Made available in DSpace on 2015-05-14T12:39:36Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1534690 bytes, checksum: 5993c5cc1d9594f044ac35df98fb2326 (MD5) Previous issue date: 2012-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this study is to analyze the novel, Balada de amor ao vento, showing that the theme of feminine condition takes Paulina Chiziane to inaugurate a new category of female ballad: the ballad in prose poetry. This category ballad brings poetry to narrative, aesthetic elements that the novel on screen Mozambican writer, literary work as a strategy to preserve the oral tradition of telling stories around the campfire in the contemporary novel and enable critical discussion on the theme of feminine condition against the patriarchal hegemony in Mozambique. The love story between Mwando and Sarnau represents the political tensions, cultural and religious Mozambican society acculturated, as a possible reading of the role of women trapped in a social structure incompatible with the proposed modernization of the country that still the process of sediment identity formation. / O objetivo do estudo é analisar o romance Balada de amor ao vento, mostrando que o tema da condição feminina leva Paulina Chiziane a inaugurar uma nova categoria de balada no feminino: a balada em prosa poética. Esta categoria de balada traz, da poesia para a narrativa, elementos estéticos que, no romance em tela da escritora moçambicana, funcionam como uma estratégia literária para preservar a tradição oral da contação de estórias em volta da fogueira no romance contemporâneo e viabilizar a discussão crítica sobre o tema da condição feminina frente à hegemonia patriarcal em Moçambique. A estória de amor entre Mwando e Sarnau representa as tensões políticas, culturais e religiosas da sociedade moçambicana aculturada, à medida que possibilita uma leitura do papel da mulher presa a uma estrutura social incompatível com a proposta de modernização do país que ainda sedimenta o processo de formação identitária.

(in English) This Master's work attempts to present the broadside ballad's phenomenon in the context of the Czech lands, should summarize the historical evolution of this peculiar literary style and the themes' compilation depending on historical period. Through the metody of comparison it tries to analyze the representative groups of broadside ballads inspired by the religious and folk environment and assess the hypothesis about the influence of topics' character on the structure and composition of a particular song.

Vítězslav Novák wrote his second opus of choral ballads, Two Ballads on Words of Moravian Folk Verses Op. 23 Vražedný milý and Neščasná vojna, in 1900. He set Moravian folk song texts from contemporary song collections to music, the first version was for mixed choir and piano four hands, followed by an orchestration for symphony orchestra. The ballads were a great contribution to choir repertoire and have made their mark in choral concert life, as evidenced by the press. Despite such a great interest, the orchestral score has never been printed and is only available in manuscript. Even critical literature did not deal with this topic more specifically, so there is still some ambiguity, for example, concerning premieres or the state of the sheet music.

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大躍進運動，貫徹烏托邦主義，結合毛澤東及其追隨者賦予的闡釋，加上嚴格管制的官方宣傳體系與人民對理想的渴望，演變為大規模集體狂熱運動。對共產主義世界、烏托邦理想的期待與將國家推往急速發展的思想，這種思想化為多樣化的語言論述，藉由傳媒大肆散佈，並形成獨樹一幟的語言風格。 本研究分為五個章節，除導論簡述本文研究要旨外，首先將說明革命語言與中國共產黨之關聯性，定義革命語言的基本內涵，並說明中共革命語言的形成。其次說明中共宣傳的策略與手段，對意識形態及語言的散播發生何種影響。而後進入研究核心，以《人民日報》、《紅旗》文獻與《紅旗歌謠》新民歌，歸納大躍進革命語言的構成內容，並依據前文歸納，分析革命語言的特徵。 / The Great Leap Forward carried out Utopia doctrine, combined the explanation that Mao Zedong and his followers offered to, in addition, the official propaganda system that control strictly and aspiration of the people about ideal, developed into extensive collective's fanatic movement. The expectation of communist world and Utopia ideal, thought of push the country to develop rapidly, the thought turned into variety of languages, spread out by the media, and formed the language style of taking the course of its own. This research is divided into five chapters, except that the introduction, at first will prove the relation of revolutionary language and the CCP, define the basic intension of the revolutionary language, and explain the forming revolutionary language of CCP. Secondly, to show that CCP’s propaganda tactics and means how influenced ideology and language. And then enter the core of studying, in the documents of " People's Daily ", "Red Flag "'and new folk songs of " Red Flag Ballad ", sum up the composition content of the revolutionary language of the Great Leap Forward, and according to preceding paragraphs, analyze the characteristic of the revolutionary language.

Emma Eriksson and Christina Henriksson: Mirror mirror on the wall: A study on how ballad texts reflect women as carriers of tradition in nineteenth century Sweden, Växjö: Musikvetenskap C, 10 p 2005. The aim of this essay is to analyze relations between ballad texts and the lives of female carriers of tradition in nineteenth century Sweden. Four carriers of tradition have been chosen, connected by being informants to Gunnar Olof Hyltén Cavallius, a collector of medieval ballads in Sweden around 1850. The four women are Anna Ehrenström (1786-1857), Catarina Andersdotter (1792-1857), Johanna Gustafva Angel (1791-1869) och Wendela Hebbe (1808-1899). Their lives are seen from a women’s historical perspective. Although there are uncertainties regarding to what extent the collected repertoire of the four women reflects their repertoire as a whole, some conclusions can be drawn regarding relations between remaining ballads and their lives as women. These relations are traced in textual themes and in textual form (e.g. repetition of words and phrases). The closeness between life situation, and choice and shape of ballad texts, leads us to conclude that these occurrences are due to deliberate choices, and that the ballad text thus mirror the lives of these women.

<p>Emma Eriksson and Christina Henriksson: Mirror mirror on the wall: A study on how ballad texts reflect women as carriers of tradition in nineteenth century Sweden, Växjö: Musikvetenskap C, 10 p 2005.</p><p>The aim of this essay is to analyze relations between ballad texts and the lives of female carriers of tradition in nineteenth century Sweden. Four carriers of tradition have been chosen, connected by being informants to Gunnar Olof Hyltén Cavallius, a collector of medieval ballads in Sweden around 1850. The four women are Anna Ehrenström (1786-1857), Catarina Andersdotter (1792-1857), Johanna Gustafva Angel (1791-1869) och Wendela Hebbe (1808-1899). Their lives are seen from a women’s historical perspective.</p><p>Although there are uncertainties regarding to what extent the collected repertoire of the four women reflects their repertoire as a whole, some conclusions can be drawn regarding relations between remaining ballads and their lives as women. These relations are traced in textual themes and in textual form (e.g. repetition of words and phrases). The closeness between life situation, and choice and shape of ballad texts, leads us to conclude that these occurrences are due to deliberate choices, and that the ballad text thus mirror the lives of these women.</p>

Thesis (M.A.)--Indiana University, 2008. / Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).

The first and until now last translation of the drama The Ballad of the Sad Café which was written by Edward Albee based on the novella by Carson McCullers was published 51 years ago. This fact leads us to the assumption that the translation is already outdated. In this thesis we deliver a new translation and by comparing and contrasting the two texts we draw conclusions on aging of translations, elements that cause aging of translations and ways how current theatre-makers handle an outdated text nowadays. The first part of the thesis consists of the drama's literary analysis. The following translation analysis represents a preparatory phase for the translation itself. We also provide a theoretical background on repeated translation, aging of translation and translation of dramatic texts. The new translation of the play is compared and contrasted in the last part in which we cover the most important issues described in the translation analysis. We conclude by comparing our findings with the staging of the play from 2005 in which the earlier translation was used. Key words: THE BALLAD OF THE SAD CAFÉ, Czech interpretation, Czech translation, translation of dramatic texts, repeated translation, aging of translations, contrastive description of Czech translations