Maditsi is one of the most significant authors in Sepedi literature. He has written various texts, including poetry, short stories and a novelette. He won the first award of the Samuel E Mqhayi prize awarded by the Suid -Afrikaanse Akademie vir Wetenskap en Kuns in 1971, with his poetry book Monamolomo bolela monatsebe o tlo go kwa. His exceptional writing proficiency have been recognised by a scholar such as Thobakgale (1996: 6), who writes: (Maditsi) could be called the leading author of the development of Sepedi short stories, because his short stories, namely Mogologolo (1970), Monyane (1974) and Dipheko (1985) are of high standard as compared to the initial ones as they have raised the standard of Sepedi short stories. The aim of this dissertation is to analyse Maditsi’ s short story ‘Pheko ya pula’ from the anthology Dipheko, as a traditional short story, with special reference to two levels, namely content and plot. When analysing ‘Pheko ya pula’, two strategies have been chosen, namely ‘to define’and ‘to intepret’. The reason is because in this research there are terms such as journey, patronage, etc, that require definition, as well as ideas (characters, events, design, title, theme, topic, technique, conflict and others) that require interpretation and are related to the topic. Furthermore, the model used in this investigation was the adapted narratological model developed by Groenewald (1993) and Mojalefa (1997). This model differ from older models developed by narratologists such as Genette (1980) and Strachan (1988), because it emphasizes that when one discusses content, topic is important. When plot structure is examined, theme is highlighted, and when style is investigated, atmosphere plays a very important role. With regard to the content level, it was revealed that content consists of four elements, namely characters, events, time and place. Furthermore, it was also discovered that characters are subdivided into two categories, namely main and minor characters. These major characters are kind- hearted person and quarrelsome person and they are described according to the following index: intention, patronage, resistance, assistance and patronised. In the short story ‘Pheko ya pula’, the kind-hearted person is Potego, while the quarrelsome person is Mathoma, because he opposes Potego’s kindness. If this text is read and studied intensively the reader realises that the assistance of the quarrelsome person, Mathoma is the resistance of the kind-hearted person, Potego, and vice versa. Events can be classified into two categories, namely essential and other events. The essential events are further subdivided into three categories, namely first, middle and last events. The concept of time at the content level is explained in terms of three categories, namely narratological time, historical time and indefinite time. Place is divided into two categories: the physical place where events occur and indefinite place. In analysing plot structure, three elements are important, namely theme, design and title, because theme links the events of the plot of ‘Pheko ya pula’. Title plays a significant role in distinguishing the name of the literary text and design identifies the type of literary work. Four phases of plot, namely exposition, development, climax and denouement, have also been examined as pillars of the literary text. In the exposition phase, the first conflict (local witchdoctors refused to find the rain charm for the Puding community) is discussed in terms of the following techniques: contrast, foreshadowing, naming, focus, repetition and others. Sequence of events, flashback, symbol and other techniques were used in the development. In the climax, the author used cycle, repetition and other techniques, while in the denouement he used flashback and foreshadowing. In conclusion, this research has also examined the way Maditsi has used the journey as a technique in Sepedi literature, because ‘Pheko ya pula’ is based on a journey from the beginning to the end. The author has used this important technique with consummate skill. / Dissertation (MA)--University of Pretoria, 2008. / African Languages / unrestricted

In this dissertation Lebopa' s two short stories entitled Ntlo ya monna yo mongwe and Bomahlwabadibona are compared with each other. Groenewald is the first person to have pointed out the importance of these two detective short stories. By doing this he also pointed out the importance of Lebopa as a Sepedi author. The named two short stories have never been examined comprehensively. It was therefore decided that they would be compared to each other in this study. The study begins with a description of the concept 'detective story'. Stewart (1980: 12) states that this type of story deals with an investigator who tries to unravel a mystery. The Boileau - Narcejac and Groenewald classifications of these types of stories also receive attention. The Groenewald classification is used in this dissertation. Strachan and Mojalefa's opinion that a literary work consists of three levels forms the basis of the model used to analyse the short stories. Mojalefa refers to these three levels as 'content level', 'structure level' and 'style level'. 'Topic' and 'theme' are two basic concepts in this investigation. 'Topic' is relevant on a content level while 'theme' is important on a structure level'. The two stories were not analysed stylistically. The content of a text consists of four elements, namely characters, events, time and space, and the study of content concentrates on these four elements. Two main figures who are involved in a conflict with each other are identified in the investigation. The events are divided into three categories. The first category contains basic events and is exclusively determined by the topic. The second and third categories respectively contain relevant and coincidental events. The 'time' concept is subdivided into 'point of time' and 'lapse of time'. 'Place' includes amongst other things, 'geographic', 'socio-cultural' and 'symbolic place'. The analysis of the structural level relies heavily on the 'mini-framework' concept which involves the microstructure of a work. Attention is devoted to the title. Hereafter the investigation focused on the different parts of the structure i.e. the exposition, the development, the climax and the resolution. The structural analysis concentrates mainly on the author's use of literary techniques. The concept 'technique' is defined and the following techniques from Ntlo ya monna yo mongwe and Bomahlwabadibona are identified and discussed: repetition, shifting, frequency, dramatic irony, omission, focus, complication and deceit. The investigation is a functional analysis and not a taxonomic one, which means that the ways in which the techniques function also receive attention. The comparison between the two short stories reveals that they belong to two different kinds of detective stories. In Ntlo ya monna yo mongwe the unravelling of the mystery receive the most attention. In Bomahlwabadibona those events which gradually expose the cruelty of the antagonist and which deal with his punishment are most prominent. This is in accordance with Dresden and Vestdijk's description of the English and American detective story respectively. The positions of Ntlo ya monna yo mongwe and Bomahlwabadibona in relation to the rest of the Sepedi narrative genre is then precisely indicated. The concluding chapter is a summary. At the end of this chapter a brief allusion is made to Dresden and Vestdijk's opinion that the detective story is a modern fairytale. / Dissertation (MA)--University of Pretoria, 2013. / African Languages / unrestricted

DESPERATE TIMES CALL is a collection of short stories and a novella about people whose lives intersect with violence. The young girl in Of Course She Would is forced to leave her home after finding her meth-addicted father dead of a heart attack. Tomas Mangual, the main character of She Said Two, sets off on a blind date to discover his counterpart has recently been the victim of a disturbing hate crime. The featured novella, Diablo Corrido, raises the question: How far would someone chase their ambition to see a life-long dream come true? Using the intimate perspectives of first-person and close third-person points of view, DESPERATE TIMES CALL offers glimpses of characters chasing dreams of success, romance, wealth, even normalcy, but coming up empty-handed.

La nouvelle étant un récit bref, elle est à même de représenter le tragique de l'existence : elle attrape sur le vif tous les événements de la vie et les présente dans une économie restreinte. Theodor Storm et Guy de Maupassant ne manquent pas à cette règle et proposent des récits marqués par l'empire de la fatalité. Celle-ci est la manifestation du destin et/ ou du hasard qui transparaissent à travers la description de paysages réalistes et à travers la mise en avant d'objets clé qui entraînent avec eux la décrépitude des personnages. La technique narrative est également au service de la mise en scène de ce déterminisme, ainsi, l'un et l'autre auteur se permettent d'enchâsser les histoires, de revenir en arrière dans la narration pour mieux faire peser le poids du destin et/ ou du hasard afin de souligner que chacun fonctionne comme un mécanisme à ressort se déroulant tragiquement. Pourtant, même si tout laisse supposer le contraire, ces nouvelles ne sont pas qu'imprégnées de pessimisme. En effet, de cette fatalité empreinte de destin et/ ou de hasard se dégage un élan vital caractéristique de la pensée philosophique et sociale du XIXe siècle. Le destin et/ ou le hasard est en fait l'expression aveugle d'une volonté qui détermine le choix des personnages. Aussi ces nouvelles mettent-elles l'accent sur l'illusion du libre arbitre des personnages qui pensent pouvoir se déterminer eux-mêmes. De là, l'élan créatif issu de l'écriture permet une suspension de ce déterminisme. Ainsi, ce sont ces mécanismes de la fatalité qui sont démontés dans ce travail afin de repérer cet élan vital, salvateur et libérateur propre à la conception philosophique et littéraire du XIXe siècle. / A short story is a brief narrative and therefore can represent the tragic of existence : it catches on the spot all the events of life and presents them in a restricted economy. Theodor Storm and Guy de Maupassant obey the rule and offer narratives marked by fatality, which is the demonstration of fate and/ or chance shown through the description of realistic landscapes and through the emphasis of key objects which pull with them the decline of the characters. The narrative technique also serves the fabrication of this determinism. So, both authors allow themselves to intersperse stories, to go back into the narration, so that the weigh of fate and/ or chance is heavier and works as a spring mechanism taking place tragically. Nevertheless, even if everything suggests the opposite, these short stories are not so pessimistic. Indeed, a life force typical of the philosophical and social thinking of the 19th century arises from this fatality marked with fate and/ or chance. Fate and/ or chance is in fact the blind expression of a will which determines the choice of characters. So these short stories emphasize the illusion of characters' free will who think they can decide of their life. From there, the creative impulse stemming from the writing allows a interruption of this determinism. So, it is those mechanisms of fate that are defused in this work to observe this saving and liberatoring life force, inherent to the philosophic and literary concept of the XIXth century.

Les derniers siècles du moyen âge européen pourraient être surnommés ‘l'ère de la déconstruction.' aussi, les œuvres littéraires se caractérisent-elles par l'hybridation ou la contamination de traditions et de modèles différents. leur dissonance interpelle. l'impossibilité à les faire entrer dans un cadre de référence précis, la difficulté à les classer témoigne de cette particularité. nous aborderons la question du point de vue du récit bref, en explorant le champ diversifié, européen, de la nouvelle du xiiie au xvie siècle. les conditions culturelles et politiques (système de cours diffusant à partir d'un cadre géographique précis, déplacements des auteurs, échanges et créations entre lieux artistiques et culturels spécifiques, ritualisation des pratiques littéraires, radicalisation des formes poétiques fixes), tout conduit à adopter face à l' ‘objet' littéraire une approche à la fois rigoureuse et pragmatique. l'enjeu est de dépasser les habituels cadrages critiques. a cette fin nous programmons trois directions qui contribueront à mieux définir notre objet :1° normes littéraires et esthétiques : transformations et dépassements. les innovations, les interférences créent les conditions d'un changement d'approche de l'écriture du récit bref. héritières du fabliau et du lai, les nouvelles médiévales ne sont pas encore le produit fini d'une pratique littéraire. les expérimentations (boccace, chaucer, antoine de la sale, cent nouvelles nouvelles, evangile des quenouilles) sont des solutions de compromis entre des formulations encore hésitantes. la nouvelle ne se présente pas comme une réalisation uniforme : les textes circulent et sont modelés par des échanges entre des lieux de productions et de diffusions qui ont leur logique propre (bourgogne, anjou-provence, cités-états italiens…). c'est dans une perspective dynamique que nous nous attacherons à disséquer ces tâtonnements, à repérer des modèles unificateurs et des tensions avec des traditions locales ;2° inscription du sujet dans l'œuvre : qu'il s'agisse de productions savantes ou populaires, d'auteurs uniques ou de travaux collectifs, leur genèse est multiple et diversifiée et passe à chaque fois par une approche critique singulière. les différentes formes de récits brefs ne s'inscrivent pas dans les mêmes temporalités ni dans les mêmes espaces. dans cette exploration, se posera la question complexe de l'inscription du sujet dans la fiction. de boccace à antoine de la sale l'engagement est différent, les méthodes, les pratiques et les résultats diversifiés. d'autres paramètres peuvent rendre plus complexe l'approche critique. c'est le cas de l'evangile des quenouilles. ce recueil de nouvelles racontées oralement par des femmes subit l'empreinte cléricale au moment de la mise en forme, le récit est biaisé par une tradition écrite qui édulcore la parole originelle et la transforme. l'œuvre est ainsi le produit de plusieurs médiations qui renforcent la ‘problématicité' de la nouvelle en y ajoutant la question du ‘genre' (‘gender'). les relations de l'œuvre au réel en sont modifiées.3° la circulation des textes dans cette europe virtuelle soulève une question plus profondément philosophique relative à la crise des croyances à l'aube de la renaissance européenne : qu'il s'agisse des lieux communs, des poncifs de la théologie morale, de l'esprit d'ouverture de l'humanisme naissant ou de l'idée de réformation, les implications politiques et religieuses ne cessent de soulever un questionnement lancinant sur les enjeux des transformations des formes littéraires. la question est encore plus urgente pour la nouvelle. / At the end of the Middle Ages, literary works can be characterised by the hybridisation, or the contamination, of disparate traditions and models. Their dissonance is striking. The impossibility of shoehorning them into the same precise frame of reference and the difficulty in classifying them bears witness to this particularity.We will approach the question from the point of view of the short narrative, exploring the diversified, European domain of the novella from the 13th to the 16th century.The cultural and political conditions (system of knowledge diffusing from a precise geographical frame, authors’ movements, exchanges and collaborations between two specific artistic and cultural spaces, ritualisation of literary practices, radicalisation of fixed poetic form) all lead to applying both a rigorous and a pragmatic approach to the literary ‘object’. Our objective is to go beyond the habitual critical framework.Thus it is with this dynamic and pragmatic perspective that we will set about dissecting these experimentations, these still-hesitant formulae governed by the mutability of the medieval text, which drifts from one form to another. This is also the case for the short narrative that we see elsewhere in the ‘fabliau’, the ‘conte à rire’, the novel, and memoir. These transformations confront us with the choice of individualised approaches for each work, for the application of each short story will forever remain unique and unclassable. Is it not a reflection of a late-medieval society which is searching and has not yet found the definitive form for the expression of new aspirations? It is the only criterion which allows us to define the ‘style’ of the novella.

The purpose of this study is to examine the extent of Katherine Mansfield's literary indebtedness to Anton Chekhov. Throughout the critical writing about Mansfield there are many suggestions that her work is similar to that of Chekhov, but, these allusions are, for the most part, vague in pointing out specific likenesses.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-24T13:11:29Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertação_GERDNA_2017.pdf: 3085732 bytes, checksum: 8699e86d5c3fb4cfbf12ddd6e572a599 (MD5) / Made available in DSpace on 2017-07-24T13:11:29Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertação_GERDNA_2017.pdf: 3085732 bytes, checksum: 8699e86d5c3fb4cfbf12ddd6e572a599 (MD5) Previous issue date: 2016-12-15 / CAPES / Esta pesquisa busca aplicar uma abordagem do ensino de leitura no intuito de contribuir na formação do leitor literário, através de estratégias metacognitivas de leitura que auxiliem os alunos a se tornarem leitores ativos e reconhecerem no conto o discurso universal inerente ao texto literário. Nosso embasamento teórico associa Estética da Recepção com Jauss (1979), Teoria do Efeito Estético, representada por Iser (1979), ensino de Literatura com Bordini &Aguiar (1993), Zilberman (2014) e Cosson (2014) à interação com o uso das estratégias de leitura, respaldado em Flavell (1976), Baker & Brown (1980), Solé (1998), Duke & Pearson (2002) e Kleiman (2007). Sendo assim, os teóricos da teoria da literatura e da psicolinguística dialogam para justificar a nossa proposta de entrelaçamento dessas áreas, visando um ensino de Literatura que respeite os aspectos literários e utilize os conhecimentos linguísticos para construção de significados do texto. A metodologia utilizada é qualitativa. Participaram da pesquisa 30 voluntários, estudantes do 9º ano de uma escola pública. As fases de aplicação das atividades para a coleta de dados foram divididas em diagnóstica, ensino de leitura e teste/avaliação. As atividades foram produzidas com base nos contos (O Crime do Professor da Matemática, de Clarice Lispector; O Conto se Apresenta, de Moacyr Scliar; O Gato Preto, de Edgar Allan Poe) lidos em cada fase, sendo elas o Questionário Avaliativo de uso de Estratégias Metacognitivas de Leitura e o Questionário de Compreensão do Conto, em todas as fases e o Guia de Leitura, nas duas últimas fases. O corpus foi constituído por 234 fichas de atividades (questionários e guias de leitura). Os resultados indicam que é possível a percepção do discurso universal, quando o estudante é capaz de transubstanciar a ficção inerente ao texto literário. / The present study aims to apply a teaching Reading approach in order to contribute to the literary reader formation through metacognitive reading strategies that help students become active readers and recognize in the short story the universal discourse inherent in the literary text. Our theoretical basis associated Aesthetics of Reception with Jauss (1979), Theory of Aesthetic Response, represented by Iser (1979), literature teaching with Bordini & Aguiar (1993), Zilberman (2014) and Cosson (2014) to the interaction with the use of reading strategies, represented by Flavell (1976), Baker and Brown (1980), Solé (1998), Duke and Pearson (2002) and Kleiman (2007). Thus, literary theory and psycholinguistics dialogue to justify our proposal of interweaving these areas, seeking a literature teaching that respects the literary aspects and use the language skills to build text meanings. The methodology is qualitative. The participants were 30 volunteers, students from 9th grade in a State School. The implementation stages for the data collection were divided into diagnostic, teaching of reading and test/evaluation. The activities were produced based on the short stories (O crime do Professor de Matemática by Clarice Lispector; O Conto se Apresenta by Moacyr Scliar; O Gato Preto by Edgar Allan Poe) read at each stage, they were the Assessment Questionnaire on the use of Metacognitive Reading Strategies, Short Story Comprehension Questionnaire, at all stages and the Reading Guide in the last two stages. The corpus consisted of 234 activities sheets (questionnaires and reading guides). The results indicate that the universal discourse perception is possible, when the student is able to transubstantiate fiction inherent in the literary text.

Can words create worlds? My fiction thesis, El mundo es mentira (The World Is a Lie), explores different voices and points of view to examine the ways in which they not only tell stories, but also generate spaces, atmospheres and, ultimately, worlds of their own. Moreover, the book aims to be a meeting ground where these voices dialogue with the voices of the literary tradition, reinterpreting and rewriting it. This collection was conceived as an experimental laboratory as well: it is comprised by short and micro-stories which question and challenge conventional forms of storytelling by incorporating poetic, memoiristic and essayistic devices.

No description available.

Useless is a short story collection about people who feel lost in the world and go searching for fulfillment. Six disconnected stories about six disconnected people. The collection deals with themes of loss, identity, loneliness and the exploration of niche subcultures.