This thesis deals with the research of humility from the view of its elusiveness - it does not define humility and it also does not even try to do so. Conversely, it walks around the phenomenon of humility and points at it in different ways. It uses examples, mostly from works of Comenius, and builds it with parallels from works of Jung, Foucault, Jünger, Drewermann and some other authors. It delimits humility against pride at example of different view of "epoché" in works of Comenius and Descartes; pride is basicly seen where human does not leave any unnaturalness and completely absorbs the world by his own opinion; work also uses Husserl's criticism of Descartes' view of "epoché" and Comenius' criticism of Machiavelli is also mentioned. Thence, the thesis sees the principle of humility in a close relation with the principle of faith or simply with the knowledge of the principle of some higher instance than the human's own sense is. The principle of humility is also nearby to the principle of grace - for this example the thesis researches Simone Weil's concept of "weight and grace"; grace from this point of view is an unpredictable step outside the performance-based part of human life. This thesis deals with mentioned phenomenons at first at the level of the visions of the world, later at the...

The thesis is focused on construction of Czech national identity in press (MF DNES January - June 2010). It describes this complex problem in the way of discourse analysis. Therefore, there is not used special or particular research method, because the subject of matter is approached and thought by ontological and epistemological assumptions behind it. The objective of the work is find system, which characterizes construction of Czech national identity, Czech patriotism and Czech character. There must be emphasized that it is not providing absolute answers to the specific problem, but enable us to understand the conditions behind it. First of all, there is shown thinking about Czech national identity from the historical point of view. There are described presumptions of Czech identity and character from the times of Karel Čapek and Tomáš G. Masaryk. Secondly, there is shown contemporary discourse through the study of different levels of the media text, the concepts of Teun van Dijk or Jack Lule are involved.

This essay examines anticipation and real outcome structured as two oppositions in Jane Austen’s Pride and Prejudice. These opposites will be analyzed through Austen’s use of literary devices such as “free indirect speech” and irony. Pride and Prejudice is written in third-person, but the focus is often limited to Elizabeth’s perspective, creating what is termed free indirect speech, a narrative technique that Austen is considered to be one of the first novelists to use. While the omniscient narrator seems all-knowing and gives the illusion of being objective, she is deliberately selective in her choice of what aspects of the story that she wants to emphasize, which makes her subjective. That the narrator is both objective/omniscient and subjective/limited brings out an opposition between the anticipated and real outcome. Austen also uses irony as a literary device, which too can be interpreted as a kind of opposition used to bring out anticipated and real outcome.

Made available in DSpace on 2016-08-10T11:06:49Z (GMT). No. of bitstreams: 1 Domicio Moreira Ribeiro.pdf: 803668 bytes, checksum: e0bac1b7a1ca9fadb490d2e6320ed121 (MD5) Previous issue date: 2012-03-23 / This dissertation is a bibliographical research on translation, novel language and film language. Its aim is to compare, first, among themselves, three Portuguese language translations of the novel Pride and Prejudice, by Jane Austen. Then do the comparison of them with the source text in English. After that, make the confrontation of the namesake film language, adapted in 2005 and directed by Joe Wright, with the source language of the literary work. Translations were made by Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira. In this research, we presented, first, a comprehensive theoretical framework of multiple methods and technical procedures of translation through a timeline that begins in the fourth century AD, with Jerome, and ends in 1990 with Jacques Derrida. Then we did a collation of the translations with the original work and a comparison of the film language with the source language of the novel. With respect to the above-mentioned translators, Roberto Leal Ferreira made the more literal and semantic translation, because it preserves the content and form of the source text. Regarding the film language, it is equivalent to the language of the novel in terms of language levels, though it is more concise because of the length of the movie, sticking to the crucial aspects of the fictional story. Conclusion shows that there is no mutual understanding regarding the definition of translation, nor exist procedures that address and solve all possible problems that may arise from various situations of translation. The methods and procedures address the same dichotomies: content and form, word translation and translation of meaning, fidelity to the author or to the reader, and nationalization or foreignization. We found that the novel Pride and Prejudice is a valuable laboratory to practice the technical procedures of translation, considering that various procedures, such as additions, deletions, omissions, clarifications, borrowings, literal translations, transpositions, modulations, equivalences and adaptations have been found in the evaluated translations. The relationship between translation, language of the novel and film language, often conflicting, is pacific in the collation between Pride and Prejudice, the movie and Orgulho e Preconceito, considering that the abovementioned translators and the film scriptwriter were able to bring into the target language and into the movie language the meanings of the source text without apparent losses. / Este trabalho consiste, fundamentalmente, numa pesquisa bibliográfica que discorre sobre tradução, linguagem romanesca e linguagem cinematográfica. Seu objetivo é, primeiramente, comparar entre si três traduções em Língua Portuguesa do romance Orgulho e Preconceito, de Jane Austen, e posteriormente cotejá-las com o textofonte em Língua Inglesa. Em seguida, pretende-se contrastar a linguagem do filme homônimo, adaptado em 2005 e dirigido por Joe Wright, com a linguagem original da obra literária. Para tanto, será apresentada, inicialmente, uma fundamentação teórica que trata dos vários métodos, bem como dos procedimentos técnicos da tradução, numa linha do tempo que começa no século IV d.C., com São Jerônimo, e se estende até os anos 1990, com Jacques Derrida. Logo após, realizar-se-á a comparação das traduções com a obra original e o confronto da linguagem fílmica com a linguagem-fonte do romance. Com relação às três traduções avaliadas, pretende-se verificar como os significados da obra original são transportados para a língua da tradução, sempre cuidando, cada uma a seu modo, para evitar as perdas. Nesse sentido, com relação aos trabalhos tradutórios de Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira, urge atentar para este último, que realiza uma tradução mais literal e semântica, concernente ao conteúdo e à forma do texto-fonte. Acerca da linguagem fílmica, é preciso buscar a sua equivalência com a linguagem do romance em termos de registro, apesar de sua forma concisa, em função da duração do filme, atendo-se aos aspectos cruciais da obra. Observados tais aspectos, adianta-se que não haverá uma conclusão definitiva sobre o tema em debate, considerando não haver qualquer consenso a respeito das várias nuances que cercam o termo tradução, tampouco existem procedimentos que contemplem, elucidem e sanem os complexos problemas do ato tradutório. Desse modo, este trabalho corrobora a assertiva de que os métodos e procedimentos tradutórios, por mais ousados que sejam, não se afastam das dicotomias: conteúdo e forma, tradução da palavra e tradução do sentido, fidelidade ao autor ou ao leitor e nacionalização ou estrangeirização. Ele também se solidariza com a premissa de que a obra Pride and Prejudice é um valioso laboratório para a prática da tradução, tendo em vista que vários procedimentos técnicos, como acréscimos, apagamentos, omissões, explicitações, empréstimos, transposições, modulações, equivalências e adaptações podem ser encontrados nas traduções avaliadas. E, finalmente, que a relação entre tradução, linguagem romanesca e linguagem cinematográfica, geralmente conflituosa, se mostra harmônica no paralelo entre Pride and Prejudice, o filme e Orgulho e Preconceito, pois os tradutores mencionados e a roteirista conseguiram trasladar para a língua-meta e para a linguagem do filme, sem perdas aparentes, os sentidos da obra original.

<p>Anledningar till att ilska väcks till liv är individuella och kan exempelvis bero på orättvis behandling eller maktlöshet. Ilska känns på liknande sätt inombords hos alla individer vilket innebär att en student som känner ilska över att kamraten fuskat på en tenta, kan uppleva liknande känslor av ilska inombords som patienten som tvingas vänta på sina mediciner. När ilska väl kommit in i kroppen måste den ”komma ut”.  Ilskans väg ut ur kroppen skiljer sig åt från person till person där en del yttrar sin ilska fysiskt medan andra yttrar den verbalt eller via tårar. När ilska försvunnit ut ur kroppen skapas möjlighet för reflektion. En del upplever ilska som en drivkraft för förändring medan andra känner skam och ånger över sitt beteende. Ilska är något vi alla har upplevt och fortsättningsvis kommer att uppleva. Att skapa en förståelse för fenomenet ilska kan skapa förutsättningar för vårdpersonalen att förstå ilska hos patienter. Genom att förstå orsakerna till varför ilska uppstår kan en bra relation mellan vårdpersonal och patient skapas vilket är av stor betydelse för att en god omvårdnad ska kunna utövas.</p> / <p>Reasons why anger evokes is individual and can elicit when a person experience unfairness or feel powerlessness. Anger feels similar on the inside among all individuals which means that a student who feels anger due to a friend who as cheated on an exam can experience the same anger as the patient who is forced to wait for his/her medications. When anger has entered the body it has to “come out”. How anger leaves the body differs from person to person where some express their anger physically while others get their anger out verbally or through tears. When anger has left the body, reflections become possible. Some people experience anger as a driving force for making a change while others feel disgrace and regret due to their behaviour. Anger is something we all have experienced and will continue to do. Understanding the phenomenon anger can create conditions for professionals to understand the patient’s anger. A good relationship between professionals and patients can be founded through understanding why anger evokes which is important for developing a good nursing care</p>

Denna uppsats tar sin början i ett intresse av att studera ungdomars konstituerande av identitet. Vi valde att utföra vår studie i Rädda Barnens projekt Ellen &amp; allan som arrangerar samtalsgrupper med en normkritisk agenda för ungdomar i 14-års ålder. Syftet är att genom en kvalitativ studie skapa förståelse för hur ungdomarna som deltar i Ellen &amp; allan konstituerar en maskulin respektive feminin identitet, samt betydelsen av ungdomarnas sociala relationer för detta konstituerande.  Studiens omfattning utgörs av tre intervjuer med projektledare och samtalsledare för projektet och av sex timmars observation vid fyra separata tillfällen i en Ellengrupp och i en allangrupp. Intervjuerna bidrog till kunskap om projektet som förberedde oss och skapade ett tydligt fokus inför vårt möte med fältet. Intervjuerna var utformade på ett sådant sätt att de kom att generera material som korrelerade med våra observationsdata.  Från vår analys av intervjuer och observationer drar vi slutsatsen att ungdomarnas behov av att skapa och upprätthålla sociala relationer leder till en konformitet inom samtalsgrupperna som bidrar till att ungdomarnas konstituerande av maskulin respektive feminin identitet görs med ursprung i en maskulin heterosexuell hegemoni. I denna hegemoni förknippas den maskulina identiteten med överordning och makt medan den feminina identiteten är passiv och underordnad och anses vara den maskulina identitetens motsats. / The notion of this study initially started taking shape through our interest in studying the constitution of identity in young adolescent people. The study was carried out in the Save the Children project Ellen &amp; allan which organizes discussion groups with a norm-critical agenda for young people in the age of 14. The purpose of this study was to analyze how young people participating in Ellen &amp; allan constitutes a masculine and feminine identity, and the importance of young people's social relationships for this constituent.  The study consists of three interviews with project managers and discussion leaders of the project, and of six hours of observation on four separate occasions in an Ellen-group and in an allan-group. The interviews contributed to an understanding of the project which prepared us and created a clear focus for our meeting with the field. The interviews were also designed in such a way that they came to produce data that could be correlated with our observation data.  From our analysis of the interviews and observations, we conclude that young people’s need to create and maintain social relationships lead to conformity within the discussion groups, contributing to adolescents constituting a masculine and feminine identity that originates from a masculine heterosexual hegemony. In such hegemony the masculine identity consists of attributes of agency and power, whereas the feminine identity is passive and subordinate and is considered being the opposite of a masculine identity.

Anledningar till att ilska väcks till liv är individuella och kan exempelvis bero på orättvis behandling eller maktlöshet. Ilska känns på liknande sätt inombords hos alla individer vilket innebär att en student som känner ilska över att kamraten fuskat på en tenta, kan uppleva liknande känslor av ilska inombords som patienten som tvingas vänta på sina mediciner. När ilska väl kommit in i kroppen måste den ”komma ut”.  Ilskans väg ut ur kroppen skiljer sig åt från person till person där en del yttrar sin ilska fysiskt medan andra yttrar den verbalt eller via tårar. När ilska försvunnit ut ur kroppen skapas möjlighet för reflektion. En del upplever ilska som en drivkraft för förändring medan andra känner skam och ånger över sitt beteende. Ilska är något vi alla har upplevt och fortsättningsvis kommer att uppleva. Att skapa en förståelse för fenomenet ilska kan skapa förutsättningar för vårdpersonalen att förstå ilska hos patienter. Genom att förstå orsakerna till varför ilska uppstår kan en bra relation mellan vårdpersonal och patient skapas vilket är av stor betydelse för att en god omvårdnad ska kunna utövas. / Reasons why anger evokes is individual and can elicit when a person experience unfairness or feel powerlessness. Anger feels similar on the inside among all individuals which means that a student who feels anger due to a friend who as cheated on an exam can experience the same anger as the patient who is forced to wait for his/her medications. When anger has entered the body it has to “come out”. How anger leaves the body differs from person to person where some express their anger physically while others get their anger out verbally or through tears. When anger has left the body, reflections become possible. Some people experience anger as a driving force for making a change while others feel disgrace and regret due to their behaviour. Anger is something we all have experienced and will continue to do. Understanding the phenomenon anger can create conditions for professionals to understand the patient’s anger. A good relationship between professionals and patients can be founded through understanding why anger evokes which is important for developing a good nursing care

Although two hundred years separate Jane Austen and Helen Fielding and, subsequently, also their portrayals of society, the similarities outweigh the differences. When juxtaposing Pride and Prejudice and Bridget Jones’s Diary in the light of feminism it is evident that both books provide clear examples of the prevailing situation of women in each time and place. The aspects of the study, which are especially important today, show both the development and some degree of stagnation of women’s rights and identities.

<p>In this essay I compare the notion of the accomplished woman in Jane Austen’s Pride & Prejudice and Helen Fielding’s novels about Bridget Jones. My claim is that the notion of the accomplished woman that Austen described 200 years ago is still very relevant and not much different today as reflected in Helen Fielding’s narrative in Bridget Jones, but also that both authors satirically describe the pressure that is put on women to reach the ideal of the accomplished woman. I initially discuss feminist literary theory, and then I analyze the following characteristics and ideas which make up the accomplished woman: Physical appearance, Education & Knowledge, Marriage & Having Children, Career and Skills, Status & Class and Manners & Behaviour. This essay shows that the notion of the accomplished woman is still very much present and in some cases, like physical appearance, the pressure on women to reach this ideal has actually gotten worse. Both Jane Austen and Helen Fielding use irony and satirically describe the pressure on young women as a way of actually criticizing their contemporary societies.</p>

Dans la France de l’Ancien Régime, si les représentations de la condition féminine légitiment les valeurs d’une traditionnelle phallocratie, on note néanmoins que le dogme chrétien accorde aux femmes une place dans l’économie du salut. Dans un contexte de Contre-Réforme, celle-ci déterminera notamment, sur le plan socio-littéraire, les modalités de l’expérience mystique et de l’héroïsme au féminin : l’éthique chrétienne érige paradoxalement en modèle des figures féminines qui transcendent leur humanité dans le sacrifice et la mort. Mais au XVIIe siècle, l’évolution des notions d’abnégation et d’amour-propre éradique ce triomphe éphémère. En nous intéressant plus particulièrement aux remaniements de l’hypotexte euripidien dans l’Iphygenie de Rotrou (1640) et dans l’Iphigénie de Racine (1674), nous verrons comment les deux pièces traduisent ce déclin. Au premier chapitre de notre mémoire, nous nous intéresserons à l’espace de liberté que le discours chrétien confère aux femmes à travers le culte de la virginité et l’hypothétique transfiguration des corps célestes. Réintégrant ces données théologiques, la mystique marque l’essor d’un charisme féminin que la notion d’amour-propre déconstruira à l’ère classique. Dans un second chapitre, nous explorerons les développements de l’éthique héroïque qui ont servi à l’essor d’un héroïsme au féminin. Le troisième chapitre portera enfin sur l’échec d’une héroïne mythique qui, mettant à profit le dogme chrétien, menace dangereusement l’équilibre d’un ordre patriarcal. La critique littéraire convient généralement de l’irréfutable vertu de l’héroïne de Rotrou et de Racine. Au terme de notre analyse, nous entendons démontrer qu’Iphigénie est, a contrario, tragiquement reconnue coupable d’amour-propre par les deux dramaturges. / In the French Ancien Régime, the representations of the condition of women justify the values of male chauvinism. Nevertheless, in its economy of Salvation, Christianity gives women an important place. In the social context of Counter-Reformation, this situation defines the terms of a mystical experience of God exemplified, in literature, by a model of feminine heroism, as Christian ethics set up a feminine figure transcending her human condition through sacrifice and death. In the seventeenth century, however, the concept of abnegation and pride eradicates the short-lasting triumph of feminine heroism. Through Rotrou and Racine’s theatrical reorganization of Euripides’ Iphigenia in Aulis, we will see how both authors convey its end. In our first chapter, we will consider the space defered to women by Christianity through the cult of virginity and the transfiguration of celestial bodies. Reinstating these theological data, the mystics will mark the rise of a feminine charisma which will be deconstructed by the notion of pride in the late seventeenth century. In the second chapter, we will see how the development of heroism favours the expansion of a feminine heroic figure. In the last chapter we will analyse the failure of a mythical heroine who, by taking advantage of the Christian dogma, dangerously compromises the patriarcal order. While critics often assert the truthfull virtue of Iphigenia in Rotrou and Racine’s plays, we will intend to prove that she is, on the contrary, tragically convicted of pride by both authors.