A dissertação A volta do Horla estuda a recepção crítica e criativa de Guy de Maupassant (1850-1893) no Brasil, o contista francês mais representativo do século XIX. Esse escritor foi lido, traduzido e comentado nos jornais Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, até 1889), de 1880 a 1921, bem como nos principais estudos críticos e bibliográficos de historiadores da Literatura Brasileira, os quais compõem o corpus desta pesquisa. Sua presença é também encontrada em obras ficcionais no período que compreende o Realismo-Naturalismo e o Pré-Modernismo brasileiros, de que são exemplos os livros de contos de Monteiro Lobato (1882-1948). Esse corpus, aqui analisado e interpretado, mostra-nos as diversas leituras feitas pelas variadas correntes críticas em voga no Brasil. Tomam por base critérios literários ou não-literários, estimulados pela vasta produção e particular variedade da obra em questão e pelo conhecimento difundido da vida do autor. Permite-se aqui, portanto, mais um momento de releitura crítica desse escritor, revelado por olhares ora esquecidos e não raro desconhecidos dos estudiosos de Guy de Maupassant. / The dissertation The Horla Return studies the critical and creative reception of Guy de Maupassant (1850-1893) in Brazil, the most representative French storyteller of the 19th century. This writer was read, translated and commented in newspapers Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, up to 1889), between 1880 and 1921, as well as in the main critical and bibliographical studies of Brazilian Literature historians, which compose the corpus of this research. Its presence is also found in ficcional works in the period which includes Brazilian Realism-Naturalism and Pre-Modernism, of which the story books of Monteiro Lobato (1882-1948) are examples. This corpus, here analysed and interpreted, discloses diverse readings made for the various critical current in vogue in Brazil. It has as background literary or nonliterary criteria, stimulated for the vast production and internal variety of the work itself and by the knowledge difusion of author\'s life. It is allowed here, therefore an additional moment of critical reading of this writer, depicted through the eyes either forgotten or unknown of Guy de Maupassant\'s scholars.

The goal of this diploma thesis is to create an annotated Czech translation of a literary text. Specifically, the selected three short stories from the collection Ideoluzije (2015) by a Slovenian writer Jasmin B. Frelih. The stories chosen for translation are De Nachtwacht, Vrabci and Pritisk konca. The first part of the thesis briefly introduces the author and his work. The main focus of the work is the translation of selected short stories and creating a professional commentary. The theoretical-practical part deals with individual phenomena that may be problematic in translation, such as neologisms, vulgarisms, interjections, etc. The theoretical interpretation is supported by examples from the short stories. This thesis aims to clarify translation procedures and methods as well as to present solutions to the problems mentioned.

We shall investigate the use of Swahili slang in Freddy Macha`s tiny collection of short stories Twen `zetu Ulaya (DSM 1984), and especially in his short story Check-bob This is arguably the only epistolary short story in modern Swahili literature; in fact, epistolary novels are uncommon in anglophone Afiica as a whole. In this narrative two former lovers show abuses on each other and their four letters - two by each character - unfold the story of a selfish young woman who shamelessly exploited her boyfiiend and the manner in which he paid her back with her own coin. It is interesting to note how the same events are presented from two different perspectives and hence evaluated differently.

The objective of this investigation is to look into, and to describe, the development and merit of the Sepedi essay-oeuvre. The works taken into account are the essay collections that were published from 1943 to 1996. At the same time, the various sub-genres of the essay are described. These works are also appraised according to merit, in order to be able to illustrate the evolution of the genre. In order to succeed herein, the researcher has to describe, interpret, classify, and evaluate these works. The descriptive frame of reference used here is the one that has been established by the Department of African Languages, and which is an adapted model of the narratological. Here, three levels are distinguished, namely: (a) the narrative material where the subject is the primary concept; (b) the strategy of composition where the theme concept is especially relevant; and (c) the stylistic finishing of the work in which the author implants his own view of the matters therein. Before the investigation could be tackled formally, the road had to be traversed on what had been done previously on the essay in Sepedi. The articles of Groenewald and Mojalefa respectively, as well as the dissertation of Mohlala, covered only a scanty area of the total field of investigation. The essay concept is then defined. This necessarily led to a description of the genesis of this genre. Here short reference is made to the early French art of the essay. At this point the essay in English is also mentioned, primarily because of the connection to the essayist in Sepedi. The distinction between the formal and the informal essay is briefly discussed, after which we focus our research primarily on the latter. Because the essay, akin to the short story and the sketch, forms part of the art of the pithy, the difference between these three narrative forms is comprehensively elucidated. The various essays are then considered. The narrative material is summarised. The composition of material is discussed under the following headings: (a) The title; (b) the introduction; (c) the elaboration of the data; and (d) the recapitulation. According to these, three distinct categories of essay are differentiated, namely (a) the pioneering phase, (b) the experimental phase and (c) the phase of maturity. The essays of Matlala are classified in the first phase; in the second phase the labours of Masemola, Mojapelo, Tlooke and Mangokwane, then the essays of Mahapa, Mabitje, Selwalekwanadi, Makopo, Phala and Chupyane are grouped in the third phase. In the final, recapitulative chapter, the particular merits of (a) Matlala and Chupyane and (b) Mahapa and Mabitje are investigated. In the former, the versatility of Matlala and Chupyane is discussed, especially with respect to the wide range of types of essay that they wrote. Mahapa and Mabitje are then considered as essay innovators: first for the use of metaphor in the composition of the tale and, secondly, because the essays of both are presented in sequences, a fresh practice that enriches the traditional craft of the essay. / Thesis (DLitt (African Languages))--University of Pretoria, 2006. / African Languages / DLitt / Unrestricted

Thesis Abstract This thesis analyses the fiction of the twentieth-century Irish-American author Maeve Brennan through the lens of shame. All of Brennan's published writing has been included: her short stories and magazine contributions collected in The Long Winded Lady, The Springs of Affection, and The Rose Garden, as well as her novella The Visitor. Shame has recently been embraced in academia as a subject of research, as well as an interpretative key for literary analysis. The thesis examines shame in order to map out social and psychological experience of belonging, and the lack thereof, in Brennan's fiction, as both the threat and the reality of isolation, stemming from social rejection, occur as its prominent themes. These elements are also shown as connected to the issues of self-determination and identity, as Brennan's characters partly embrace and partly oppose social normativity. As some of their individual needs, especially those of women, are add odds with social expectations, they are effectively choosing between social inclusion on the one hand, and embracing their personal difference. As transgressions of social norms come with varying degrees of shame, the emotion is omnipresent in the highly regulated, and surveilled, environments that Brennan depicts. As the affect itself causes further...

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Undersökningens syfte är att belysa på vilket sätt teknikundervisningen med sin praktiskestetiskakaraktär kan gynna språkutveckling. Teknikundervisning handlar om att ställasinför ett problem som ska lösas, om att misslyckas, förändra, pröva igen och lyckas. Idenna studie har åtta elever i åldrarna tio till femton från en förberedelseklass skapat ensaga och arbetat praktiskt med konstruktioner, dokumentation, och textbearbetning ianslutning till denna. Undersökningen ger svar på frågor kring hur de praktiska delar inomteknikundervisning kan gynna språkutveckling hos barn med svenska som andraspråk.Särskilt fokus har legat på hur eleverna interagerar när de får konstruera figurer ochåterberätta sin saga med hjälp av dessa och praktiskt–estetiskt teknikarbete. Arbetet gertydligt svar på frågan hur teknikämnets problemlösande delar kan vara speciellt lämpligapedagogiska verktyg för språkutveckling vid arbete med elever i förberedelseklass.Berättarlust och språkutveckling stimuleras genom kreativt arbete och resultatet pekar påatt elever från förberedelseklasser klarar uppgiften med bravur. / The aim of this examination is to throw light on how the school subject Technology with itspractical aesthetical quality can support language development. Technology deals with thefact that you are faced with a problem that should be solved, about failure, change, tryagain and succeed. In this examination, the pupils have created a short story and workedpractically with constructions, documentation and revision connected to their story. Theexamination answers questions concerning in what way teaching in Technology supportlanguage development among children who have another mother tongue than Swedish.How pupils interact when they are able to construct diagrams and retell their story bydiagrams and practical aesthetical work in Technology have particularly been in focus. Thiswork clearly gives an answer to the question how Technology with its quality of solution ofproblems can be particularly suitable as a pedagogical tool within language developmentamong pupils in preparatory classes. Pleasure in storytelling and language development arestimulated by creative work and the result points to the fact that pupils from preparatoryclasses solve the task with dash.

It is the purpose of this paper to try to show the various methods used by Poe for securing a single unified effect in each of his stories. To facilitate the work, I shall divide his short stories into four groups: stories of effect, stories or ratiocination, stories of pseudo-science, and stories of satire and humor. It is inevitable that the chapters overlap in many instances because some methods are used in more than one type of story. Often a story may be placed in more than one group, since the divisions are so broad. Notwithstanding these difficulties, it is possible to find many methods used by Poe to develop the narrative style, so peculiarly his own, by which he seldom failed to produce a compelling story.

Notre mémoire prend pour objet d’étude les dix-sept textes brefs rassemblés dans le recueil Contes et nouvelles suivis du Théâtre, écrits durant la période symboliste et dans lesquels on constate un phénomène d’hybridation entre les genres narratif et dramatique ainsi qu’entre thèmes symbolistes et décadents. Le premier chapitre s’attache à l’étude de Contes et nouvelles suivis du Théâtre dans la perspective des poétiques du recueil afin de constituer les éléments qui en font une « anthologie de l’entre-deux » du corpus rachildien de textes brefs. En adoptant la perspective de la poétique des genres, il sera question dans le deuxième chapitre d’étudier l’hybridation des genres littéraires, plus précisément entre la prose narrative et le texte dramatique, donnant lieu à des textes en « prose dramatique » qui se situent entre texte à lire et à mettre en scène. Enfin, dans le troisième chapitre nous examinerons les thèmes et les motifs récurrents de l’imaginaire rachildien où s’entremêlent symbolisme et décadentisme, après nous être intéressée à « l’écriture artiste » sous la plume de Rachilde, qui permet de rendre « visibles » les différentes formes de spectres, d’illusions et d’ombres qui parsèment les textes de Contes et nouvelles suivis du Théâtre. / Since Rachilde is generally associated with the french Decadent mouvement, few people are informed that the author also contributed to the symbolist movement of the 1890’s by helping in the set-up of the Théâtre de l’Art and Théâtre de l’Œuvre and especially by composing plays, tales and short-stories which take part in the symbolist spirit of the late nineteenth century. Gathered in the collection Contes et nouvelles suivis du Théâtre published in 1900 by the Mercure de France, these seventeen texts written between 1890 and 1900 establish an anthology of what we call Rachilde’s "symbolist period" of short-story, tale and play writing. Our dissertation is interested in the phenomenon of hybridisation between narrative and dramatic genres as well as between decadent and symbolist themes in this collection little known amongst scholars and the general public. The first chapter of our dissertation becomes attached to the study of Contes et nouvelles suivis du Théâtre in the perspective of the poetics of the collection and examines how the combination of Rachilde’s texts leads to an "anthologie de l’entre-deux". In our second chapter, we adopt the viewpoint of the poetics of genre to discuss the hybridisation of literary genres in Contes et nouvelles suivis du Théâtre, more precisely the narrative and the dramatic genres, that result in "dramatic prose". Finally, in the third chapter, we shall examine the recurring themes of Rachilde’s writing, that entangles decadent and symbolist themes, after being interested in "le style artiste", which allows her to sketch "in a visible way" the various forms of spectres, illusions and shadows that strew the texts of Contes et nouvelles suivis du Théâtre.