The diploma thesis analyzes and compares three life and social roles of one of the most well-known writers of Czech literature, Jaroslav Hasek. Specifically, it is his role as a storyteller, a journalist and a politician. My work is focused on the analysis of the blend and differences between these roles pertaining to the development and context of both the time period and Hasek. The analysis is divided into several parts and it tries to view Hasek from different points of view. Specifically, it deals with the author's historical genesis, then with the narratological analysis of short stories and finally the content analysis associated with the reference to Jaroslav Hasek's language resources.

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Unlike in the days of yore where storytelling was primarily known for its entertainment value, storytelling should be harnessed to make people's livelihood. Chapter 1 serves as prologue wherein the background of the study, problem statement, statement of aims, research methodology, research questions, hypotheses, definition of terms and organization of the study are presented. Storytelling began with the aim of transmitting the culture of people from one generation to another. There are different theories to account for the origin of stories. The identified problem is that storytelling is dying because it has not yet been professionalised in African languages. For storytelling to become viable in South Africa, storytellers have to be economically empowered. Both qualitative and quantitative approaches were employed in this study. Various questions have been prepared for use when interviewing the respondents. As a point of departure, the research hypotheses were laid down. Various concepts used in the study have been defined in order to clarify any misconceptions. For a study to follow a predetermined plan, it has to be organised in its initial stage. For that reason what has been discussed in each chapter has been summarised in the first chapter. Chapter 2 presents views of scholars, researchers and authors in general on how storytelling could be professionalised. The factors which retard the professionalisation of storytelling were also provided. The furnished views are classified according to their similarity. In Chapter 3, the methodology used in the gathering of research data is outlined. Both qualitative and quantitative methodologies were used, but the qualitative method more extensively because this is an explorative study. Data was collected through interviewing, questionnaires, documents and observation methods. Two sampling methods were used to select the respondents: the snowball sampling method and the judgmental or purposeful sampling design. The setting of the study was determined by the accessibility and the willingness of the respondents to use the site. Once the data was collected, it was analysed and interpreted. Chapter 4 focuses on the analysis and interpretation of the research data collected through interviews, questionnaires and systematic observations. During data analysis, similar themes from different respondents were combined in order to interpret the main findings. All such themes are discussed under major categories. In this chapter, themes were identified in relation to how storytelling might be professionalised. The fifth chapter outlines the main findings arrived at during the analysis and the interpretation of the data. To make this study more pragmatic, the findings are accompanied by suggested recommendations. The final chapter provides a general conclusion to the entire study. The success of professionalised storytelling and storytellers, the implications in terms of teaching and professionalisation, the implications for further study and the limitations of the study are also dealt with in this chapter. / African Languages / D. Litt. et Phil. (African Languages)

Unlike in the days of yore where storytelling was primarily known for its entertainment value, storytelling should be harnessed to make people's livelihood. Chapter 1 serves as prologue wherein the background of the study, problem statement, statement of aims, research methodology, research questions, hypotheses, definition of terms and organization of the study are presented. Storytelling began with the aim of transmitting the culture of people from one generation to another. There are different theories to account for the origin of stories. The identified problem is that storytelling is dying because it has not yet been professionalised in African languages. For storytelling to become viable in South Africa, storytellers have to be economically empowered. Both qualitative and quantitative approaches were employed in this study. Various questions have been prepared for use when interviewing the respondents. As a point of departure, the research hypotheses were laid down. Various concepts used in the study have been defined in order to clarify any misconceptions. For a study to follow a predetermined plan, it has to be organised in its initial stage. For that reason what has been discussed in each chapter has been summarised in the first chapter. Chapter 2 presents views of scholars, researchers and authors in general on how storytelling could be professionalised. The factors which retard the professionalisation of storytelling were also provided. The furnished views are classified according to their similarity. In Chapter 3, the methodology used in the gathering of research data is outlined. Both qualitative and quantitative methodologies were used, but the qualitative method more extensively because this is an explorative study. Data was collected through interviewing, questionnaires, documents and observation methods. Two sampling methods were used to select the respondents: the snowball sampling method and the judgmental or purposeful sampling design. The setting of the study was determined by the accessibility and the willingness of the respondents to use the site. Once the data was collected, it was analysed and interpreted. Chapter 4 focuses on the analysis and interpretation of the research data collected through interviews, questionnaires and systematic observations. During data analysis, similar themes from different respondents were combined in order to interpret the main findings. All such themes are discussed under major categories. In this chapter, themes were identified in relation to how storytelling might be professionalised. The fifth chapter outlines the main findings arrived at during the analysis and the interpretation of the data. To make this study more pragmatic, the findings are accompanied by suggested recommendations. The final chapter provides a general conclusion to the entire study. The success of professionalised storytelling and storytellers, the implications in terms of teaching and professionalisation, the implications for further study and the limitations of the study are also dealt with in this chapter. / African Languages / D. Litt. et Phil. (African Languages)

Multiculturalism or cultural pluralism is a policy, ideal, or reality that emphasizes the unique characteristics of different cultures in the world, especially as they relate to one another in immigrant receiving nations. The word was first used in 1957 to describe Switzerland but first came into common currency in Canada in the late 1960s2. It quickly spread to other English- speaking and western developed countries.Although There is no clear link between the multiculturalism and the term that so called Balkanization, But this research tries to present the similar possibility of Multiculturalism discourse and Balkanization as a geopolitical term. In fact this research believes that   balkanization is The same idea of multiculturalism in practice, when it comes to the idea of state. On the other hand Vijay Parshad in his book Everybody was Kung Fu fighting  says that "I am interested in “how an investigation of kung fu can help us move from a limited multicultural framework into an antiracist, polycultural one.” This is the research and video that has been made about Bruce lee statue in Mostar, the divided city in Bosnia and Herzegovina", as a method of working in hyper- politicized society.

L’écrivain Erri De Luca agit comme un passeur d’histoires personnelles, intimes et collectives, ce qui nous conduit à en étudier les origines et les fondements. À nous interroger sur la manière dont l’écriture poétique et sensible du poète rend possible une transmission de l’Histoire. Or, cela pose évidemment la question de la mémoire et de la manière dont elle est restituée : interprétation, manque, oubli, réinvention rétrospective. Mais révèle aussi la possibilité des récits d’offrir au lecteur contemporain la capacité de s’approprier cette Histoire qu’il n’a pas nécessairement vécue. En effet au coeur de cette oeuvre singulière se déploie une force de prédication qui donne au lecteur attentif la possibilité de saisir une phrase sensible où s’exprime la puissance de l’image, de se l’approprier, de la mémoriser et enfin de la transmettre de nouveau en la remodelant. D’où l’importance de ce geste du conteur dans l’écriture d’Erri De Luca et l’intérêt que nous y portons. Dès lors le style narratif où domine cette poétique de la sensation, révèle un art de raconter par excellence. / The writer Erri De Luca acts as a storyteller of personal, intimate and collective stories. It leads us to study the origins and the foundations of his writing. It makes us think about the way his poetic and sensitive writing makes a transmission of History possible. Yet, it inevitably questions memory and the way this memory is reproduced: interpretation, absence, forgetfulness and retrospective reinvention. It also reveals the possibility of story telling to offer today’s reader the capacity to appropriate this History he may not have lived through. A the heart of this singular work indeed, there is a strength of speech which enables the attentive reader to understand a sensitive sentence in which the power of the image is fully expressed. The reader can seize this sentence and memorize it before transmitting it again after remodelling it. Thus the importance of this storytelling particularity in Erri De Luca’s writing. From then on De Luca’s narrative style full of lyrical sensation, reveals a powerful mastery of telling.

O trabalho analisa os processos criativos da escritura do texto e escritura do corpo na rapsódia Minha Mãe Preta e nos espetáculos A Carroça é Nossa, A Besta Fera e As Três Fiandeiras, do grupo Xama Teatro. O grupo, com sede em São Luís, Maranhão, desenvolve seus espetáculos tendo como ponto de partida a arte de narrar. Nas produções artísticas do grupo ganha destaque a figura do ator-contador: aquele que canta, conta e fala, que reveza o narrador e a personagem, a primeira e a terceira pessoa. O ator-contador constrói seus passos a partir dos rastros dos rapsodos e griots, do sujeito épico, dos brincantes e narradores anônimos. Com o pé fincado na memória, na tradição e na oralidade, ele fala de si e também fala do outro; com o poder da palavra mescla histórias reais e ficcionais. Para a manifestação da figura do ator-contador são necessárias algumas condições. Entre elas: o uso de uma voz que evoca elementos ausentes; o pensamento do neutro que produz o espaçamento entre a fala e a ação; a noção do espectador como público-ouvinte; o uso de uma fala direta para o público; a criação autoral de obras com textos de vocação oral; a escrita de uma dramaturgia híbrida que mescla os modos épico, lírico e dramático; a inserção do dramaturgo-contador no processo de criação, de forma conjugada com os atores-contadores. / This research paper analyzes the creative processes of both text and body writings of the rhapsody Minha Mãe Preta (My Black Mother), and the presentations A Carroça é Nossa (The Cartwheel is Ours), A Besta Fera (The Stupid Beast), and As Três Fiandeiras (The Three Spinners). The Xama Teatro Group, established in the city of São Luís, in the State of Maranhão, develops its presentations having the art of narrating as its starting point. In its artistic productions, the character of the actor-storyteller stands out: he is the one that sings, tells stories and talks, switching from the persona to the narrator, from the first to the third person. The actor-storyteller builds up his steps as from the path of rapsodos and griots, from the epic subject, from the brincantes (players), and from the anonym narrators. With his foot planted in memory, tradition and orality, he speaks of himself and also speaks of others, combining both real and fictional stories. In order to manifest the character of the actor-storyteller, some settings are necessary. Among them: the use of a voice that evokes missing elements; the neutral thought that produces the spacing between speech and action; the notion of the observer being the public listener; the use of a direct speech to the public; the authorial creation of works with oral vocation texts; the writing of a hybrid dramaturgy that mixes the epic, lyric and dramatic modes; the insertion of the playwright-storyteller in the creation process, in a conjugated way with actors-storytellers.

Memória da Cultura, textos constantes e textos excluídos pelo esquecimento. A memória do sonho como a primeira obra de ficção jamais criada pelo homem. O sonho enquanto embrião narrativo de fábulas. Cânones, mecanismos culturais de controle. A performance da palavra. A movência das narrativas orais. O projeto poético e a rede intersemiótica de criação. Inconsciente coletivo, matizes arquetípicos e o mar como metáfora da metáfora do manancial das fábulas imemoriais. / The memory of culture, constant texts versus excluded texts, fables doomed to be forgotten. Remembering dreams as the first work of fiction ever created by mankind. Dreaming as telling tales. Standards as cultural controlling devices. Words as performances. Travelling through oral folktales. Poets and their artistic approach to life, plus the intersemiotic net for art creation. Unconscious collective, archetypical blending of nuances and the sea as the universal metaphor of the everlasting source of long forgotten fables.

Essa dissertação tem como objetivo a leitura comparativa dos contos de fadas da escritora inglesa Angela Carter, contidos no livro O quarto do Barba Azul, e os da ítalo-brasileira Marina Colasanti, presentes em livros como Uma ideia toda azul, Entre a rosa e a espada, Doze reis e a moça no labirinto do vento. Foram analisadas os modos pelo quais as duas autoras, através da reescrita dos contos de fadas, resistem a morte do narrador tradicional descrita por Walter Benjamin e criticam a sociedade patriarcal, revelando, naturalmente, uma postura feminista. Identificou-se, ainda, como estratégias poéticas comuns à escrita de ambas as autoras, aspectos intertextuais como a paródia, o palimpsesto e o pastiche / This dissertation aims to comparative reading of fairy tales English writer Angela Carter, in the book The Bloody chamber, and the Italian-Brazilian Marina Colasanti, present in books like Uma ideia toda azul, Entre a espada e a rosa , Doze reis e a moça no labirinto do vento. We analyze how these authors resist the death of the storyteller described by Walter Benjamin and criticize the patriarchal society, revealing, of course, a feminist stance. Identified also as poetic strategies common to the writing of both authors, intertextual aspects such as parody, pastiche and the palimpsest

Submitted by GIULIANO TIERNO DE SIQUEIRA null (giulianotierno@yahoo.com.br) on 2016-06-22T14:01:39Z No. of bitstreams: 1 Giuliano_Tierno_de_Siqueira_Tese_Doutoramento_21_5_16.pdf: 1238349 bytes, checksum: bb71ff3bf78dea0ceef8b632a8fc01f2 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-06-24T18:57:04Z (GMT) No. of bitstreams: 1 siqueira_gt_dr_ia.pdf: 1238349 bytes, checksum: bb71ff3bf78dea0ceef8b632a8fc01f2 (MD5) / Made available in DSpace on 2016-06-24T18:57:04Z (GMT). No. of bitstreams: 1 siqueira_gt_dr_ia.pdf: 1238349 bytes, checksum: bb71ff3bf78dea0ceef8b632a8fc01f2 (MD5) Previous issue date: 2016-05-21 / Esta tese trata de pensar a arte de contar histórias na cidade. O título é uma alusão à clássica obra de Walter Benjamin,O Narrador. Considerações sobre a obra de Nikolai Leskov, texto de 1936. Foram consideradas nessa investigação a experiência do pesquisador/contador de histórias e de alguns narradores brasileiros que atuam em contexto urbano. Em diálogo com pensadores, educadores, artistas contemporâneos, o foco central da discussão é o paradoxo existente entre o ressurgimento da figura do contador de histórias nas cidades nas últimas décadas - com vistas à valorização da palavra pública e de retomada do encantamento dos encontros por meio da partilha de histórias - e o seu alinhamento com as práticas artísticas e performáticas ligadas ao entrenimento. Esse último ponto, pensado à luz das ideias de Guy Debord (1931-1994), sobretudo em relação ao conceito de Sociedade do Espetáculo; e, Christoph Turcke (1948 -) e sua tese sobre a Sociedade Excitada. Para responder esse explícito paradoxo entre a necessidade do exercício da partilha pública da palavra e sua concomitante armadilha sensório-espetacular nos dias de hoje, o leitor encontrará o relato de experiência do pesquisador/contador de histórias (articulado às experiências que são comuns a tantos outros narradores que surgiram nas cidades); um diálogo fictício entre o pesquisador e os autores referenciais dessa pesquisa; e, por fim, o desdobramento de outras questões pertinentes aos posicionamentos ético, estético, poético e político do contador de histórias na atualidade. / This thesis aims to reflect on the art of storytelling in the city. The title aludes to Walter Benjamin’s classic, The Storyteller. Reflections on the work of Nikolai Leskov (from 1936). There were taken into consideration in this research investigation the experience of the researcher/storyteller and of some Brazilian raconteurs who act in the urban contexts. In a dialogue with philosophers, art and educators and contemporary thinkers, the central focus of this discussion is the paradox between the rebirth of the storyteller within cities in the last decades (with regards to the appreciation of the public word and of the enchantment) and, it’s alignment with the cultural practices of entertainment. This last point, thought under the enlightenment of Guy Debord (1931-1994) and his considerations about the spectacle society; and, Christoph Turcke (1948) thoughts about the excited society. This paradox will be seen on the interviews conducted with the storytellers, and also by the bibliographical research that approaches the art of contemporary storytelling. To reach this paradox it was necessary to retell some of the pathways for formation and acting of storytellers who will appear on the research as Brazilian icons of this comeback of the art of storytelling within cities, besides understanding the roots that originated the storytelling styles we see nowadays on social and public spaces, along with the kinds of stories which will mostly compound this raconteurs repertoires. Through a fictional dialogue between the researcher and the reference authors of this research it is explicit the paradox pointed above and also unfolded from other relevant questions referring to the ethical, aesthetical, poetical and political positioning of the storyteller nowadays.