Teaching ESL continues to pose a big challenge in most schools in Zambia. This is due to the paucity of teaching resources. While the number of schools has increased, there has not been a corresponding increase in funding due to economic reasons. This study arose from the desire to find alternative resources to teach English as a second language effectively within the communicative language teaching (CLT) framework. A review of available literature has shown that literature can help students to acquire the four language skills: reading, writing, listening and speaking. / English Studies / M. A.

AFRIKAANS : In die studie word gepoog om aan te dui op watter ingrypende maniere die Afrikaner se problematiese verlede altyd weer opduik in die hede, en op watter maniere hierdie verlede die groei en ontwikkeling van ’n nuwe Suid-Afrikaanse identiteit kan verhinder, of andersins, hoe ’n grondige en bewuste Auseinandersetzung met die verlede kan lei tot beter begrip, nie alleenlik van die verlede nie, maar ook van die hede en (ideaalgesproke) van die toekoms. Daar word geredeneer word dat ’n proses van bewuste konfrontasie met die verlede noodsaaklik is vir die ontwikkeling van ’n lewensvatbare identiteit. Hierdie proses sluit in ’n bewuswording en ontleding van die houdings van skuld (ook kollektiewe skuld), verlies en melancholie jeens die verlede. ’n Belangrike newe-komponent van die verhandeling is om hierdie proses te koppel aan verhaaltegniese middele wat aangewend word in die bundel vertellings onder bespreking. Daar word gepoog om ’n noodwendige verband te lê tussen tematiek en narratiewe tegnieke. In die verhandeling word aandag gegee aan die temas van skuld en verlies in die verhale, asook die vele motiewe wat gekoppel kan word aan hierdie twee temas. Daar word ook aandag gegee aan verteltegnieke soos tydsvorme, assosiatiewe skryfwyse, vertellingstrant en die stem van die verteller, wat aangewend word om die konfrontasie met en houdings jeens die verlede uit te beeld. Daar word geargumenteer in die verhandeling dat die prosa in hierdie bundel as vertellings gereken moet word, eerder as kortverhale (of meer spesifiek, short stories), en wel omdat die temas en die verteltegnieke bymekaar aansluit met die oog op ’n spesifieke leserrespons wat ’n grondige konfrontasie met en bestekopname van die verlede behels. ENLISH : The study focuses on the inescapable presence of a problematic past in contemporary South Africa, and the ways in which this past prevents the development of a new South African identity. It argues that a fundamental reckoning with the past will lead to a better understanding of the present and the future, and is essential to the development of a viable South African identity. This process of reckoning with the past involves an awareness and analysis of attitudes towards the past, which includes guilt (also collective guilt), loss and melancholy. The process of Auseinandersetzung with the past is then linked to specific narrative techniques which are employed in the collection of short prose under discussion. It is argued that there exists a connection between theme and narrative technique. Narrative techniques under discussion include tense (past and present tense), associative writing, narration and voice. It is argued that the short prose in the collection under discussion should be defined as (oral) narratives (vertellings), rather than Short Stories. The reader response towards an (oral) narrative differs from the response towards a Short Story, and the difference is essential in the process of confrontation with the problematic past/history. Copyright / Dissertation (MA)--University of Pretoria, 2010. / Afrikaans / unrestricted

Ce travail explore les représentations du corps mort dans des cuentos hispano-américains contemporains pour essayer d’établir par ce biais une typologie des rapports que l’être humain entretient de façon générale avec la mort. L’idée centrale que nous avançons est que la littérature reproduit un nombre limité de réactions universellement valables, se montrant ainsi capable de mettre à la disposition de ses lecteurs un inventaire étrangement fiable des attitudes qu’eux-mêmes, à l’instar des personnages, sont susceptibles d’aborder face à cet événement ultime. Le choix du cadavre comme protagoniste des récits étudiés s’explique par le fait qu’il soit la seule image concrète et tangible de la mort et que, par son apparence repoussante, il représente une terrible source de hantise qui conditionne et altère toute tentative paisible de se rapprocher de celle-ci. Le cadre théorique des mondes possibles littéraires qui posent la fiction comme expérience envisageable et la particularité formelle du genre littéraire du cuento avec sa petite étendue et son caractère auto-suffisant permettent la vision du texte comme espace tombal où gisent ces nombreux cadavres fictionnels. Le lecteur a ainsi accès de près au corps mourant/mort, froid, putride, puant, dépecé ou bien embaumé, et les expériences littéraires acquises de cette manière s’ajoutent à son effort d’apprivoisement de la réalité effrayante de la mort. / This work explores the dead body as it is represented in a number of contemporary Latin American cuentos in order to establish a typology of the different reactions of human beings in general when faced with death. I suggest that literature reproduces a limited number of universal behaviours in this situation and thus it gives readers a fairly reliable inventory of the attitudes that they, like the characters, are likely to adopt.The corpse as a protagonist of the short stories discussed here has been selected because it is the only concrete and palpable image of death and that, by its repulsive appearance, it represents a terrible source of fear which conditions and alters any intention of peacefully trying to come to terms with it. The theoretical framework of the literary possible worlds whereby fiction is seen as a potential experience, and the formal characteristics of the cuento, such as its reduced, self-contained nature, allow the text to be read as a funerary space where all these fictional dead bodies lie. The reader is thus brought into close contact to the dying/dead, cold, putrid, stinking, dismembered or embalmed body and the literary experiences he/she goes through help him/her to come to grips with the frightening reality of death.

Para comenzar quisiera dar una breve idea de cómo entiendo a Borges –al respecto me he manifestado en un buen número de publicaciones desde 1989, pero no sobre los motivos o puntos de arranque – y describir así cómo llegué a mi interpretación sobre Borges y a considerarlo como uno de los fundadores de la teoría de "muchos mundos" ("Many Worlds Theory"), de mundos virtuales y de medios virtuales/digitales y de los "New Media". Su escritura representa un acto de percepción, comprensión, implosión y expansión, ésta es una "encicopledia navegante", Borges es así el primer navegador o "user in the web".:Borgesvirtual o cuatro etapas de un viaje de descubrimiento. - "Teoría de Mundos Diversos": Borges y Everett III. - Borges y los "New Media" (mundos virtuales-digitales)

No description available.

Au XVIe siècle, nous assistons à deux types de récits criminels : dans la presse, les faits divers, produits sous la forme de « canards », et dans la littérature, les histoires tragiques, forme narrative brève essentiellement véridique et à tonalité pathétique. Lorsque Pierre Boaistuau, appelé aussi Launay, publie Les Histoires tragiques, il sélectionne six récits parmi les Novelle de Matteo Bandello. Le travail de Boaistuau ne se limite pas à la traduction de ces textes mais également à la fondation d’un genre qu’est l’histoire tragique. François de Belleforest, son ami, en poursuit la traduction et en varie les sources ; il publie entre 1559 et 1582 sept volumes d’histoires tragiques. Notre étude porte sur la justice, un thème clé pour comprendre les textes de ces deux auteurs. En effet, leurs récits révèlent un intérêt particulier pour les différentes formes de justice (humaine, naturelle et divine), pour le procès judiciaire et ses protagonistes. Nous analysons tous ces points ainsi que le thème de la transgression à travers différents crimes, principalement les crimes de paillardise (« macquerellage », rapt, viol et adultère). Notre réflexion porte également sur le châtiment et ses fonctions ainsi que sur le comportement du condamné au moment de son exécution. Enfin, nous nous intéressons aux stratégies discursives déployées par nos auteurs notamment à la rhétorique judiciaire et à la rhétorique délibérative. Les enjeux soulevés à travers l’étude du discours rhétorique permettent d’explorer les liens entre le discours judiciaire et le discours politique et donc entre justice et politique. Somme toute, la dernière partie de notre travail permet de cerner les rapports entre rhétorique, justice et politique. / In the sixteenth century, two types of criminal narratives predominate: short news items in the press, printed separately as canards, and brief narrative literary forms that constitute the tragic story genre, combining truth with a tone of pathos. When Pierre Boaistuau, also called Launay, publishes Les Histoires tragiques, he selects six stories from Matteo Bandello’s Novelle. Boaistuau's work is not limited to the translation of these texts but also establishes the tragic story genre. His friend François de Belleforest continues the translation and varies the sources; between 1559 and 1582 he published seven volumes of tragic stories. My thesis focuses on justice, a key theme for understanding the texts of these two authors. Indeed, their stories reveal a particular interest in the different forms of justice (human, natural and divine), in the judicial process and in its protagonists. I analyze all these points as well as the theme of transgression through an examination of various crimes, mainly crimes of debauchery ("macquerellage" –sex trafficking–, abduction, rape and adultery). I also consider the different functions of punishment as well as the behavior of the convicted person at the time of execution. Finally, I am interested in the discursive strategies deployed by these authors, including judicial rhetoric and deliberative rhetoric. The issues raised through the study of rhetoric make it possible to explore the links between judicial discourse and political discourse and therefore between justice and politics. The summative, final part of our work further elucidates the relationships between rhetoric, justice and politics.

Cette thèse se propose d’analyser le fantastique littéraire en France et en Roumanie par une méthode double : l’histoire des influences et des transferts culturels (approche diachronique) et l’étude de certains aspects communs aux textes fantastiques identifiés dans la poétique de la (dé)construction (approche synchronique).Le corpus comprend des contes fantastiques provenus des espaces littéraires du XIXe siècle français (Mérimée, Gautier, Maupassant, Villiers de l’Isle-Adam ou Barbey d’Aurevilly) et roumain (Mihai Eminescu, Ion Luca Caragiale, Gala Galaction et Mateiu Caragiale). Bien que certains récits de ces derniers dépassent de peu le cadre strictement temporel du XIXe siècle, le choix est motivé par un certain décalage temporel entre les deux littératures, par l’appartenance de ces écrivains à une première étape du fantastique littéraire roumain et, dans le cas de Mateiu Caragiale, par l’intertextualité explicite avec Le rideau cramoisi de Barbeyd’Aurevilly.L’étude prend comme fil conducteur l’idée de (dé)construction, prise non pas dans le sens philosophique de la méthode déconstructionniste conçue par Derrida, mais dans la lignée de la thèse formulée par Irène Bessière, notamment le double mouvement qui traverse le récit fantastique, la construction et la déconstruction d’univers.Dans la première partie, la (dé)construction est rapportée au niveau de l’onomastique du fantastique (histoire du mot et de ses dénominations), car le terme « fantastique » est associé aux récits d’Hoffmann dans la traduction fautive de Loève-Veimars et un discours théorique et critique est construit à partir de Charles Nodier. La (dé)construction est aussi envisagée du point de vue de l’identité du fantastique en tant que genre littéraire. D’un côté, le fantastique puise ses sources, surtout thématiques, à la matière des mythes, des textes religieux, des croyances populaires, des légendes, des idéologies, des progrès scientifiques, etc. De l’autre côté, le remaniement fantastique (sa poétique) consiste à construire un « rapport fantastique » entre le réel et les autres éléments généralement considérés comme surnaturels, invraisemblables ou impossibles donnés pourtant comme sérieux, perceptibles et donc possibles.La deuxième partie déroule un panorama d’histoire littéraire comparée franco-roumaine, où sont mises en question deux figures étrangères, Hoffmann et Poe, ainsi que les particularités de l’émergence du fantastique dans la littérature française et dans la littérature roumaine, liées au romantisme dans les littératures ouest-européennes, et au légendaire et au magique dans la littérature roumaine. On parle de (dé)construction des modèles étrangers – jeu de traduction chez Ion Luca Caragiale, imitation chez Nicolae Gane, etc. – et de construction d’un discours fantastique autochtone.La troisième partie analyse quelques aspects qui caractérisent la rhétorique du fantastique, en soulignant les procédés par lesquels l’art de la persuasion se manifeste paradoxalement tant comme garantie que comme sape des stratégies textuelles : la littéralisation des figures au niveau de la fiction ; l’hypervisibilité des figures (l’hyperbole, l’hypotypose) ; le résidu littéral du discours figuré en tant que principe de suggestion du surnaturel, l’objet en tant qu’indice réaliste et support des « déviations » fantastiques / The present study is aimed at examining the fantastic as a literary genre by means of a twofold endeavour,which could be seen both as a diachronic (the history of cultural influences and transfers) and as a synchronicone (an investigation into several aspects that are related to a common modality of fantastic texts identified inthe poetics of (de)construction).The corpus of this paper is made up of fantastic stories created by several French writers that are traditionallyassociated with various trends or literary movements - Mérimée, Gautier, Maupassant, Villiers de l’Isle-Adam or Barbey d’Aurevilly – to whom we will add Romanian fantastic texts written by such various literaryfigures as Mihai Eminescu, Ioan Luca Caragiale, Gala Galaction and Mateiu Caragiale. Some of the worksproduced by the Romanian writers mentioned above surpass the strict temporal framework of the XIXthcentury, yet our choice is motivated by the fact that the texts under scrutiny are traditionally considered asbelonging to a first stage of the Romanian fantastic prose. As far as Mateiu Caragiale is concerned, we haveexceptionally chosen to deal with the short story entitled Remember from the perspective of the explicitintertextuality with Barbey d’Aurevilly’s Le rideau cramoisi.At the core of our investigation of the literary fantastic (in this context limited to short stories) we haveplaced the idea of (de)construction, which is to be followed on three levels: an onomastic level (the transitionfrom the term “fantastic” to the fantastic genre in literature), a diachronic level (the emergence of the fantastic as a literary genre and its identity, an issue to be addressed from the perspective of literary historyand the theory of reception) and a rhetorical level in its broad sense (a poetics of fantastic prose fiction). Wewill emphasize the fact that our intention is not to use the idea of (de)construction in the strict sense of thephilosophical concept launched by Jacques Derrida. The significance of (de)construction employed in thispaper is based on a thesis already formulated by Irene Bessière - the poetics of uncertainty that is related totwo projects that are opposite, but still coexist, i.e. the construction and deconstruction of the real.The first level of approaching (de)construction in the wider context of the fantastic prose coincides with thefirst part of our paper, which includes various definitions of the fantastic, different types of approaches andboundaries that can be applied to it and the famous dichotomy between the fantastic and the miraculous. Theterm “fantastic” was proposed by the French through Loève-Veimars’s erroneous translation, as a label forHoffmann’s tales, while Nodier launches a theoretical and critical discourse on the fantastic. The attempts to define the fantastic from different perspectives reveal some common aspects that itpossesses, thus assuming the shape of a process of (de)construction. We mainly take into account twodirections, a general one whose stake is the supernatural, and a restrictive one trying to set boundaries. (De)construction is also discussed from the perspective of the identity of the fantastic genre. On the one hand, thefantastic resorts to external thematic sources (the mythical miraculous, the legendary, the religious, modernideologies, scientific progress etc.), on the other hand, the modern reconstruction of these sourcespresupposes a new poetics, which consists in building a “fantastic report” between a real world and thoseelements that are generally considered supernatural, implausible, impossible or illogical, presented in such amanner as to produce the illusion of reality.. / Lucrarea de faţă îşi propune o examinare a fantasticului ca gen literar printr-un demers dublu, diacronic(istoria influenţelor şi transferurilor culturale) şi sincronic (cercetarea câtorva aspecte care ţin de o modalitatecomună textelor fantastice identificată în poetica (de)construcţiei).Corpusul este constituit din povestiri fantastice ale mai multor scriitori francezi care sunt asociaţi unorcurente sau mişcări literare diferite – Mérimée, Gautier, Maupassant, Villiers de l’Isle-Adam sau Barbeyd’Aurevilly – cărora le adăugăm texte fantastice româneşti, aparţinând lui Mihai Eminescu, Ion LucaCaragiale, Gala Galaction şi Mateiu Caragiale. Câteva dintre operele scriitorilor români amintiţi depăşesccadrul strict temporal al secolului al XIX lea, alegerea noastră fiind motivată de faptul că textele la care nereferim sunt considerate ca făcând parte dintr-o primă etapă a prozei fantastice româneşti. În ceea ce îlpriveşte pe Mateiu Caragiale, am ales să analizăm în mod excepţional nuvela Remember, din perspectivaintertextualităţii explicite cu nuvela Le rideau cramoisi a lui Barbey d’Aurevilly.În centrul investigaţiei fantasticului literar (limitat aici la povestiri scurte), am pus ideea de (de)construcţie,pe care o urmărim la trei niveluri : un nivel onomastic (trecerea de la termenul « fantastic » la genul fantasticîn literatură), un nivel diacronic (apariţia fantasticului ca gen literar şi identitatea acestuia, o problemăabordată din perspetiva istoriei literare comparate şi a teoriei receptării) şi un nivel retoric, în accepţie largă(o poetică a prozei fantastice). Subliniem faptul că nu folosim ideea de (de)construcţie în sensul strict alconceptului filosofic lansat de Jacques Derrida. (De)construcţia, aşa cum este întrebuinţată în lucrarea faţă,are ca sursă o teză formulată deja de Irène Bessière: poetica incertitudinii care se raportează la două proiecteopuse, dar coexistente, construcţia şi deconstrucţia realului. Primul nivel de abordare a (de)construcţiei în proza fantastică coincide cu prima parte a lucrării: definiţiilefantasticului, diversele tipuri de abordări şi delimitări ale acestuia şi dicotomia fantastic / miraculos.Cuvântul „fantastic” este propus de francezi, prin traducerea eronată a lui Loève-Veimars, ca etichetă pentrupovestirile lui Hoffmann; în acelaşi timp, Nodier lansează un discurs teoretic şi critic asupra fantasticului.Încercările de definire a fantasticului, din perspective diverse pun în evidenţă aspecte comune ale acestuia,constituindu-se într-un proces de (de)construcţie conceptuală. Reţinem două direcţii, una generală a căreimiză este supranaturalul si una restrictivă care încearcă să fixeze graniţe. (De)construcţia este pusă în discuţieşi din perspectiva identităţii genului fantastic. Pe de o parte, fantasticul face apel la surse tematice externe(miraculosul mitic, legendar, religios; ideologiile moderne, progresul ştiinţific, etc.), pe de altă parte,reconstrucţia modernă a acestor surse tematice înseamnă o nouă poetică, care constă în construirea unui „raport fantastic” între un univers real şi acele elemente considerate în mod general supranaturale,neverosimile, imposibile, sau nelogice, prezentate în aşa fel încât lasă iluzia unei realităţi.Cea de a doua parte a tezei este consacrată unui parcurs istoric al fantasticului literar, printr-o abordarecomparatistă, punând în discuţie efectul receptării operei lui Hoffmann şi a lui Poe în spaţiul literar francez,rolul traducerilor-adaptări după Poe făcute de Ion Luca Caragiale, dar şi aspecte care apropie şi diferenţiazăexperienţa scriptică a fantasticului, legat de romantism în literatura occidentală, legat, mai degrabă, delegendar şi magic în literatura română. Vorbim despre (de)construcţia modelelor străine şi despre construireaunui discurs fantastic autohton..

Indiana University-Purdue University Indianapolis (IUPUI) / Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.