This thesis is focused on the motivations and influences on the writings of Edgar Allan Poe. Poe's work and letters are used to support the hypothesis that his work resulted from a desire to be recognized.

This paper looks at the practice and history of video game translation, with the goal of expanding the definition of translation. Video game translation is a complex process that incorporates a number of aspects from other types of translation, such as literary, audiovisual, and software translation, to form a dynamic whole. As a new medium, video games also present their own challenges to translation in the form of interactivity, technology, non-textual and extra-textual elements, audience involvement, and new business practices. Even though video games are a relatively new medium, the practice of translating them has undergone drastic transformations over the years. A case study of the various official translations of Final Fantasy IV provides a brief overview of this development to help the reader get a complete understanding of the video game translation process. The paper concludes by arguing that the different sign systems present in video games are integral to the player’s understanding of the game, and should be considered as aspects that can be translated. Parallels are also drawn between the translation process and the medium of the video game, to show that different approaches to translation can provide the audience with a more holistic view of a work.

I denna undersökning så görs ett fördjupande perspektiv på fantasygenrens olika stereotyper, med ett specifikt fokus på orcher och alver samt även vad som har skapat dessa stereotyper och vad som har förändrats under de åren som de har existerat genom att ställa frågor till deltagarna. Det visar att beroende på individ som observerar dessa raser så ändras perspektivet på stereotyperna samt även huruvida uppskattat potentiella normkritiska förändringar anses vara. Detta har upptäckts genom användningen av artefakter, ett frågeformulär samt även en förstudie med en fördjupning på J.R.R. Tolkien och de stereotyper som har skapats tack vare hans verk. Efter reflektion så finns det möjligheter för en fortsatt studie inom detta eftersom det bara finns ett fokus på orcher och alver, även fast det existerar flera olika typer av fantasyraser som kan ge ytterligare intressant data som kan hjälpa framtida spelföretag. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>

This study examines Mologadi Ngwana’ Magolego Sepedi tale Mo_emane wa moimana as an example of fantasy. Fantasy as a genre creates a headache for theorists, because they struggle to distinguish this genre from other types of narratives. One theorist, Rottensteiner (1978:8), sees all narratives as fantasies. He admits that this creates a problem, since not all narratives are fiction. This problem is exacerbated by the fact that narratives broadly represent the thoughts of an author. If the definition of fantasy is too broad, everything that comes from the mind of an author can be seen as an imaginary text, in other words, a fantasy. Butler’s (2006) description of fantasy is narrower, explaining that the concept of fantasy is broader than other tales. This is because it is influenced by traditional fairy tales and by modern scientific fiction (Butler 2006:75). By contrast, Day (1984:277) suggests that in many cases, fantasy can be related to myth. This highlights how broad descriptions of the genre can be, and may lead to some confusion if fantasy is confused with other types of narratives which contain elements of myth. Furthermore, he sees the genre as important because it pushes the boundaries of the human imagination. According to Luckens (1995:27), fantasy often relies on magic and miracles. This argument is also problematic, considering that many fairy tales also contain magic and miracles. Sutherland (1991:247) makes the dubious claim that the actions of a fantasy can never be repeated and supports this claim with the argument that the actions may be truthful as they have a sequence. The argument of the theorists above indicates that they do not distinguish clearly between fantasy and other genres of narratives. This is the problem to be resolved in this study. This study directly investigated the plot of a fantasy, Mo_emane wa moimana, because it is important to demonstrate that the plot of a fantasy has specific elements (parts). These elements must be classified according to their importance. The elements found in the plot of a fantasy are the ones that justify the classification of this genre as this type of literature. To reach this justification, the study focused on three objectives. The first was to explain the plot of a fantasy, taking into consideration the content, the plot and the style. The second was to distinguish fantasy from other forms of folklore. The third was to call for the preservation of this kind of literature because there are so few in Sepedi. There was a need to conduct this investigation with an in-depth focus on a Sepedi tale to develop Sepedi folklore. Aside from the problem of the different views of literary theorists, another reason to conduct research on this topic is that thus far, investigations into such tales have failed to perform critical analysis. The research was therefore conducted by critically analysing one Sepedi fantasy (because of the magnitude of the investigation), while focusing on important distinctive features of the plot of that fantasy, Mo_emane wa moimana to demonstrate the power of miracles (and magic) in the plot and style of this tale. To resolve this problem of whether this story is a fantasy or a fairy tale, this study followed the following research methods: define, interpret and compare. The study also adopted narratology theory. This theory is directly linked to the plot of the text, and does not focus on the author. It is also important in helping to explain the distinction between these two types of narratives, because various types of narratives (including essays or short stories of various kinds) may wrongly be seen as fairy tales. The contents of a short story may show events that have never happened in reality, but are in a world of possibilities of such actions. Even though a fairy tale does not narrate the literal truth, it is literature, because this genre has all the characteristics of literature, namely content, a plot and style, as well as characters, a reader/listener and an author/narrator. The function of the reader/listener of a fairy tale is not to identify ‘mistakes’, but to enjoy the narration, and to realise the depth that the author/narrator has to create the tale. / Thesis (PhD)--University of Pretoria, 2019. / African Languages / PhD / Unrestricted

There is a growing recognition of the interconnectedness of the crises of food, water, democracy and climate change as stemming from the capitalist hunt for modernity and progress. As climate change is thus not only so complex, but urgent, the question of a successful portrayal of it for an enhanced understanding and subsequent action becomes vital. The name of the Capitalocene functions to highlight the intersectional origins of climate change - as the Global North has done violence upon nature in the quest for monetary value, so has it also done violence upon people in the process. The Kingston Cycle is part of a fast-rising wave of speculative fiction with the potential to successfully communicate not only an encompassing picture of the acknowledgedly incomprehensive totality of the current crisis, but also the solution in the form of an egalitarian society founded on the value of community instead of capital. As writers are thus beginning to discover the suitability of speculative fiction to depict the Capitalocene, especially spatiotemporal combinations of genres such as historical steampunk fantasy, it is necessary for scholars to follow in order to breach the hitherto persisting view of speculative fiction as simply an escape from reality, and to investigate how it can be used to create not only an understanding of the current crisis, but an incentive to action.

Cette thèse a cherché à évaluer et à comprendre les répercussions des maltraitances physiques et psychiques sur le développement des enfants qui en sont victimes. Il s’agit ici de repérer l’influence des représentations de la mère concernant l’enfant qui ont conduit aux actes maltraitants. Le but de l’étude était de repérer la place de l’enfant dans les enjeux psychiques maternels avec l’hypothèse de la mise en acte d’un fantasme d’infanticide à l’œuvre. Dans une approche culturelle, il a été question d’élargir la notion de maltraitance au-delà des syndromes communs notamment les enfants singuliers. L’étude a visé à comprendre les modalités d’expression de l’enfant de moins de 3 ans à travers les comportements d’externalisation et d’internalisation. 15 enfants de 6 mois à 3 ans et leur mère ont été recrutés. Différentes méthodes ont été utilisées, l’échelle de Brunet-Lézine-Révisé et la Malette Projective Petite Enfance, l’observation et l’entretien clinique à visée de recherche. Les résultats ont fait ressortir la mise en acte de fantasme chez les 12 mères sous différentes formes à travers le vécu de la grossesse, de l’accouchement, du maternage etc. et les effets des maltraitances qui entravent le développement de ces enfants. / The goal of this research is to evaluate and understand the repercussions of physical and psychological abuse on the development of children who are victims. The focal point is to identify the mental appraisal the mother has of the child and how it inherently drives her to mistreat the child. The aim of the study was to ascertain the child’s place in the mother’s mental thoughts with the assumption of the portrayal of an infanticide fantasy at work. Culturally, it was pertinent to broaden the notion of abuse way beyond the common syndromes especially associated with children that act bizarre. The study aimed to understand the modalities of expression of the child below the age of three through behaviors externally and internally expressed. Fifteen children from 6 months to 3 years of age and their mothers were selected for this study. Different methods were used such as, the revised version of the Brunet-Lézine scale, the "Malette projective Petite enfance " test, observation and clinical research interviews. The results highlighted the act of fantasy in the 12 mothers in different forms. Right from the experience of pregnancy, to childbirth, to nursing the child, etc. and the effects of abuse that hinder the development of these children.

The history of translation has been built on the notions that the translator either leaves the writer alone and moves towards the reader (domesticating the text), or leaves the reader alone and moves towards the writer (foreignising the text). These strategies have been called many names, but the translator has always been faced with the choice between domesticating or foreignising the target text. This study considers the options available to a translator when translating the proper nouns and neologisms in a fantasy novel. The translator should not move towards and stand next to the reader to create a target text that is unrecognisable compared to the source text. At the same time, the translator cannot remain next to the writer and thus not change the proper nouns and neologisms to ensure that the target-text readers can understand all – or most of – the potential meanings. If the translator does not move closer to the readers, they cannot have the same experience as source-text readers. This study looks at the translation theories, strategies and procedures that can be applied when translating proper nouns and neologisms used in Terry Pratchett’s Small Gods. It is limited to the study of the neologisms that act as proper nouns, and does not look at other neologisms in the novel. The study identifies translation procedures that retain the meaning potential of the proper nouns and neologisms in the source text in the process of translating them into an Afrikaans target text. It compares the procedures that may have been used by the Dutch translator, by Venugopalan Ittekot, of the novel, Kleingoderij, into Dutch with the procedures that are identified to be used by a translator of the text into Afrikaans. This study identifies the procedures most appropriate to a possible translation of proper nouns and neologisms in Small Gods to Afrikaans in order to retain the meaning potential. The translation procedures that has been identified are addition, cultural adaptation, internationalisation, literal translation, neutralisation, substitution, transference, transliteration and transposition. These procedures can be used to attain equivalence at word level and in such a way that the meaning-potential is retained. / Dissertation (MA) University of Pretoria, 2016. / African Languages / MA / Unrestricted

* / Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

Die 27-jährige Chemnitzerin hatte erst vor kurzem ihr erstes Buch veröffentlicht. "Traum" führt den Leser auf einer labyrinthischen Reise in die Tiefe des inneren Selbst.

Annotation: Kaločová, V.: Day dreaming /MA thesis/ Praga 2010 - The Charles University, Pedagogical Faculty, Department od Art Education This work studies the area of day dreaming in the context of general education as well as visual arts education. It views day dreaming mainly as a device to develop creative thinking, and highlights its contribution to and importance for education as well as for personal character development, pointing out also the negative sides. In this thesis day dreaming is defined within psychology, pedagogy and artphiletics in a way that could be inspiring and contributing for education. In visual arts, dreaming is stressed especially there where painting coincides with poetry, and where it opens doors leading to creation of new worlds between consciousness and unconsciousness. Furthermore, this work deals with so-called "artwork dreaming", as a preparatory phase of artworks. The main issue of the theoretical part is poetics of day dreaming, which, as well as this work, tries to develop personal courage for creative thinking. Poetic dreaming is viewed as the highest, which contrives to stimulate us, harmonizes our senses, and helps us dwell in this world. Key words: Day dreaming, poetry, dream and reality, imagination, fantasy, imaginativeness