Hierdie studie ondersoek vrae rondom die aard van literêre niefiksie - ook die vierde genre genoem. Die bestaande drieledige genreklassifikasiesisteem maak nie voldoende voorsiening vir tekste waarin die grense tussen feit en fiksie opgehef word nie. Die toename van sodanige hibriede tekste noodsaak dus ‘n uitbreiding van tradisionele genrekategorieë tot ‘n vierde, naamlik dié van literêre niefiksie. Dié ondersoek poog om vrae rondom literêre niefiksie te beantwoord met verwysing na De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) van David van Reybrouck. Dié teks dokumenteer Van Reybrouck se ondersoek na die bewering dat Maurice Maeterlinck die termietnavorsing van Eugène Marais sonder erkenning oorgeneem het. Tydens sy navorsingsreis maak Van Reybrouck kennis met die verwikkeldhede van ‘n postapartheid Suid-Afrika en verwoord sy reiservaring met behulp van metafore uit die entomologie. Die resultaat is dat De plaag ‘n hibriede karakter vertoon wat versoenbaar is met die kriteria vir literêr-niefiksionele tekste. / This study attempts to explore the nature of literary nonfiction (the fourth genre). The existing tripartite classification system does not make adequate provision for texts where the borders between nonfiction and fiction are transcended. A marked increase in such texts therefore necessitates an expansion of the traditional genre categories to accommodate a fourth, namely that of literary nonfiction. De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) by David van Reybrouck will serve as point of departure to explore the genre of literary nonfiction. The said text documents Van Reybrouck’s investigation into the alleged plagiarism by Maeterlinck of Marais’ research on termites. Van Reybrouck’s travels expose him to the complexities of a post-apartheid South Africa, which he expresses by using metaphors derived from the field of entomology. The result of this process is that De plaag displays a hybrid character which complies with the criteria for literary nonfiction. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

職司審判之法院，其職權係為「認定事實」與「適用法律」。就事實之認定，我國採取「自由心證原則」，亦即事實應如何透過證據證明、推論而得，授權由法官於個案中認定，然該原則中「自由」之意義，係具有其具體之內在內涵與外在限制，並非由法官恣意判斷。過去之實務與學說並未就此為深入之闡釋，迭生審級平行與垂直判決之歧異，及人民對法院判決之非議。從而根本之道，應係完整建構自由心證原則之實質意義，由運用之主體、客體、內在內涵、外在限制及其作用等面向，並提出其運用之模組，具體化此立法者規範之不確定法律概念，使運用該原則之法官，得以有依循及參考之路徑。 而自由心證原則內涵中，最常於訴訟中運用者，即為「間接證明」，因主要事實由直接證據直接證明乃少見之情狀，而由間接證據證明間接事實，進而依間接事實之推理作用，推論主要事實存否之情形，乃訴訟中之常態。然間接證明之內涵中，「間接事實之內容與數量」、「推理作用之內涵」、「間接事實間推理作用所得證明主要事實之射程」，皆係高度個案裁量運用之認定，然現今實務之運作，卻出現審級間運用內容及結果極為歧異之現象，從而應探究其內涵，並嘗試提出運用之模組，供運用之法官思考。 自由心證與間接證明作為具有高度實務操作性格之訴訟法原則，其運用之 良窳，已實際影響具體個案事實認定之問題。為改善及斧正目前實務運作上出現之認定歧異、迭經發回之問題，亟須透過以上之研究，提出訴訟中運用之方式，以及其於事實審間、事實審與法律審間運用之審查、互動關係，使該二抽象原則具有一定法安定性，而有一定運用之軌跡可循。 / The court, to act as trial institute, has its major authority to “determine the fact” as well as “apply the law”. As for the fact-finding, our country adopts “Free Evaluation of Evidence Principle”, which authorizes the judge to determine case by case how the fact is proved and inferred through the evidences. However, the meaning of “Free” in that principle is constructed with concrete inner connotation and outer restriction, and not decided by the willfulness of the judge. In the past, courts and scholars didn’t elaborate that principle in depth, which has given a rise to the discrepant verdicts between different courts and criticisms from the people. Consequently, the fundamental solution is to build the substantial connotation of free evaluation of evidence principle, by means of the observations of its operating subject, object, inner connotation, outer restriction and function as well as its operating model, and to reify this uncertain concept of law regulated by legislator, so as to find a way to follow and refer to by the judge. The most commonly-adopted content of free evaluation of evidence principle is “Indirect Proof ”. Owing to proving the direct fact through direct evidence is rarely seen in lawsuit, the application of proving indirect fact by indirect evidence, and then inferring the existence of direct fact through the inferring function of indirect fact, is much common in each case. Nevertheless, in the meaning of Indirect Proof, the “content and amount of indirect fact”, “content of inferring function” and “scope which the direct fact could be inferred from the direct fact” are determined by large-scale discretion of the judge case by case. As a result of the discretion, the circumstances of divergent operating contents and consequences are emerged. Therefore, the connotation of that principle should be analyzed and the operating models are tried to addressed, hoping to provide for the judge to take into account. “Free Evaluation of Evidence Principle” and “Indirect Proof”, which are conducted as civil procedural principle in a highly individually case-operating nature, substantially influence the fact-finding in specific lawsuit with its odds and ends of operation. In order to improve and correct the discrepant fact-finding and constantly-verdict-reversing problems appearing in the courts at present, it is necessary to bring up the ways to operate the two principles as well as the reviewing and interacting relationships between trial courts and trial court and trial of law, and to establish specific legal certainty, legal steability and operation standards.

Hierdie studie ondersoek vrae rondom die aard van literêre niefiksie - ook die vierde genre genoem. Die bestaande drieledige genreklassifikasiesisteem maak nie voldoende voorsiening vir tekste waarin die grense tussen feit en fiksie opgehef word nie. Die toename van sodanige hibriede tekste noodsaak dus ‘n uitbreiding van tradisionele genrekategorieë tot ‘n vierde, naamlik dié van literêre niefiksie. Dié ondersoek poog om vrae rondom literêre niefiksie te beantwoord met verwysing na De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) van David van Reybrouck. Dié teks dokumenteer Van Reybrouck se ondersoek na die bewering dat Maurice Maeterlinck die termietnavorsing van Eugène Marais sonder erkenning oorgeneem het. Tydens sy navorsingsreis maak Van Reybrouck kennis met die verwikkeldhede van ‘n postapartheid Suid-Afrika en verwoord sy reiservaring met behulp van metafore uit die entomologie. Die resultaat is dat De plaag ‘n hibriede karakter vertoon wat versoenbaar is met die kriteria vir literêr-niefiksionele tekste. / This study attempts to explore the nature of literary nonfiction (the fourth genre). The existing tripartite classification system does not make adequate provision for texts where the borders between nonfiction and fiction are transcended. A marked increase in such texts therefore necessitates an expansion of the traditional genre categories to accommodate a fourth, namely that of literary nonfiction. De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) by David van Reybrouck will serve as point of departure to explore the genre of literary nonfiction. The said text documents Van Reybrouck’s investigation into the alleged plagiarism by Maeterlinck of Marais’ research on termites. Van Reybrouck’s travels expose him to the complexities of a post-apartheid South Africa, which he expresses by using metaphors derived from the field of entomology. The result of this process is that De plaag displays a hybrid character which complies with the criteria for literary nonfiction. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Working at the intersection of narrative studies and political theory, this thesis performs an original critical intervention in Gulliver’s Travels studies to establish the work as an intertextual response to the hegemonic articulations of European travel writing produced between the 15th and 18th centuries under the discourse of Discovery. My argument proceeds through two movements. First, an archeology of studies on Gulliver’s Travels that identifies key developments and points of significance in analyses of the satire’s intertextual relationship with travel writing. Second, a discursive analysis of the role of Discovery generally, and travel writing specifically, in constructing European hegemony within a newly global context. Together these movements allow me to locate Gulliver’s Travels firmly within the discourse of Discovery and to specify the politics of the text and the poetics of its operations. For this analysis I adopt a conceptualization of hegemony elaborated by Ernesto Laclau and Chantal Mouffe in Hegemony and Socialist Strategy (1985), which defines discourse as a structured totality of elements of signification, wherein the meaning and identify of each element is constituted by articulatory practices competing to fix the differences and equivalences between it and others within the discourse. An hegemonic discourse is one that successfully limits the possibility of novel articulations according to a particular governing logic. In the Age of Discovery, this governing logic, I argue, is a socio-spatial logic that constructed the “European” subject through its difference from the “Non-European,” the “civilized” subject through its difference from the “savage,” and the “free land” of the “savage” peoples through its difference from the occupied lands of the “civilized.” To conduct the concomitant critical analysis of Gulliver’s Travels, I draw upon Jacques Rancière’s conception of the “distribution of the sensible,” which refers both to the partitions determined in sensory experience that anticipate the distributions of parts and wholes, the orders of visibility and invisibility, and the relationships of address or comportment beneath every community; and to the specific practices that partake of these distributions to establish the “common sense” about the objects that make up the common world, the ways in which it is organized, and the capacities of the people within it. This enables me to establish travel writing as an articulatory practice that utilized a narrative modality to “reveal” the globe in a Eurocentric image dependent upon the logic of Discovery: a discursively constructed paradigm that I identify as what others have labeled “travel realism,” which organized the globe into a single field of discursivity predicated upon the “civilizational” and “rational” superiority of Europeans over their non-European Others. Gulliver’s Travels, I conclude, intervenes in this distribution of the sensible by utilizing the satirical form as a recomposing logic to upend the paradigm of travel realism and break away from the “sense” that it makes of the bodies, beings, and lands it re-presents. / Graduate

My thesis examines the nature of contemporary fictional narration and explores its relations to other types of narration - mainly texts where educational or informative function prevails over the aesthetic one. The whole work is divided into four parts. The first part is theoretical; it sets up basic areas of interest and names methods, tools and models that will be tested on selected examples from Slavonic literatures. The second part analyses spatial and temporal relations of fictional narrative. Chapter 2.1 treats time and space in a novel mostly from the compositional point of view (based on the example of Sasha Sokolov's A School for Fools), while in the next chapter, focusing on ideational interconnections between literary and social- political utopias, both fictionality and temporality are understood more broadly than mere narrative categories: they serve as certain points of connection between the immanent occurrence of meaning in the "world of text" and its historical background. The third part continues in this direction, only what we mean by context here is not the collective historical background, but an individual sphere of everyday life. Our focus switches to two genres standing on the boundary of literary fiction and non-fiction - personal correspondence and a travel journal (travelogue). The...

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La tesi si propone di indagare l’intertestualità dantesca nell’opera volgare di Matteo Maria Boiardo. Il fenomeno è già stato oggetto di studi – indirizzati soprattutto al poema cavalleresco, e in misura minore (specie negli ultimi anni) al canzoniere lirico – che si sono mossi però nell’alveo dell’impostazione strutturalista, con una considerazione della memoria poetica da un punto di vista formalista e tipologico. Questa corrente ha consentito sviluppi importanti negli studi filologici, ma porta a vedere il fatto letterario staccato dal suo contesto di riferimento. Se questo esito in Italia è stato arginato da una forte base storicista, va detto che gli studi sulle riprese poetiche hanno però vissuto una situazione particolare. Da una parte, infatti, lo strutturalismo fra anni ’60 e ’70 ha imposto anche in Italia, attraverso una serie di importanti lavori, il suo modo di trattare la questione, senza poi che il successivo approdo semiotico incidesse in maniera significativa. Dall’altra, la reazione di chi voleva agganciare il fenomeno al dato storico ha riportato il problema all’impostazione erudita della critica delle fonti, privilegiando la raccolta dati da mettere in relazione con le informazioni sulla storia della tradizione e della circolazione. L’obbiettivo di questa tesi è fare un passo avanti, nella convinzione che per lo studio di questi fenomeni di riuso sia la circolazione manoscritta che i dati testuali e formali vadano letti in una piena prospettiva semiotica: guardare ai fenomeni di tradizione e trasmissione testuale nell’ottica dei processi ricettivi, e considerare le scelte di memoria poetica come atti comunicativi, con un valore pragmatico. La ricerca ha l’intento di giungere ad una maggior comprensione del rapporto del dotto poeta umanistico con il modello dantesco, un’interpretazione più chiara delle strategie di riuso, determinate dal particolare modo di leggere la Commedia nel contesto specifico, e perciò attraverso un preciso filtro fra quelli disponibili al tempo. Accanto all’insieme di informazioni filologiche sulle attestazioni manoscritte nelle biblioteche del tempo, l’indagine qui condotta consente – anche da un punto di vista che potremmo definire attributivo – di indicare in Benvenuto da Imola l’esegeta di riferimento per Boiardo e il suo pubblico, proprio perché l’osservazione ravvicinata dei testi e dei loro legami fa emergere questa tradizione interpretativa come la più attiva nell’elaborazione boiardesca rivolta ai lettori. Il lavoro non ha preso le mosse da un afflato teorico, teso a riconcettualizzare l’intertestualità, ma da un intento di chiarificazione sui testi e alcuni loro aspetti che non sembravano però trovare una spiegazione soddisfacente all’interno del quadro metodologico diffuso. Il lavoro, allora, ha assunto poco alla volta anche una vena metodologica sorta dall’osservazione dei fenomeni in modo nuovo. E così, accanto all’indagine storico-letteraria, e in stretta relazione con essa, è stato possibile avanzare alcune proposte ermeneutiche sui meccanismi intertestuali in base alle dinamiche della comunicazione letteraria. E nelle pagine che seguono il percorso si articola attorno a nuclei diversi ma interconnessi: da una parte la riflessione generale a carattere semiotico sui fenomeni di memoria poetica, che vengono concettualizzati grazie agli apporti di discipline come la pragmatica; segue una ricognizione storica sulle modalità di lettura e ricezione del modello dantesco – e non solo – in base alla circolazione dei testi e dei loro apparati esegetici; si arriva poi al nucleo del lavoro con l’affondo diretto su opere e paratesti esegetici con le loro relazioni, che si instaurano all’interno del laboratorio d’autore e poi da lì arrivano al pubblico.