Understanding Gilgamesh – brokenly – is to understand life brokenly. The Epic of Gilgamesh is the narrative of life. It records the full cycle of the nerve and aplomb of youth, of the doubt and crisis of midlife, of the acceptance and quiescience of maturity. Moreover, this understanding is a broken understanding. It starts with the clay tablets that are broken in a literal sense of the word. Further, the narrative is a narrative of broken-ness – the story ends in tears. A man has lost his last chance of obtaining life everlasting. Yet he manages to recuperate despite his failure. The first part of this thesis examined the world of Gilgamesh. Initially he was known as the Sumerian king Bilgames. He makes his appearance in the form of oral compositions that are recited or sung in the royal courts of kings during the Sumerian period: sheer entertainment, nothing really serious. At his side is his loyal servant Enkidu who supports his master in everything he does. Akkadian gradually ousts Sumerian as vernacular, yet the latter continues to dominate as the language of culture and court. Bilgames survives the reign of the Sargonic dynasty, and even revives during the glorious Ur III period of Shulgi and of Ur-Nammu. Sumerian Bilgames-poems are recorded in writing. However, by the time that Hammurapi draws up his legal codex, the Sumerian Bilgames is known as the vibrant Akkadian king Gilgamesh. His servant Enkidu is elevated to the status of friend. Together they defy men, gods, monsters. When Enkidu dies, Gilgamesh goes even further in search of life everlasting. He reaches Uta-napishtim the Distant in order to learn the secret of eternal life. The optimism of the Old Babylonian Kingdom is replaced by the reflection and introspection of the Middle period. Life is difficult. Life is complex. The Gilgamesh Epic is once again re-interpreted and supplemented by a prologue and an epilogue: both begin and end at the same place, at the walls of Uruk. Here Gilgamesh looks back and forward to his life and contemplates about the meaning of life in general. The second part of this thesis dealt more specifically with the story – the literary aspects of the Epic. Genette’s theory illuminated several interesting literary devices with regards to the rhythm and pace of the narrative. However, much of the reflective nature of the Epic was also revealed. There were moments of looking forward, and looking backward: after Gilgamesh broke down in tears at the end of the Epic, he suddely gained perspective on life. Somehow a broken narrative focused into a meaningful whole that may just make future sense. Jauss’s theory illuminated why Gilgamesh refuses to be forgotten, why he is once again alive and well in the twenty first century. Although he was buried in the ruins of Nineveh for a thousand plus years, he is suddenly back on the scene – and not for academic reasons only. Not only scholars of the Ancient Near East take an interest in the old Epic, but also people from all sectors of life. Somehow Gilgamesh seems to respond to questions that are asked even by those who understand nuclear physics – but who grapple with the paradox of living meaningfully. Understanding Gilgamesh – brokenly – understands life. / Thesis (DLitt)--University of Pretoria, 2006. / Ancient Languages / unrestricted

Although nearly every secondary school English teacher includes film as part of the English/language arts curriculum, there is, to this point, nothing published about effectively studying the relationship between film adaptations and their print source texts in secondary school. There are several important works that inform film study in secondary English classrooms. These include Alan Teasley and Ann Wilder's Reel Conversations; William Costanzo's Reading the Movies and his updated version, Great Films and How to Teach Them; and John Golden's Reading in the Dark. However, each of these mention adaptation briefly if at all. Rather, they approach film as a text that students need to learn how to “read." While I certainly agree with this position, I argue that students also must learn how to productively investigate the relationship between films and their literary source texts. To make this case, I survey the field of adaptation theory generally, beginning with George Bluestone's seminal Novels into Film and moving towards contemporary theory, like Robert Stam's work, which suggests theoretical paradigms beyond fidelity analysis. I rely, particularly, on Mikhael Bakhtin's dialogism as a theoretical frame for studying adaptations in school. I also suggest four specific areas that act as foundations for successfully approaching adaptations with secondary English students: (1) economic analysis, (2) intertextualities (the matrix of cultural influences on a text), (3) Gérard Genette's notion of transtextuality (the relationship of one text to others), and (4) an expansion of adaptation to include the relationships of print texts to new media adaptations. In order to further develop ways that secondary school English teachers can specifically approach adaptation in their classrooms, I include two case studies. The first focuses on pairing Laurie Halse Anderson's award-winning young adult novel Speak with Jessica Sharzer's film adaptation. The second suggests methods for teaching Mary Shelley's Frankenstein along with James Whale's film adaptation. Because so little has been written about effectively incorporating film adaptations into the secondary school English curriculum, this project seeks not only to analyze the theoretical foundation for adaptation study, but also to suggest specific methodology that can be utilized by teachers.

No description available.

Uppsatsen syftar till att studera intertextualiteten i Bjarne Moelvs Helgas offer – dagboksroman om ett brott och Hjalmar Söderbergs Doktor Glas. Tyngden i analysen ligger på Moelvs roman, under det att Doktor Glas tjänar som belysande jämförelsematerial. Analysen består av tre delar där den textuella strukturen, perspektivet och berättarstrukturen undersöks. Resultaten visar att romanerna uppvisar flera stilistiska likheter men även tydliga skillnader när det gäller jagberättarens framställning. Moelv distanserar sig från det kvinnliga berättarjaget genom att begränsa henne till en iakttagare. Detta ger uttryck för en framställning som konstrueras ur ett genussystem där manliga normer slår igenom i representationer av kvinnor.

<p>Uppsatsen är en närläsning av Patricia C. Wredes bok <em>Dealing with Dragons </em>och undersöker huruvida boken i fråga är en parodi eller travesti på de klassiska sagorna, t.ex. Törnrosa och Askungen. Jag tar också reda på om det går att läsa boken på olika sätt beroende på hur stor förkunskap man har om de gamla sagorna. Gérard Genette har skrivit boken <em>Palimpsestes: La</em> <em>littérature au second degré</em>, och jag har med hjälp av en svensk översättning använt mig av hans teorier om hypotext - hypertext, parodi, travesti och transformation. Jag tar även hjälp av Jack Zipes och hans bok <em>The Brothers Grimm - From Enchanted Forests to the Modern</em> <em>World. </em>Dessutom används Barbara Walls bok <em>The Narrator's Voice - The Dilemma of</em> <em>Children's fiction </em>för att reda ut begreppet dubbelt tilltal.</p><p>Uppsatsen är indelad i tre delar med tillhörande underrubriker: Inledning, analys och slutdiskussion. Under analysdelen tar jag upp Wredes sätt att använda sig av direkt och indirekt transformation samt om hänvisningarna till bl.a. Grimms sagor är inslag av parodi eller travesti. Metoden jag använder mig av är att visa och analysera utdrag ur boken som är direkt eller indirekt transformerade från sedan länge befintliga sagor eller legender.</p><p>Resultatet av analysen når sitt syfte och svarar på frågeställningen. Slutsatsen är att boken <em>Dealing with Dragons </em>till största delen är en parodi på kända sagor, men att inslagen av travesti är nödvändiga och behövs för den roliga och lite snälla tonen som boken tillhandahåller.</p>

Detektivromanen är en genre som på senare år blivit omåttligt populär. Idag kan man köpa en deckare i nästan varje kiosk och matbutik. På detta följer att omslagen i de flesta fall måste sticka ut ur mängden för att boken ska bli såld, vilket sålunda gör det intressant att undersöka vilka metoder man använder – och har använt – för att locka läsare.

Uppsatsen är en närläsning av Patricia C. Wredes bok Dealing with Dragons och undersöker huruvida boken i fråga är en parodi eller travesti på de klassiska sagorna, t.ex. Törnrosa och Askungen. Jag tar också reda på om det går att läsa boken på olika sätt beroende på hur stor förkunskap man har om de gamla sagorna. Gérard Genette har skrivit boken Palimpsestes: La littérature au second degré, och jag har med hjälp av en svensk översättning använt mig av hans teorier om hypotext - hypertext, parodi, travesti och transformation. Jag tar även hjälp av Jack Zipes och hans bok The Brothers Grimm - From Enchanted Forests to the Modern World. Dessutom används Barbara Walls bok The Narrator's Voice - The Dilemma of Children's fiction för att reda ut begreppet dubbelt tilltal. Uppsatsen är indelad i tre delar med tillhörande underrubriker: Inledning, analys och slutdiskussion. Under analysdelen tar jag upp Wredes sätt att använda sig av direkt och indirekt transformation samt om hänvisningarna till bl.a. Grimms sagor är inslag av parodi eller travesti. Metoden jag använder mig av är att visa och analysera utdrag ur boken som är direkt eller indirekt transformerade från sedan länge befintliga sagor eller legender. Resultatet av analysen når sitt syfte och svarar på frågeställningen. Slutsatsen är att boken Dealing with Dragons till största delen är en parodi på kända sagor, men att inslagen av travesti är nödvändiga och behövs för den roliga och lite snälla tonen som boken tillhandahåller.

Este trabalho apresenta uma análise intertextual do romance The Solid Mandala, do escritor australiano, ganhador do prêmio Nobel, Patrick White, publicado em 1966, como parte de um esforço para estimular estudos sobre sua obra no Brasil e para investigar por que sua fortuna crítica tem passado por uma fase negativa recentemente. Primeiro, mostramos brevemente sua biografia e as condições relacionadas à produção e publicação de The Solid Mandala. Em seguida, apresentamos o contexto histórico do romance. As relações de conflito e complementação envolvendo os irmãos gêmeos Waldo e Arthur Brown na narrativa são analisadas, com destaque para a relação deles com a literatura (um tema importante no romance), retratando o papel das personagens como leitores e escritores na história, apreendendo, assim, seus sentimentos, suas visões de mundo e filosofia de vida (Waldo aspira à uma carreira de escritor e Arthur de fato compõe um poema). Os estudos de Gérard Genette sobre Narratologia são utilizados para embasar a análise, particularmente na relação intertextual entre The Solid Mandala e The Brothers Karamazov, do escritor F. Dostoyevsky, que é o título que chama a atenção de Arthur. Na busca pelo todo de sua vida, Arthur incorpora vários elementos (centrados em um único ponto, suas mandalas) e consegue criar sua própria filosofia. No final vemos que Arthur transcende sua realidade ao usar a leitura do romance russo como um instrumento. Esse estudo destaca a pertinência de revisitar a obra de Patrick White (uma vez que ela prova estar em sintonia com as questões filosóficas sendo discutidas atualmente) e coloca The Solid Mandala no contexto da literatura mundial. / This work performs an intertextual analysis of the Nobel Prize winning Australian novelist Patrick White’s The Solid Mandala, published in 1966, as part of an effort to boost studies of his novels in Brazil and to investigate why his critical fortune has been undergoing a negative phase recently. First, we briefly present his biography and the conditions surrounding the writing and publication of The Solid Mandala. Later on, we present the historical context of the novel. The relations of conflict and complementation involving the twin brothers Waldo and Arthur Brown in the narrative are analysed, but we focus on their relation to literature (which is an important theme in the novel), depicting their roles as readers and writers in the story, thus, apprehending their feelings towards each other, worldviews and outlook on life (Waldo aspires to become a great writer, and Arthur actually produces a poem). Gérard Genette’s studies on Narratology are used to support our analysis, particularly in the intertextual relation between The Solid Mandala and F. Dostoyevsky’s The Brothers Karamazov, which is the title that calls Arthur’s attention. In his pursue to find the whole of his life, Arthur incorporates various elements (centred at just one point, his mandalas) and is able to create his own philosophy. At the end we see that Arthur transcends his reality by using the reading of the Russian novel as an instrument. This study enlightens the pertinence of revisiting Patrick White’s oeuvre (since it proves to be so well tuned in to the current philosophical issues being discussed), and places The Solid Mandala in the context of worldwide literature.

Este trabalho apresenta uma análise intertextual do romance The Solid Mandala, do escritor australiano, ganhador do prêmio Nobel, Patrick White, publicado em 1966, como parte de um esforço para estimular estudos sobre sua obra no Brasil e para investigar por que sua fortuna crítica tem passado por uma fase negativa recentemente. Primeiro, mostramos brevemente sua biografia e as condições relacionadas à produção e publicação de The Solid Mandala. Em seguida, apresentamos o contexto histórico do romance. As relações de conflito e complementação envolvendo os irmãos gêmeos Waldo e Arthur Brown na narrativa são analisadas, com destaque para a relação deles com a literatura (um tema importante no romance), retratando o papel das personagens como leitores e escritores na história, apreendendo, assim, seus sentimentos, suas visões de mundo e filosofia de vida (Waldo aspira à uma carreira de escritor e Arthur de fato compõe um poema). Os estudos de Gérard Genette sobre Narratologia são utilizados para embasar a análise, particularmente na relação intertextual entre The Solid Mandala e The Brothers Karamazov, do escritor F. Dostoyevsky, que é o título que chama a atenção de Arthur. Na busca pelo todo de sua vida, Arthur incorpora vários elementos (centrados em um único ponto, suas mandalas) e consegue criar sua própria filosofia. No final vemos que Arthur transcende sua realidade ao usar a leitura do romance russo como um instrumento. Esse estudo destaca a pertinência de revisitar a obra de Patrick White (uma vez que ela prova estar em sintonia com as questões filosóficas sendo discutidas atualmente) e coloca The Solid Mandala no contexto da literatura mundial. / This work performs an intertextual analysis of the Nobel Prize winning Australian novelist Patrick White’s The Solid Mandala, published in 1966, as part of an effort to boost studies of his novels in Brazil and to investigate why his critical fortune has been undergoing a negative phase recently. First, we briefly present his biography and the conditions surrounding the writing and publication of The Solid Mandala. Later on, we present the historical context of the novel. The relations of conflict and complementation involving the twin brothers Waldo and Arthur Brown in the narrative are analysed, but we focus on their relation to literature (which is an important theme in the novel), depicting their roles as readers and writers in the story, thus, apprehending their feelings towards each other, worldviews and outlook on life (Waldo aspires to become a great writer, and Arthur actually produces a poem). Gérard Genette’s studies on Narratology are used to support our analysis, particularly in the intertextual relation between The Solid Mandala and F. Dostoyevsky’s The Brothers Karamazov, which is the title that calls Arthur’s attention. In his pursue to find the whole of his life, Arthur incorporates various elements (centred at just one point, his mandalas) and is able to create his own philosophy. At the end we see that Arthur transcends his reality by using the reading of the Russian novel as an instrument. This study enlightens the pertinence of revisiting Patrick White’s oeuvre (since it proves to be so well tuned in to the current philosophical issues being discussed), and places The Solid Mandala in the context of worldwide literature.

Este trabalho apresenta uma análise intertextual do romance The Solid Mandala, do escritor australiano, ganhador do prêmio Nobel, Patrick White, publicado em 1966, como parte de um esforço para estimular estudos sobre sua obra no Brasil e para investigar por que sua fortuna crítica tem passado por uma fase negativa recentemente. Primeiro, mostramos brevemente sua biografia e as condições relacionadas à produção e publicação de The Solid Mandala. Em seguida, apresentamos o contexto histórico do romance. As relações de conflito e complementação envolvendo os irmãos gêmeos Waldo e Arthur Brown na narrativa são analisadas, com destaque para a relação deles com a literatura (um tema importante no romance), retratando o papel das personagens como leitores e escritores na história, apreendendo, assim, seus sentimentos, suas visões de mundo e filosofia de vida (Waldo aspira à uma carreira de escritor e Arthur de fato compõe um poema). Os estudos de Gérard Genette sobre Narratologia são utilizados para embasar a análise, particularmente na relação intertextual entre The Solid Mandala e The Brothers Karamazov, do escritor F. Dostoyevsky, que é o título que chama a atenção de Arthur. Na busca pelo todo de sua vida, Arthur incorpora vários elementos (centrados em um único ponto, suas mandalas) e consegue criar sua própria filosofia. No final vemos que Arthur transcende sua realidade ao usar a leitura do romance russo como um instrumento. Esse estudo destaca a pertinência de revisitar a obra de Patrick White (uma vez que ela prova estar em sintonia com as questões filosóficas sendo discutidas atualmente) e coloca The Solid Mandala no contexto da literatura mundial. / This work performs an intertextual analysis of the Nobel Prize winning Australian novelist Patrick White’s The Solid Mandala, published in 1966, as part of an effort to boost studies of his novels in Brazil and to investigate why his critical fortune has been undergoing a negative phase recently. First, we briefly present his biography and the conditions surrounding the writing and publication of The Solid Mandala. Later on, we present the historical context of the novel. The relations of conflict and complementation involving the twin brothers Waldo and Arthur Brown in the narrative are analysed, but we focus on their relation to literature (which is an important theme in the novel), depicting their roles as readers and writers in the story, thus, apprehending their feelings towards each other, worldviews and outlook on life (Waldo aspires to become a great writer, and Arthur actually produces a poem). Gérard Genette’s studies on Narratology are used to support our analysis, particularly in the intertextual relation between The Solid Mandala and F. Dostoyevsky’s The Brothers Karamazov, which is the title that calls Arthur’s attention. In his pursue to find the whole of his life, Arthur incorporates various elements (centred at just one point, his mandalas) and is able to create his own philosophy. At the end we see that Arthur transcends his reality by using the reading of the Russian novel as an instrument. This study enlightens the pertinence of revisiting Patrick White’s oeuvre (since it proves to be so well tuned in to the current philosophical issues being discussed), and places The Solid Mandala in the context of worldwide literature.