Defining rarity as a relative quality in matter roughly opposite to density, this dissertation focusses on the way material qualities of molecular gases, such as semi-opacity, permeation, and blending, inform modernist representations of embodied spatial experience. In modernist writing, rare matter—including air, fog, smoke, and haze—functions as an active component of the sensory environment, filling up the negative space that sets off subjects from objects, and characters from settings. Representing matter across the full range of the rarity-density spectrum allows modernist writers to challenge the ontological status of such boundaries, and to develop dynamic spatial models of the self-world threshold. The Introduction defines rare matter and examines its function as a sensory medium that can alternately define and blur subject/object boundaries. Interpreting dynamic thresholds as products of authorial activism, I argue that modernist narratives disrupt the normative constructions of the self-world boundary that prevailed in biomedical discourse around the turn of the century. Chapter 1, seeking to expand the scope of modernist object studies to include rare matter, analyzes illustrated books about London to demonstrate the increased cultural visibility of the atmosphere in the modernist period. Visual and verbal gestalt effects, modelled on the hermeneutic oscillation between looking at and looking through the fog, foreground the materiality of the atmosphere that fills up three-dimensional space, pressing up against the thresholds of the body and disrupting fixed distinctions between subjects and their surroundings. Chapter 2 shows how D. H. Lawrence harnesses the properties of rare matter to construct dynamic representations of the self-world boundary. In his early novels and his criticism, the oscillation between self-diffusion and self-differentiation expresses characters’ psychological responsiveness to changing interpersonal and ontological pressures. Chapter 3 demonstrates how Virginia Woolf takes advantage of rare attributes like permeation, fluid motion, and variable particle spacing to model process-oriented communities that incorporate dynamic shifts between social autonomy and collective identity. The Conclusion examines rare imagery in modernist scenes of narration, arguing that dynamic self-world thresholds help to articulate a responsive form of reader-text interaction that allows for the alternation of independent and collaborative reading practices.

Anthologies composed for adolescent readers are rare in both Afrikaans and Dutch. These anthologies are published at quite lengthy intervals, because they are post-publications in which already published volumes are absorbed. These anthologies are, however, to an increasing extent the medium by which readers become aware of poetry and are also introduced to different poets. For that reason it can be concluded that anthologies inform poetic taste. The empathy and love towards poetry experienced by young children in both languages are gradually replaced by an apathetic attitude towards poems and even an antipathetic attitude in general during adolescence. The first reaction to poetry is usually emotional and this indicates the way for further intellectual development. When selecting poems for the adolescent reader, the different developmental aspects affecting the adolescent and his identity development must be taken into consideration. The needs of the adolescent reader must be kept in mind. Needs in reading develop as a result of general needs that should be satisfied in the first place. Should this be the case, the need for reading would develop. In this study different theoretical points of view, namely reader-response criticism, developmental psychology, general needs and reading-related needs are used to determine the representation of identity in poems. Specific theories of poetry are used as instruments in text studies and analyses with regard to representation of identity in anthologies for adolescents. Poems in Versreise (Vermaak et al.) and Met gekleurde billen zou her gelukkiger leven zijn (Van Coillie) are analysed focusing on the representation of time and space, speaker and perspective, atmosphere and metaphorical language. For the purposes of this study analyses were conducted to evaluate and interpret the representation of identity in the texts of both anthologies. The differences and similarities between the Afrikaans and Dutch poetry texts for the adolescent had to be identified. The differences were used to determine which type of text would support the Afrikaans identity, the Dutch identity or the Flemish identity. The similarities, on the other hand, were used to determine the type of text that would not appeal to the Afrikaans, Dutch or Flemish adolescents only, but to adolescents in general. In this study method-pluralism is scientifically unavoidable. Different methods were systematically combined to support the specific methods of approach. The research was done in accordance with four methods: a synopsis of existing and appropriate theory of literature and forming of theory with regard to relevant concepts and terms; the analyses of texts in two anthologies; a summary of critical opinions stated in different reviews as well as surveys and interviews based on consultations via e-mail with the different role players, i.e. the anthology composers, illustrators and publishers. / Thesis (MA (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2004.

Depuis qu’en 1977, en quatrième de couverture de Fils, Serge Doubrovsky employa le mot « autofiction » pour décrire son roman, les études doubrovskiennes ont eu tendance à se focaliser sur les questions génériques que sous-tendait ce néologisme. Ainsi on a écarté un autre aspect, tout aussi important, de l’œuvre de l’auteur : celui du lien avec le lecteur qui, en plus d’être mis en scène dans chacune des autofictions doubrovskiennes, est associé dès Fils au rapport complexe, inextricable et conflictuel entre les sexes. « J’écris mâle, me lis femelle », dit le narrateur-écrivain ‘Serge Doubrovsky’ – lui qui vivra sous nos yeux une série d’histoires passionnelles avec des compagnes qui sont également ses lectrices. Repris d’épisode en épisode, le rapport entre le héros doubrovskien et sa compagne du moment rappelle les hypothèses de Doubrovsky dans Corneille ou la dialectique du héros (1963), inspirées de la dialectique hégélienne du Maître et de l’Esclave. Cette thèse s’attache donc à analyser la relation dialectique auteur-lectrice telle que mise en scène et approfondie dans l’ensemble de l’édifice autofictionnel. Après présentation et étude des mécanismes dont se sert l’auteur pour construire son Lecteur Modèle (Première partie), les trois autres sections principales de la thèse sont consacrées à l’analyse de Fils et Un amour de soi (1977 et 1982 ; Deuxième partie) ; du Livre brisé et de l’Après-vivre (1989 et 1994 ; Troisième partie) ; et enfin de Laissé pour conte (1999 ; Quatrième partie). Il s’agira enfin de montrer la portée non seulement littéraire, mais également sociale (la réflexion s’élargit à chaque épisode pour aborder les questions de la réception contemporaine de l’œuvre littéraire) et historique (le motif Maître-Esclave s’inscrit dans l’Histoire de l’Europe du XXe siècle, plus précisément la Seconde Guerre mondiale et la Shoah) du thème dialectique doubrovskien. / Since Serge Doubrovsky coined the term « autofiction » to describe his own novel on the back cover blurb of Fils (1977), doubrovskian studies have tended to focus on the literary genres issues implied by his neologism. Consequently, another aspect of the writer’s work, and a quite crucial one, was somewhat neglected: the relationship with the reader, which is not only represented and acted out by the characters in doubrovskian autofictions but also linked to a another complex, tempestuous and inextricable relationship, that of man and woman. “I write male, read myself female”, says the doubrovskian narrator, who happens to take part, under our very eyes, in a series of passionate relationships with mates that are also readers of his works. Repeated from novel to novel, the mise en scène of the rapport between the doubrovskian hero and his lady companion of the moment reminds us of Doubrovsky’s hypotheses in Corneille ou la dialectique du héros (1963), which were inspired by the Hegelian master-slave Dialectics. This study thus concentrates on the representation of the dialectical relation between male author and female reader in Doubrovsky’s autofictions. After a brief survey and description of the tools used by the author in order to construct his own Model Reader (First section), our three other principal sections will focus on the analysis of Fils and Un amour de soi (1977 and 1982; Section Two); Le livre brisé and l’Après-vivre (1989 and 1994; Section Three); and finally Laissé pour conte (1999; Section Four). We will ultimately attempt to demonstrate the doubrovskian dialectal theme’s literary richness as well as its social and historical implications – the author’s reflexion widens with each episode, touching on questions of reader-response and reception of the literary work, while the master-slave motif resonates in the History of twentieth century Europe, mainly the Second World War and the Holocaust.

No description available.

Anthologies composed for adolescent readers are rare in both Afrikaans and Dutch. These anthologies are published at quite lengthy intervals, because they are post-publications in which already published volumes are absorbed. These anthologies are, however, to an increasing extent the medium by which readers become aware of poetry and are also introduced to different poets. For that reason it can be concluded that anthologies inform poetic taste. The empathy and love towards poetry experienced by young children in both languages are gradually replaced by an apathetic attitude towards poems and even an antipathetic attitude in general during adolescence. The first reaction to poetry is usually emotional and this indicates the way for further intellectual development. When selecting poems for the adolescent reader, the different developmental aspects affecting the adolescent and his identity development must be taken into consideration. The needs of the adolescent reader must be kept in mind. Needs in reading develop as a result of general needs that should be satisfied in the first place. Should this be the case, the need for reading would develop. In this study different theoretical points of view, namely reader-response criticism, developmental psychology, general needs and reading-related needs are used to determine the representation of identity in poems. Specific theories of poetry are used as instruments in text studies and analyses with regard to representation of identity in anthologies for adolescents. Poems in Versreise (Vermaak et al.) and Met gekleurde billen zou her gelukkiger leven zijn (Van Coillie) are analysed focusing on the representation of time and space, speaker and perspective, atmosphere and metaphorical language. For the purposes of this study analyses were conducted to evaluate and interpret the representation of identity in the texts of both anthologies. The differences and similarities between the Afrikaans and Dutch poetry texts for the adolescent had to be identified. The differences were used to determine which type of text would support the Afrikaans identity, the Dutch identity or the Flemish identity. The similarities, on the other hand, were used to determine the type of text that would not appeal to the Afrikaans, Dutch or Flemish adolescents only, but to adolescents in general. In this study method-pluralism is scientifically unavoidable. Different methods were systematically combined to support the specific methods of approach. The research was done in accordance with four methods: a synopsis of existing and appropriate theory of literature and forming of theory with regard to relevant concepts and terms; the analyses of texts in two anthologies; a summary of critical opinions stated in different reviews as well as surveys and interviews based on consultations via e-mail with the different role players, i.e. the anthology composers, illustrators and publishers. / Thesis (MA (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2004.

No description available.

This diploma thesis examines a phenomenon of the contemporary Finnish fantastic literature that seems to conquer the Finnish book market, also crossing the boarders and coming to the Czechia as well - Finnish Weird, or suomikumma. The aim of this work is to determine the reception of the Finnish Weird within the audience of the Czech readers. The theoretical part focuses on the fantastic literature and the position of Finnish Weird in it. The reader-response theory and the term horizon of expectations coined by Hans Robert Jauss provide the interpretation of how readers perceive the fantastic literature and what they expect from it. Works of the Finnish Weird fiction translated in Czech and responses of Czech readers are presented in the main part of the thesis. The research material is based on comments and reviews of the Czech readers published predominantly on the internet and on the internet book databases. Key words: contemporary Finnish literature, reader-response theory, horizon of expectation, genre, science fiction, fantasy, horor, speculative fiction, Weird, New Weird, Finnish Weird

No description available.

This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu literary studies, this is an attempt to fill that void. This thesis provides some new insight into this concept, while also devising a practical method for the analysis of the radio trilogy. Chapter one outlines the aim of the study, scope of the study and the definition of some terms. This is followed by explaining the method of research and theories on radio serial dramas. There is also a discussion of the historical background in the development of Zulu radio serial drama and Ntuli's position and contribution to it. Finally, there is a review of previous research studies in Aincan Languages on radio drama. In chapter two plot structure of a radio trilogy is discussed. Theories of drama trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in detail. This is followed by an in-depth analysis of the plot structures of Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano. Chapter three deals with the characterization of radio trilogy. It distinguishes between the actors and characters. Different methods of character portrayal are investigated. Chapter four deals with perspectives on the theme of the radio trilogy. Types of themes are dealt with. Chapter five discusses the dialogue in radio trilogy. It deals with the differences between a dialogue, duologue and monologue, and explains the functions fulfilled by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic of the dramatic action is discussed. Chapter six concentrates on the style of radio trilogy. Elements and different types of styles are discussed. Kinds of images, figurative language, proverbs, idioms, biblical allusions and various influences are discussed in detail. Chapter seven concludes by summarizing the main finding ofthis study, and giving observations about the quality ofNtuli's contribution to radio drama trilogy. lt also explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)

Bien que le scandale qui a accompagné la publication des Fleurs du mal ne soit plus un obstacle à leur diffusion, il continue à jouer un rôle dans la lecture de l’oeuvre de Baudelaire : le XXe siècle a fait du poète l’archétype de l’artiste censuré. En analysant la réévaluation de l’oeuvre de Baudelaire et la manière dont certaines Fleurs du mal ont été mises à distance, notre étude vise à faire l’histoire de la fortune du poète après le processus d’institutionnalisation qui a fait de lui un classique à la fin des années 1920. Nous nous intéressons au rituel de la commémoration littéraire à travers l’analyse d’un corpus d’articles et d’ouvrages publiés lors de trois anniversaires : le centenaire du procès des Fleurs du mal, celui de la mort de Baudelaire et le cent-cinquantenaire du même procès. Nous envisageons également la fortune littéraire de Baudelaire en France à partir de 1930, date à laquelle son oeuvre est considérée comme l’origine de la poésie moderne. Une analyse critique de la notion d’influence permet de réévaluer le statut du poète, à la fois modèle et antimodèle pour Pierre Jean Jouve, Yves Bonnefoy, Philippe Jaccottet, Michel Deguy, André Frénaud ou André du Bouchet, et de montrer que son apparent oubli, entre le centenaire de 1967 et les années 1990, est suivi d’un retour au lyrisme de La Cloche fêlée. Nous voulons enfin montrer que la patrimonialisation de l’oeuvre de Baudelaire n’a pas été suivie d’une complète intégration à la culture nationale : la « survie culturelle » de Baudelaire à travers les adaptations de son oeuvre, ses biographies ou ses portraits ne s’inscrit pas dans un processus de panthéonisation mais dans un culte multiforme de l’écrivain, résultat de l’institutionnalisation du scandale. / While the scandal raised by the publication of Les Fleurs du mal is no longer an obstacle to the diffusion of the book, it still plays a role in the reading of Baudelaire: the 20th century made the poet into the archetype of the censored artist. By investigating the re-evaluation of Baudelaire’s work and the rejection of some Fleurs du mal, my study aims at accounting for the history of Baudelaire’s fortune after the institutionalization process that made him a classic, in the late 1920’s. I am interested in the ritual of the literary commemoration, through the analysis of a collection of articles and of works published during three anniversaries: the centenary of Les Fleurs du mal’s trial, the one of Baudelaire’s death and the one hundred and fifty years anniversary of the same trial. I also consider Baudelaire’s literary fortune in France since 1930, a time where his work began to be seen as the origin of modern poetry. A critical analysis of the notion of “influence” makes it possible to re-evaluate the poet’s status – he is at the same time a model and an anti-model for Pierre Jean Jouve, Yves Bonnefoy, Philippe Jaccottet, Michel Deguy, André Frénaud or André du Bouchet – and to show that his apparent disappearance between the 1967 centenary and the early 1990s is followed by a return of La Cloche fêlée’s lyric. I finally want to show that the patrimonialization of Baudelaire’s work was not followed by its complete integration to national culture: the “cultural survival” of Baudelaire through his works’ adaptations, his biographies or his portraits does not belong to a pantheonization process, but to a multifaceted cult of the writer, resulting from the scandal’s institutionalization.