpful as a way of making the reader aware of the form and content of the novels.

This dissertation comprises two parts: Part I, which discusses use of second person pronoun in contemporary American poetry; and Part II, The Museum of Coming Apart, which is a collection of poems. As confessional verse became a dominant mode in American poetry in the late 1950s and early 60s, so too did the use of the first-person pronoun. Due in part to the excesses of later confessionalism, however, many contemporary poets hesitate to use first person for fear that their work might be read as autobiography. The poetry of the 1990s and early 2000s has thus been characterized by distance, dissociation, and fracture as poets attempt to remove themselves from the overtly emotional and intimate style of the confessionals. However, other contemporary poets have sought to straddle the line between the earnestness and linearity of confessionalism and the intellectually playful yet emotionally detached poetry of the moment. One method for striking this balance is to employ the second person pronoun. Because "you" in English is ambiguous, it allows the poet to toy with the level of distance in a poem and create evolving relationships between the speaker and reader. Through the analysis of poems by C. Dale Young, Paul Guest, Richard Hugo, Nick Flynn, Carrie St. George Comer, and Moira Egan, this essay examines five common ways second person is employed in contemporary American poetry-the use of "you" in reference to a specific individual, the epistolary form, the direct address to the reader, the imperative voice, and the use of "you" as a substitute for "I"-and the ways that the second-person pronoun allows these poems to take the best of both the confessional and dissociative modes.

The genre of the "picaresque" (romances of roguery), which were popular in sixteenth-century Spain, contain the literary type of the "picaro" or rogue, which can appear at times as a "student." The current work presents the historical context of the Spanish university and of the student's life as well as the representation of the "student" in several picaresque novels, namely, Mateo Aleman's El Guzman de Alfarache, Vicente Espinel's Marcos de Obregâon, Jerâonimo de Alcalâa y Yâanez's El donoso hablador, and Francisco de Quevedo's El Buscâon, in order to contrast the social reality of the student and its literary representation. The literary character of the "student" does not depart only from its reality. Its characteristics are based on the student stories from the oral medieval tradition, a residual cultural elements, as described by Maxime Chevalier, as well as the emerging picaresque narratives. / by Javier Fernândez del Pâramo. / Abstract in Engllsh. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.