Fourteen short stories, with five interspersed vignettes, describe the lives of gay people in the southwestern United States, centered around a fictional gay country-and-western bar in Dallas and a small town in Oklahoma. Various characters, themes, and trajectories recur in the manner of a short story cycle, as explained in the prefatory Critical Analysis, which focuses on exemplary works of James Joyce, Ernest Hemingway, William Faulkner, Shirley Jackson, Italo Calvino, Yevgeny Kharitonov, and Louise Erdrich.

O trabalho pretende analisar o amadurecimento do conto no Brasil a partir da leitura das produções de Machado de Assis, Raul Pompeia e Lúcio de Mendonça publicadas na década de 1880, período que corresponde ao aparecimento de Papéis avulsos (1882) e Histórias sem data (1884), de Machado, do total dos contos de Pompeia em periódicos e da coletânea Esboços e perfis (1889), de Mendonça. Para tanto, far-se-á uma linha evolutiva do conto brasileiro a partir de seu surgimento ainda no período romântico de modo a compreender de que maneira a forma do conto atingiu uma maturidade expressiva e artística na década de 80, considerando-se o que de fundamental se conquistou ali como fontes para o conto moderno. / The work intends to analyze the maturation of the short story in Brazil from the reading of the productions of Machado de Assis, Raul Pompeia and Lúcio de Mendonça published in the years 1880, period that corresponds to the appearance of Papéis avulsos (1882) and Histórias sem data (1884), of Machado, of the total short stories of Pompeia in periodicals and the compilation Esboços e perfis (1889), de Mendonça. To do so, an evolutionary line of the Brazilian short story will be carried out from its emergence still in the Romantic period in order to understand how the form of the short story reached an expressive and artistic maturity in the 80´s, considering what of fundamental was conquered there as fountains for the modern short story.

O trabalho pretende analisar o amadurecimento do conto no Brasil a partir da leitura das produções de Machado de Assis, Raul Pompeia e Lúcio de Mendonça publicadas na década de 1880, período que corresponde ao aparecimento de Papéis avulsos (1882) e Histórias sem data (1884), de Machado, do total dos contos de Pompeia em periódicos e da coletânea Esboços e perfis (1889), de Mendonça. Para tanto, far-se-á uma linha evolutiva do conto brasileiro a partir de seu surgimento ainda no período romântico de modo a compreender de que maneira a forma do conto atingiu uma maturidade expressiva e artística na década de 80, considerando-se o que de fundamental se conquistou ali como fontes para o conto moderno. / The work intends to analyze the maturation of the short story in Brazil from the reading of the productions of Machado de Assis, Raul Pompeia and Lúcio de Mendonça published in the years 1880, period that corresponds to the appearance of Papéis avulsos (1882) and Histórias sem data (1884), of Machado, of the total short stories of Pompeia in periodicals and the compilation Esboços e perfis (1889), de Mendonça. To do so, an evolutionary line of the Brazilian short story will be carried out from its emergence still in the Romantic period in order to understand how the form of the short story reached an expressive and artistic maturity in the 80´s, considering what of fundamental was conquered there as fountains for the modern short story.

This study examines the myth of the surrogate power of canonicity by exposing the condition of liminality of the Zimbabwean short story genre within African literary canon. Building on the hypothesis that canonisation distorts literature the study postulates that literary canon produce predictable biases in construing the position of the short story. It fossilises and condenses the marginal genres to the extent that the existing canon repertoire hardly recognises them. The peripheral but de facto canon of the short story genre entertains a strong relationship of heteronomy to the mainstream/central canon. This thesis studies this relationship which determines canon formation within the African literary systems. It challenges the prevailing status quo in which the short story is polarised against other literary modes. The polarity creates a charged diametric force between the presumed canonical genres and the supposedly non-canonical short story mess. What lacks in this equation of conflicts is a sense of revival, reformation and continuity of the short story canon. The marginality of the short story canon is predicated on factors external to the genre itself, such as the influence of colonial institutions, collegiate institutions and publishers on writers. These factors pervade the dialectics of canonical marginality of the genre. The study, which argues that there is no unanimity on theory of canon, proposes Africulture, as both a theory and praxis of Afrocentricity, to function as an arbiter of short story literary reputation and consecration. The research reveres the autonomous value of African story-telling tradition which withstood the test and movement of time, in the process, surviving not only the historical-cum-cultural threat of colonial loss and canonical displacement, but also the throes and will power of new media and digital technologies. The ascendancy of the electronic short story genre to canonical status remains questionable. Critical controversies abound about the canonicity of electronic literature. The study employs Technauriture as a theoretical model for rethinking the transcendence of the electronic short story canon. The study concludes that, by virtue of its resilience, the short story ought to be treated as a wholesale and independent genre, worth of full scale appreciation. / African Languages / D. Litt. et Phil. (African Languages)

The aim of this thesis is to examine the position of short stories among Czech translations of foreign fiction. The theoretical part deals with the terminology and definition of this genre and outlines its history in both Czech and French cultural contexts up until today. When discussing Czech short story collections, it contrasts translations with books by Czech authors. This is also mentioned in interviews with editors and publishers, which are included in the empirical part of the thesis together with a corpus of short story collections translated from English and French and published between 1990 and 2017. The corpus is accompanied by a commentary. The third part of the thesis is a translation case study. It consists in choosing a French short story collection and offering it for publication. This part includes a review assessment of the book and the translation of four short stories, accompanied, for the purpose of this thesis, by a translation analysis. The rest of the publishing process is described theoretically. Key words short story, short story collection, translation literature, contemporary literature, corpus, interviews, publishing process

Chapter 1 outlines the aim of the study, research methodology, delimitation of scope and the definition of some terms. This is followed by a list of Zulu short stories which Ntuli has already contributed. His other contributions in circles outside the writing of fiction are also acknowledged. Finally, tribute is paid to some contributions made by Ntuli as an endeavour to uplift the standard of Zulu writing. In Chapter 2 plot structure is discussed. This is followed by an in-depth semiotic analysis of some short stories. Chapter 3 deals with the different narration techniques employed by the author in his short stories. Chapter 4 differentiates between actors and characters. Different methods of character portrayal are investigated. Chapter 5 concludes this dissertation by summarising the main finding of this study. It also brings forth some conclusions with regard to literary merit of Ntuli's short stories and his contribution to Zulu literature. / African Languages / M.A. (African Languages)

The goal of this paper is to map and classify the short stories of French author Marcel Aymé. In the first part of the work the characterstics of the short story as a literary genre are defined and its evolution during the 20th century is illustrated. In the second part, Aymé's life is described as well as general characteristics of his work are exposed and put into contemporary literary context. In the third and main part of the work, Aymé's short stories are presented and the thematic groups are stated (set up as based on the lecture of Aymé's collected short stories), into which the individual stories can be included. Each one of these groups is then explained separately and its general characteristics are outlined. The conclusion then presents the basic thematic overview of the stories.

In this dissertation, the art of the short story as practised by S.N. Nkadimeng (Mmantshaotlogele) is investigated in accordance with the narratological descriptive model. According to this approach the literary work is divided into three levels, namely, content level, plot level and style level. The level of style, however, is not discussed in detail in this dissertation. In this study, Nkadimeng's art is placed within the framework of a brief discussion of the Northem Sotho short story as an art form. Furthermore, the aim of this investigation is formulated. Thereafter the relevant concepts which are discussed in this dissertation are also illustrated. In the second, third and fourth chapters attention is paid mainly to the analysis of a single short story, that is 0 nyalwa lenyalo mang .. . ; however, the other short stories in this collection, among others Nna nka se je dipute and Thapelo ya pula are referred to as examples. In the last chapter, Nkadimeng's work, particularly with regard to his ironic stories, is compared to Mpepele's and Matsepe's work. Nkadimeng writes with compassion about his people; his irony is delicate and mocking without venom, which differs from that of Matsepe and Mpepele. Whereas Matsepe mocks important figures in the society, such as leaders, kings, the rich and so forth, Nkadimeng's and Mpepele's mocking is aimed at the weaknesses of the ordinary people. / Dissertation (MA)--University of Pretoria, 2012. / Philosophy / unrestricted

Call number: LD2668 .T4 1930 S52

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2006. / In fulfilment of the requirements for the degree Master in Afrikaans Creative Writing, the following has been submitted: (i) an assignment, titled Postcolonial Correspondence: resistance against or alliance with Colonialism, taking the form of an essay on the problematic surrounding the representation of the Other in postcolonial discourse; (ii) a volume of short prose, titled Tweespoor, wherein a representation of general human experiences within recognizable South African milieus was attempted.