The thesis is divided into two parts, one theoretical and one empirical. The first one presents origin and different perception of the boulevard comedy genre in France, Czech Republic, Germany, United Kingdom and USA. Afterwards, a brief characteristic of the boulevard comedy is presented in terms of content and subject matter. Four kinds of comedy are presented - comedy of manners, comedy of situation, comedy of intrigue and interactive comedy. The translatological analysis of the Czech translation of the French humorist Laurent Baffie's contemporary play Toc toc by the director and translator Jaromír Janeček constitutes the second main part of the thesis. The analysis is based on the theoretical studies of Jiří Levý and Jan Mukařovský, which are dealing with the translation of drama, and also on the theory of so-called Manipulation school of André Lefevere. Several problems have arised from the detailed analysis of the original text. The comparison of the translation and the original text is made on the ground of these problems. Subsequently, there is an evaluation of the translation. In some cases, a different solution is proposed. The work is supplemented by insights into the translation practice, which are drawn from personal interviews with translators and experts on drama.

Ce mémoire de maîtrise traite de quatre pièces de l’auteur français Bernard-Marie Koltès. Résolument axé sur l’étude du texte écrit, il vise dans un premier temps l’analyse d’un ensemble de désajustements et d’une culture de l’équivoque dans le traitement du lieu, du temps et de l’identité. Le premier but de ces analyses est l’approfondissement de certaines avenues déjà investies par la critique (marginalité des lieux et des personnages, présence constante de la violence et de la mort, etc.), dans la recherche d’une signification globale à un ensemble de pratiques textuelles liées à la notion de limite ou de frontière. Opérant un changement de perspective, la seconde partie de l’étude s’attarde à la violence ainsi qu’aux modalités et implications de sa mise en texte dans une étude croisée de l’acte créateur et de la pratique de lecture. À partir de la théorie du sacrifice élaborée par René Girard dans La violence et le sacré, et faisant dialoguer certains textes importants d’auteurs divers (Aristote, Nietzsche, Artaud, Foucault, Derrida et Adorno), l’analyse vise à inscrire la littérarité du texte koltésien dans une entreprise plus vaste ayant à voir avec la violence, sa régulation et sa diffusion. Au carrefour des études théâtrales, de la littérature et de la philosophie, cette réflexion cherche à concevoir le théâtre de Koltès (particulièrement Roberto Zucco) comme un sacrifice rituel, afin de mieux en comprendre le rapport au réel et certaines de ses particularités du point de vue du mécanisme cathartique. / This M.A. thesis analyzes four plays by the French author Bernard-Marie Koltès. Resolutely focused on the study of written text, it begins by analyzing several disarrangements and a culture of ambiguity in the treatment of place, time and identity. The first goal of this interrogation is the deepening of some avenues already detected by the critique (marginality of places and characters, the constant presence of violence and death, etc.) in the search for a global meaning to a set of textual practices related to the notion of limit or boundary. Operating a change of perspective, the second part of the thesis focuses on violence and on the terms and consequences of its textualisation, in a simultaneous study of the creative act and of the practice of reading. Based on the theory of the sacrifice as developed by René Girard in La violence et le sacré, and nourished by the crossing of some important texts by various thinkers (Aristotle, Nietzsche, Artaud, Foucault, Derrida, Adorno, etc.), the analysis seeks the inscription of Koltesian text’s literariness in a broader enterprise having to do with violence, its regulation and its dissemination. At the intersection of theater studies, literature and philosophy, this study is an attempt to understand Koltès’ drama (especially Roberto Zucco) as a ritual sacrifice in order to obtain a better comprehension of its relationship to reality and some of its characteristics as for the cathartic mechanism.

Thesis (Ph. D.)--University of Wisconsin, 1965. / Typescript. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 231-252.

The thesis' subject is the celebrated poet Jindřich Hořejší (1886-1941) in his lesser-known vocation as a theatre translator whose bulk of work consists of translation of contemporary French drama (eg. Giraudoux, Claudel, Cocteau, Salacrou, Neveux, Passeur, Achard or Pagnol). First, it follows traces of theatre in the poet's life, before discussing various aspects of his role as a translator in the reality of theatre at the time (fnancial conditions of theatre translation, the work of theatre agencies, communication with theatres etc.) and offering a list of his translations of French drama, compiled to be as complete as possible. The next chapter contains analyses of Hořejší's own articles detailing his views on the theoretical aspects of translation (which are also reprinted in the Appendix), putting them into the context of contemporary translation theory and practice. The fnal two chapters analyse selected translations. The frst deals with verse drama translations, Arnoux' Huon of Bordeaux and Racine's Phaedra; the latter with an extensive commentary on the history of Czech stage alexandrine. The next chapter follows Hořejší's work with colloquial language in Pagnol's Fanny and compares his approach to translation of Giraudoux' Intermezzo with that of Karel Kraus.

This dissertation explores the intersection between three different literary genres – historiography, tragedy, and epic poetry – in the neoclassical period, taking as its central problem the way said genres set out to represent strange and even unintelligible moments in the past. It is based on a case study of four canonical works that, contrary to what is expected of neoclassical literature, represent historical figures seen by audiences of the time as too disturbing or too farcical to be intellectually or artistically “useful”: the violent Roman hero Horace (the protagonist of Corneille’s eponymous tragedy), the Swedish king Charles XII (who anchors Voltaire’s first historical biography) and finally Joan of Arc (who appears in Voltaire’s comical epic La Pucelle d’Orléans, and in Schiller’s tragedy Die Jungfrau von Orléans). In exploring these texts, I set out to show that, while neoclassical poetics deeply emphasized the importance of representing the past in a plausible and dignified manner (be it in histories or in poetry), authors of the time were also aware that the past could be the domain of the uncanny and the fabulous, and that representing the implausible required different kinds of textual experimentation and different ways of playing with genre norms.

Title supplied by cataloguer from accompanying Statement of submission. / Includes bibliographical references (p. 451-467) and index. / Has accompanying Statement of submission letter and application for candidature which includes a list of other publications by the author and details of works proposed for the submission. / 2 v. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Published texts submitted for doctorate are in French. / Thesis (D.Litt.)--University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006

Title supplied by cataloguer from accompanying Statement of submission. / Includes bibliographical references (p. 451-467) and index. / Has accompanying Statement of submission letter and application for candidature which includes a list of other publications by the author and details of works proposed for the submission. / 2 v. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Published texts submitted for doctorate are in French. / Thesis (D.Litt.)--University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006

Dès 1830, le théâtre s’empare du thème de la conquête de l’Algérie puis il accompagne l’expansion coloniale en Afrique du Nord, événements majeurs qui ont marqué la vie politique française du XIXe et du début du XXe siècle. Véritable phénomène social et culturel de masse, il a fortement contribué à imposer l’esprit colonial et l’idée d’empire dans les mentalités. Mais dans quelle mesure exacte a-t-il été un acteur culturel de cette politique d’expansion et de domination ? Avec quelle fréquence, quelles inflexions ? Quelles représentations de l’« Arabe » a-t-il véhiculé, et comment les a-t-il transformées en discours idéologiques, reçus en direct par un public donné ? A-t-il été aussi le lieu d’une prise de distance, voire d’une contestation de la colonisation ? Au théâtre, l’altérité est mise en mots, mais aussi et surtout portée sur scène, par le corps et la voix du comédien, presque toujours français et blanc. L’autre, « indigène », celui qui interpelle, inquiète ou fascine, acquiert une visibilité accrue, le temps de la représentation. L’altérité est réduite par certains auteurs à des stéréotypes que d’autres mettent au contraire en question. L’image de l’Arabe, mais aussi du Kabyle, du Touareg et du métissé, a suivi les courants idéologiques qui ont sous-tendu les grandes étapes de l’expansion coloniale, jusqu’aux prémices des mouvements de décolonisation. Sur le plan esthétique, la représentation de l’« Arabe » est-elle l’occasion d’un renouvellement en matière de jeu, de langage, de décor et de costume ? La recherche de l’« exotisme » dans les formes spectaculaires laisse-t-elle parfois place au souci de rencontre et (re)connaissance de l’autre ? La portée à la fois littéraire, culturelle, sociale et historique du sujet nécessite de mobiliser et croiser des approches esthétique, dramaturgique, sociocritique et postcoloniale. / Since 1830, drama has taken over the Algerian conquest theme then backed the colonial expansion in North Africa, two major events which marked French political life from the 19th century to the early 20th century. As a real social and cultural overall phenomenon, it has strongly contributed to impose the colonial spirit and the empire idea into people's minds. But to what extent exactly has it played a cultural role in this expansion and domination policy? At what frequency and with which inflexions? Which representations of the "Arab" has drama conveyed, and how has it transformed them into an ideological discourse, through a live performance received by a given audience? Has it also been a place of distancing, even contesting colonization? Otherness is put into words with drama, but it is also and mostly brought onto the scene through the body and the voice of the actor, almost always French and white. The other "native", the one who puts question, worries or fascinates, gains an enhanced visibility, for the time of the performance. Otherness is reduced to stereotypes by some authors while others call them into question. The image of the Arab – but also of the Kabylian, the Tuareg, and the mixed-race – has followed the ideological currents that have underlain the great steps of the colonial expansion, until the beginnings of the decolonization movement. On the aesthetic level, is the representation of the "Arab" the opportunity of a renewal in terms of performance, language, setting, and costumes? Does seeking "exoticism" in spectacular forms give sometimes way to concern about meeting and knowing, or acknowledging, the other? The literary, cultural, social and historical significance of the subject requires to mobilize and cross aesthetic, dramaturgic, sociocritical and post colonial approaches.

The master's thesis focuses on a translatological analysis of the original text and two available translations of the Break of Noon, a play written by a significant French playwright and diplomat Paul Claudel. Miloš Marten was the first to translate the play into Czech in 1910. The second translation was done by Vladimír Mikeš and was published in 2012. Given the time span of more than a hundred years between the translations, it is not only interesting to compare them linguistically but also to make a comparison of their reception. Therefore, the thesis deals with the reception of the texts and its development over time. The thesis defines Paul Claudel's place in French culture in the past and today and how its play is perceived in the Czech context. The thesis studies the position of the first translation in the time of its publishing and right after it. The thesis seeks to determine the reasons for the second translation to be commissioned and assess the position of the new text in the target culture. To determine the position of the translations in the Czech context and their potential effect on the culture, the thesis uses the polysystem theory which seems to be the most convenient tool as it studies to what extent translation literature affects domestic literature.

The Master's thesis provides an analytic overview of translated dramatic texts from French to Czech after 1989. It focuses on the proportional representation of contemporary plays as well as on translators' work. The first part of the thesis gives a brief idea of contemporary French dramatic art and points out different expectations of French theatre spectators and readers in comparaison with the Czech ones. Subsequently, the specificity of drama translation and the role of translator in drama translation process is clarified according to existing theories. The main part focuses on analysis of list of the Czech translations created between 1990 and 2015 that are available to the public. As expected, drama publishing shows marginal and decreasing tendency and the majority of published authors are represented by classics. In general, contemporary texts prevail among theatre agency translations, most of which are represented by comedy plays. However individual efforts and projects help to broaden the image of French contemporary drama. Individual interviews with translators and publishers enrich the analysis with experience from professional practice. Key words: contemporary French drama, drama translation, dramatic text, role of translator, sociology of translation, translation production, drama...