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This is a book of short stories with a critical introduction. In theme, the stories seek to find the border between the Midwest and the Southwest of America by focusing on Ohio and Arizona. Some of the stories seek to exemplify “experimental” fiction, while the critical introduction seeks to define “experimental.” In addition, the introduction theorizes about the role of setting in linking collections and characterization.

The work is devoted to the study of the principles of cyclization in short story collections by R. Bradbury. The material of the study comprises seven authors' collections: The Dark Carnival (1947), The Golden Apples of the Sun (1953), A Medicine for Melancholy (1959), Far After Midnight (1976), In Blink of an Eye (1996) The Cat's Pajamas (2004) and We Will Always Have Paris (2009). This selection was made so as cover different stages of the author’s life and, as a consequence, different periods of the writer’s work. Another important criterion was some short stories within these collections being written in significant time intervals, from six to thirty years. In the first part of the work, the concepts of “literary cycle” and “cyclization” are studied, the functions of prosaic cyclisation and its role in the history of literature development are studied, classification of prose cycle varieties is provided, based on the typology of the internal structure of cycles proposed by S. Nesterova in the dissertation “Cyclic text construction in short epic prose”. In the second part of the work author’s collections by R. Bradbury are analyzed. The main task is to study the stories in order to find the connecting elements typical for the Bradbury cycles, taking into account the unique features and distinctive properties of each collection: the patterns in the cycle structures are revealed, the most characteristic elements for these structures, passed invariantly from one cycle to another, the reasons for using these elements and their functions in the cyclization mechanism are studied. The analysis is carried out on several levels: thematic and ideological, compositional (presence / absence of framing story, peculiarities in the sequence of stories, etc.) and plot. As a conclusion, the identified features are brought together and systematized, their role in the cycle structure and understanding of the author’s pragmatics is described. / Работа посвящена изучению принципов циклизации в новеллистке Р. Брэдбери. Материал составили семь авторских сборников: «Темный карнавал» (1947), «Золотые яблоки солнца» (1953), «Лекарство от меланхолии» (1959), «Далеко за полночь» (1976), «В мгновенье ока» (1996), «Кошкина пижама» (2004) и «У нас всегда будет Париж» (2009). Данный выбор был сделан преимущественно на основании принадлежности сборников к разным этапам жизни и, как следствие, к разным периодам творчества писателя. Еще одним важным критерием послужило наличие в некоторых сборниках текстов, написанных в значительных временных интервалах, от шести до тридцати лет. В первой части работы уточняются понятия «цикл» и «циклизация», изучаются функции прозаического цикла и его роли в истории развития литературы, дается классификация разновидностей прозаического цикла с опорой на типологию внутренней структуры циклов, предложенную С. Нестеровой в диссертации «Циклическое текстопостроение в малой эпической прозе». Во второй части работы анализируются авторские сборники Р. Брэдбери. Основной задачей является изучение рассказов с целью обнаружить типичные для циклов Брэдбери связующие элементы, учитывая при этом уникальные черты и отличительные свойства каждого сборника: выявляются закономерности в структурах исследуемых циклов, описываются наиболее характерные для данных циклов элементы, выступающие в качестве объединяющих черт и переходящие из цикла в цикл, изучаются причины использования данных элементов и их функций в механизме циклизации. Анализ проводится на нескольких уровнях: тематическом и идейном, композиционном (наличие/отсутствие обрамляющей истории, особенности в выстраивании последовательности рассказов и т.п.) и сюжетном. В качестве вывода выявленные черты объединяются и систематизируются, описывается их роль в осуществлении циклизации и понимании авторского замысла.

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These stories explore contemporary people who find their lives taking a shape they fear. These people often try to cling to their old life, control a loved one who is changing, or seek an escape. Their aspirations are often higher than where they land. Their situation resembles the writer’s situation in attempting to shape the lives of characters: they attempt to control what often cannot be controlled.

The short story was the most profitable literary form for most fiction-writers of the late-nineteenth and early-twentieth centuries because it was quick to write, relative to novels, marketable to a wide variety of periodicals, and able to be re-sold, in groups, for book collections. While the majority of writers composed short fiction within conventional modes and genres and published collections rarely exhibiting more than a superficial coherence of setting or character, modernist authors found in the form’s brevity helpful restrictions on their stylistic and narrative experiments, and, in the short story collection, an opportunity to create book-length works exhibiting new, modern kinds of coherence. This dissertation examines four modernists' experiences writing short stories and publishing them in periodicals and books: Henry James in The Yellow Book and Terminations (Heinemann, 1895); Joseph Conrad in Blackwood’s Edinburgh Magazine and Youth: A Narrative; and Two Other Stories (Blackwood, 1902); James Joyce in The Irish Homestead and Dubliners (Grant Richards, 1914); and Virginia Woolf in Monday or Tuesday (Hogarth, 1921). For these writers, the production of short fiction within the literary marketplace had definite and important consequences on their texts as well as the formation of their mature authorial identities. (With the exception of James, I focus on the early, most impressionable periods of the writers’ careers.) In bucking the commercial trend of miscellaneous collections, the unified book of stories came to represent, for such artists, something of a bibliographic rebellion, which, because of its inherent formal fragmentation, proved a compelling and fruitful site for their exploration of modernist themes and styles. The conclusion explores some of the consequences of these experiences on the writers’ subsequent, longer texts—Lord Jim, Ulysses, and Jacob's Room—arguing that such so-called “novels” can be understood better if studied within the literary and professional contexts created by their authors’ engagements with the short story. The same is true of the “short story cycle,” “sequence,” and “composite,” as strongly-coherent books of stories have been termed variously by scholars. This dissertation, particularly its introduction, sets out to provide historical, material background for scholarship on this too-long neglected literary genre. / text

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

Mémoire en recherche-création / Ce mémoire de maîtrise en recherche-création examine la façon dont la forme du recueil de nouvelles permet la construction d’univers narratifs riches et originaux, particulièrement dans le domaine de la science-fiction. L’axe central de la réflexion concerne les effets unificateurs que peuvent avoir les dispositifs de mise en recueil de récits dont la matière et la manière sont pourtant diversifiées. L’essai se penche sur La Manufacture de machines, recueil écrit par Louis-Philippe Hébert en 1976, et apparemment peu homogène, mais dont l’examen révèle la présence d’une mécanique textuelle qui tout à la fois segmente et unifie la matière narrative. Tyché, le texte de création, consiste en un ensemble de six nouvelles racontant les bouleversements qui suivent l’arrivée d’une planète sur l’orbite de la Terre. Malgré des tonalités, des espaces et des temps différents, le recueil trouve sa cohérence dans la présence de Tyché, à laquelle est liée – directement ou indirectement – certains aspects de l’existence des protagonistes. / This master’s thesis in research and creation examines the way shorts stories cycles allow to elaborate rich and original fictional universes, specifically in science-fiction. The central theme of the reflection concerns the unifying effects that can be found in a collection of short stories despite its diversified narrative content. The first part of this thesis, the essay, analyzes La Manufacture de machines, a short stories collection written by Louis-Philippe Hébert in 1976, which, at first sight, does not seem homogeneous. However, a closer examination reveals the presence of textual mechanisms that simultaneously segment and unify the content of the narrative. Tyché is a set of six short stories about the shifts caused by the arrival of a planet in Earth’s orbit. In spite of different tones, spaces and times, the collection finds its coherence through the presence of Tyché, to which is linked – directly or indirectly – specific aspects of the protagonists’ existence.

A short story collection containing nine stories and a 20,000-word novella. The stories are speculative fiction and they experiment with form.

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