Brothers is a novel about Evan Floyd, a twenty-one year old college student who battles alcoholism, and his attempt to track down whoever injured his twin brother, Will. Evan meets Rolando Villanueva, a star on the local high school soccer team and the half-brother of Victor Villanueva, the man who hospitalized Will. The novel’s chapters alternate focal characters, as the novel’s first chapter employs a third-person, limited omniscient point of view with Evan as the focal character. The story remains in a third-person, limited omniscient point of view in the chapters where Rolando acts as the focal character. In addition to these two points of view, Edison Floyd, Evan and Will’s father, acts as a third focal character during a flashback sequence. The critical introduction for the novel examines how the focalization functions throughout the text.

This thesis has two main objectives: to first discuss the defining characteristics of Chinese frontier poetry (biansaishi 边塞诗) while showing how this subgenre of poetry blossomed during the Tang 唐period prior to the An Lushan rebellion (anshizhiluan安史之乱), and then to focus on one Tang frontier poet in particular, Cen Shen 岑参 (715-770), for a sustained critical investigation into how the poet-narrators of his texts focalize three types of frontier settings, namely landscapes of intense heat, cold and vast distances. These two objectives necessitate dividing the thesis into a bipartite structure, which is further subdivided into six chapters. Chapters one through three address the first objective of the thesis, that of surveying frontier poetry as it pertains to the subgenre's flourishing during Tang period. Chapters four through six endeavour to traverse Cen Shen's frontier settings with a critical eye on uncovering patterns behind the manner in which the poet-narrators perceive China's borderland regions, and to show how these patterns are repeated across disparate poems where the frontier setting itself features prominently. The result of such an analysis is the realization of an underlying foundation of focalization connecting the poet-narrators in each of Cen Shen's three major frontier environements. / Graduate / 0305 / 0332 / 0289 / 0294 / 0401 / daymon@uvic.ca

The lack of literature and studies concerning the role and functionality of the ellipsis, not only as a rhetorical figure but also as a narrative tool of analysis, is a fact that deserves to be addressed, questioned and repaired. Yet the question arises how to do this. In the following thesis, the resource of the narratological method is applied, which allows us to immerse ourselves in the elliptical depths of Borges's fictionality. The different types of ellipses (explicit, implicit, and hypothetical) present in the text were surgically extracted, and anachronies and focalizations were also indicated. Next, we moved on to the analysis and interpretation of the material. The results obtained after the analysis were revealing and their contributions were an emulating incentive for future research. Especially in this new and paradigmatic era of hypertexts and mutants, of ghostly identities and digital avatars, the in-depth study of the ellipsis, due to its philosophical scope and, why not, indispensable for the emergence of new theories in accordance with current reality.

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The study analyses four of Elsa Beskow´s picture books from a gender perspective and with character analyis as the method. The aim is to find out how gender is presented in the picture books and how the books reflect their time. The study also discusses how the books can be used in today´s school. The result shows that the men in the four works have the greatest power. They are portrayed as deciding and dominating everything. The character analysis also shows that they are portrayed as being surly rather than cheerful. The women and the girls in the works are portrayed as capable, caring and cautious. The school curriculum states that school should aim to ensure that all pupils are treated equally regardless for sex. Beskow´s works reflect the gender roles that prevailed around 1900, and teachers need to be aware of this when the works are used in school today.

This essay is a narratological character study of Loren. D Estleman’s novel SHERLOCK HOLMES VS DRACULA ​or the Adventure of the Sanguinary Count.​ The focus of this essay is how Sherlock and Dracula are characterised through Genette’s and Bal’s notions of focalization and description and how, through the additional incorporation of the concept of subtext, it unveils a dichotomy between the two literary figures. By further putting that relationship into historical context, it uncovers a symbolism which reflects imperial influence from the perceived decline of Britain as an empire, where Sherlock comes to symbolise England itself and Dracula an invading ‘other’. This suggests the existence of a covert reason for bringing these two famous (or infamous) characters together in a contemporary rendezvous novel.

A presente dissertação tem como objetivo estudar a representação das identidades da comunidade indo-portuguesa nos romances Skin (2001), de Margaret Mascarenhas, e A casa-comboio (2010), de Raquel Uchoa, por meio de uma análise comparativa que focaliza os vínculos estabelecidos entre as personagens e o universo colonial indo-português, bem como de que maneira os narradores enunciam sua ideologia por intermédio dessas conexões. Buscaremos averiguar de que forma esses romances contribuem para fundamentar identidades coloniais distintas, tendo por referência a colonização portuguesa na Índia. / This dissertation aims to discuss the representation of identity of Indo-Portuguese communities depicted in the novels Skin (2001), written by Margaret Mascarenhas, and A casa-comboio (2010), written by Raquel Ochoa. The comparative analysis of these novels will focus on the connections established between the characters and the Indo-Portuguese colonial universe as well as on how the narrators enunciate their ideology. We also intend to investigate how these novels contribute to found distinct colonial identities, taking as reference the Portuguese colonization in India.

This essay is a narratological analysis of Stephen King’s ​The Shining, ​and​ ​employs Mieke Bal’s categorization of focalization, description and discourse with the intent of establishing their function in representing the concept of the uncanny in the narrative. By analyzing these narratological functions and their interplay, several manifestations of the ordinarily elusive uncanny become evident. The novel, through the structuring of the narrative and use of forthright descriptions as well as the insight into the characters’ minds, continually manages to represent the disturbances of the familiar that characterize the uncanny.

<p>The present BA thesis is an analysis and a close reading of the French author Gabrielle Wittkop's novel Le Nécrophile (1972). The analysis consists of two parts. The first part focuses on the story and can be described as an attempt to interpret the engine of the history. The second part of the analysis focuses on the narrative; how the story is told. Le Nécrophiles main motif is re-encoding the representation of death in art and literature, traditionally conceived as a beautiful female corpse. The narrative embodies death as different of body types – men, women, old people, childen - and hence avoids to produce death as the female Other. By the use of different methods, such as metaphores, focalizing etc., the corpse becomes something more than a passive object, now threatening and interacting. In the novel necrophilia is described as a higher form of love. The historical view of sexuality as divided into high/low is strongly codified from a gender perspective; the higher form of love is associated with masculinity and the lower form with femininity. In Le Nécrophile the classification of high/low is based on life and death instead of masculinity and femininity; a new way of staging the binery pairs high/low.</p>

The present BA thesis is an analysis and a close reading of the French author Gabrielle Wittkop's novel Le Nécrophile (1972). The analysis consists of two parts. The first part focuses on the story and can be described as an attempt to interpret the engine of the history. The second part of the analysis focuses on the narrative; how the story is told. Le Nécrophiles main motif is re-encoding the representation of death in art and literature, traditionally conceived as a beautiful female corpse. The narrative embodies death as different of body types – men, women, old people, childen - and hence avoids to produce death as the female Other. By the use of different methods, such as metaphores, focalizing etc., the corpse becomes something more than a passive object, now threatening and interacting. In the novel necrophilia is described as a higher form of love. The historical view of sexuality as divided into high/low is strongly codified from a gender perspective; the higher form of love is associated with masculinity and the lower form with femininity. In Le Nécrophile the classification of high/low is based on life and death instead of masculinity and femininity; a new way of staging the binery pairs high/low.