The thesis deals with the image of rural Jewish society in the fictional world of proses of Vojtěch Rakous, a Czech Jewish author publishing at the turn of the 20th century. Its aim is to explore the "new type of Jew" that enriched Czech literature, and to characterise several prominent types of Jews' literary characters in Rakous's stories. It focuses on the issue of the Jewish minority's coexistence with the mainstream society, and on the author's original depiction of rural Jewish characters. It also deals with the specific quality of the author's poetics (Rakous as an autodidact, autobiographic nature, author's relation to his own Jewishness, idyllic character of the depicted world, the genre of humorous short story). The thesis also contains a brief outline of the types of Jews' literary characters in Czech literature of the period in question. Considering Rakous's ties to the Czech Jewish movement, the thesis addresses this context as well.

No description available.

Lionel Daunais was an eminent and beloved 20th-century Québécois musician who contributed greatly to the performing arts in Canada. Through his work with the Trio Lyrique, Les Variétés Lyriques, and his numerous compositions, he wielded a potent sphere of influence on the Canadian musical landscape. Lionel Daunais's compositions constitute a significant oeuvre, comprising solo vocal works, song cycles, folksong arrangements, individual choral works, and multi-movement choral works. Marked by irresistible wit, the melodicism of French mélodie, and the absolute eminence of the text, Figures de danse is his most well-known multi-movement choral work. Daunais penned the earliest extant version of Figures de danse in 1947, however, the work emerged into Québec's choral scene in the mid-1970s via the establishment of the Alliance des Chorales du Québec. This set of tragicomic caricatures, which sets beautiful choral and piano writing to clever—and sometimes hilariously nonsensical—texts by Daunais himself, is accessible for performance by youth choirs, community choirs, university choirs, and professional choirs alike. Unfortunately, various factors (e.g. the separation of the choral and piano scores, local references, and score errors) often stymie its performance. The purpose of this dissertation is to ameliorate these challenges via a conductor's guide and to advocate for the performance of Daunais's chef-d'oeuvre.

Работа посвящена анализу использования лингвокультурологического подхода в обучении иностранным языкам при помощи юмористического дискурса, а именно юмористических сериалов и телешоу. В исследовании рассматриваются явления лингвокультурологии, дискурса и лингвокультурологического подхода, описывается разработанная серия занятий на основе лингвокультурологического подхода, демонстрируются результаты проведенных экспериментальных занятий. Практическая значимость исследования представлена в возможности использования разработанного комплекса занятий в качестве дополнительного материала к практическому курсу иностранного языка, на занятиях лингвокультурологии, лингвострановедения и межкультурной коммуникации у студентов языковых специальностей. / The research is devoted to implementation of linguocultural approach in teaching foreign languages using humorous media discourse, especially using comedy series and TV-shows. The study examines the concept of linguoculturology, humorous discourse and linguocultural approach, describes the developed set of classes based on the linguocultural approach, demonstrates the results of the experimental studies. The practical significance of the research is presented in the possibility of using the developed set of classes as an additional material to the practical course of a foreign language, in the lessons of cultural linguistics, linguistic studies and intercultural communication among students of language specialties.

幽默是人類社會的一種普遍現象，是人們言語交際的一部分，在日常生活中無處不在。研究者們對幽默的研究涵蓋了心理學、哲學、社會學、人類學、神學、文化學等不同的領域。幽默被認為是最難研究的課題之一，翻譯幽默更是難上加難。我們至今對言語幽默的文本語言特徵、對言語幽默的譯文的文本語言特徵、對涉及言語幽默的翻譯過程知之不多。在言語幽默的翻譯中，有時候原文的幽默信息在譯文中完全保留，有時候則不能，原因何在，有關這方面的研究至今不多見；以漢語幽默文本的英譯為語料建立單向平行語料庫，探討漢語言語幽默英譯的一般及特殊規律的研究，尚無人做過，這正是本研究的目的所在。 / 本研究以錢鍾書的小說《圍城》及其英譯本為語料，運用言語幽默概論的理論框架，建立原文和譯文對照的雙語單向平行語料庫，采用語料庫檢索的方法，對語料進行描寫與分析，得出了“譯文要傳遞原文幽默信息需要保留或轉換原文的表層及深層參數特徵，特別是深層參數的腳本對立、表層參數的修辭手段及語言中的本源概念的研究結論。 / 主要研究結果有三： / 一是展示了言語幽默翻譯的一般規律，即“譯文需要保留原文中的腳本對立； / 二是展現了漢語言語幽默翻譯的特殊規律，即“要保留原文中的腳本對立，就需要轉換漢語所特有的修辭手段和漢語本源概念； / 三是顯示了漢語言語幽默的文本語言特徵，即，漢語言語幽默具有表層和深層的參數特徵。表層參數的核心是修辭手段，深層參數的核心是腳本對立；表層參數具有“相似性之奇特統一、“語言要素之巧妙轉移和“不和諧邏輯間之和諧三大特徵；深層參數具有“真實的與非真實的語境對立、“正常的與非正常的語境對立、“合理與不合理的語境對立三大特徵，反映了現實與經驗、話語現實與語言經驗、話語邏輯與正常邏輯的矛盾衝突。 / Humour is regarded as a universal human phenomenon, and funny situations, funny stories, even funny thoughts occur everyday to virtually everybody (Raskin 1985: 1). Humour represents a multidisciplinary and fertile research field. So is Translation Studies. Both draw from linguistics, psychology and sociology, among other disciplines, for their descriptions and their theoretical models and constructs (Zabalbeascoa 2005: 185). What is surprising is that the link between translation and humour has not received sufficient attention from scholars in either field (ibid). / This research attempts to explore how Chinese humorous texts are transferred into English and what factors affect humour transference in the target text, with a focus on the universality of the translation process, by tapping on fresh methodologies of modern Translation Studies such as bilingual corpora and the General Theory of Verbal Humor. The bilingual corpus for the research is from Wei Cheng (Fortress Besieged) (1947/1991/2003), a humorous fiction by the Chinese writer Ch’ien Chung-shu (1910-1998) and its English translation by Jeanne Kelly and Nathan K. Mao (1979/2003). Adopting the General Theory of Verbal Humour (GTVH) (Attardo & Raskin 1991; Attardo 1994, 2001) as the theoretical framework, the research makes a quantitative and qualitative analysis on the samplings from the corpus and obtains some encouraging findings as follows: / (a) Transference of humour in the source text to the target text needs transference of the Script Opposition embedded in the deep parameters of the source text, which shows the universality of translating Chinese verbal humour into English; / (b) More specifically, transference of the Script Opposition embedded in the deep parameters requires transference of specific Chinese rhetoric devices and socioculturally-bound Chinese alien sources in the target text; / (c) Chinese verbal humour has three features in the surface parameters and three features in the deep parameters, which shows the textual characteristics of Chinese verbal humour. The surface parameters show the features of similarity among quite different things, transference among quite different linguistic elements and congruity among incongruous logical elements. The deep parameters show the following three features: opposition between real and unreal situations; opposition between normal and abnormal situations, opposition between possible, plausible and fully or partially impossible or much less plausible situations. / The research draws a conclusion that verbal humour may travel from one culture to another via translation if the target text successfully transfers the Script Opposition embedded in the deep parameters of the source text, the Rhetorical Device in the surface parameters and the alien concepts hidden in the Language Parameter. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 戈玲玲. / Sumitted date: 2011年12月. / Sumitted date: 2011 nian 12 yue. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 307-319) / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Ge Lingling. / 摘要 --- p.i / 前言 --- p.vi / 目錄 --- p.vii / 圖表目錄 --- p.x / Chapter 第一章 --- 導論 --- p.1 / Chapter 1.1 --- 研究目的 --- p.2 / Chapter 1.2 --- 原文及作者簡介 --- p.7 / Chapter 1.3 --- 《圍城》的外文譯本 --- p.14 / Chapter 1.4 --- 對《圍城》及其英譯本的研究 --- p.16 / Chapter 1.5 --- 論文結構 --- p.20 / Chapter 第二章 --- 幽默評述及研究 --- p.22 / Chapter 2.1 --- 詞典中對幽默的定义 --- p.22 / Chapter 2.2 --- 前人對幽默的評述與研究 --- p.27 / Chapter 2.2.1 --- 西方的評述與研究 --- p.27 / Chapter 2.2.2 --- 中國的評述與研究 --- p.31 / Chapter 2.2.2.1 --- 林語堂、錢鍾書論幽默 --- p.32 / Chapter 2.2.2.2 --- 其他評述與研究 --- p.34 / Chapter 2.3 --- 言語幽默的可譯性 --- p.37 / Chapter 2.4 --- 小結 --- p.42 / Chapter 第三章 --- 理論框架 --- p.44 / Chapter 3.1 --- 語義腳本理論 --- p.44 / Chapter 3.2 --- 言語幽默概論 --- p.48 / Chapter 3.2.1 --- 六個參數 --- p.50 / Chapter 3.2.1.1 --- 四個必要參數 --- p.51 / Chapter 3.2.1.2 --- 兩個可選參數 --- p.59 / Chapter 3.2.2 --- 六個參數的層級排列：言語幽默相似度測量系統 --- p.65 / Chapter 3.3 --- 言語幽默概論運用於幽默翻譯研究：Attardo（2002） --- p.70 / Chapter 3.4 --- 理論框架的延伸 --- p.73 / Chapter 3.4.1 --- 漢語特有的修辞手段 --- p.74 / Chapter 3.4.2 --- 言語幽默語段的表層參數和深層參數 --- p.76 / Chapter 3.4.2.1 --- 表層參數 --- p.78 / Chapter 3.4.2.2 --- 深層參數 --- p.84 / Chapter 3.5 --- 小結 --- p.87 / Chapter 第四章 --- 《圍城》中幽默語段及其英譯本的雙語平行語料庫 --- p.89 / Chapter 4.1 --- 抽樣過程 --- p.90 / Chapter 4.1.1 --- 《圍城》及其英譯本讀者問卷調查 --- p.90 / Chapter 4.1.2 --- 理論參數 --- p.91 / Chapter 4.2 --- 建立語料庫 --- p.92 / Chapter 4.3 --- 標注漢英對應文本 --- p.94 / Chapter 4.3.1 --- 技術性標注 --- p.94 / Chapter 4.3.2 --- 理論參數標注 --- p.95 / Chapter 4.3.3 --- 本源概念及其翻譯策略的標注 --- p.97 / Chapter 4.4 --- 檢索漢英對應文本 --- p.99 / Chapter 4.4.1 --- 檢索編程 --- p.100 / Chapter 4.4.2 --- 檢索功能 --- p.102 / Chapter 4.5 --- 標注的誤差測定 --- p.114 / Chapter 4.6 --- 小結 --- p.117 / Chapter 第五章 --- 原文中言語幽默語段的分析 --- p.118 / Chapter 5.1 --- 原文幽默語段的表層特徵 --- p.118 / Chapter 5.1.1 --- 表層特徵一：相似性之奇特統一 --- p.119 / Chapter 5.1.2 --- 表層特徵二：語言要素之巧妙轉移 --- p.129 / Chapter 5.1.3 --- 表層特徵三：不和諧邏輯間之和諧 --- p.138 / Chapter 5.2 --- 原文幽默語段的深層特徵 --- p.143 / Chapter 5.3 --- 不規範的參數類型 --- p.149 / Chapter 5.4 --- 表層與深層特徵的對應關係 --- p.160 / Chapter 5.5 --- 小結 --- p.169 / Chapter 第六章 --- 英譯本分析 --- p.171 / Chapter 6.1 --- 英譯本的表層特徵 --- p.172 / Chapter 6.1.1 --- 譯文表層特徵一：相似性之奇特統一 --- p.172 / Chapter 6.1.2 --- 譯文表層特徵二：語言要素之巧妙轉移 --- p.182 / Chapter 6.1.3 --- 譯文表層特徵三：不和諧邏輯間之和諧 --- p.186 / Chapter 6.2. --- 英譯本的深層特徵 --- p.186 / Chapter 6.3 --- 不規範的參數類型 --- p.194 / Chapter 6.4 --- 譯文表層與深層特徵的對應關係 --- p.212 / Chapter 6.5 --- 小結 --- p.222 / Chapter 第七章 --- 譯文、原文對比分析 --- p.224 / Chapter 7.1 --- 譯文、原文總體對比 --- p.224 / Chapter 7.2 --- 譯文、原文分類對比 --- p.226 / Chapter 7.2.1 --- 同型轉換 --- p.227 / Chapter 7.2.2 --- 異型轉換 --- p.229 / Chapter 7.3 --- 譯文、原文表層參數與深層參數的異同對比 --- p.231 / Chapter 7.4 --- 譯文、原文表層與深層特徵對比 --- p.234 / Chapter 7.5 --- 譯文、原文參數的層級排列對比 --- p.235 / Chapter 7.5.1 --- 參數層級排列與原文的參數排列對比 --- p.235 / Chapter 7.5.2 --- 參數層級排列與譯文的參數排列對比 --- p.237 / Chapter 7.5.3 --- 譯文、原文中六個參數的層級排列對比 --- p.239 / Chapter 7.6 --- 小結 --- p.241 / Chapter 第八章 --- 《圍城》中言語幽默的英譯策略 --- p.243 / Chapter 8.1 --- 同型轉換時的翻譯策略 --- p.244 / Chapter 8.2 --- 異型轉換時的翻譯策略--譯文仍然是幽默語段 --- p.259 / Chapter 8.3 --- 異型轉換時的翻譯策略--譯文不是幽默語段 --- p.267 / Chapter 8.4 --- 小結暨討論 --- p.282 / Chapter 第九章 --- 結論 --- p.286 / Chapter 9.1 --- 研究結果 --- p.286 / Chapter 9.2 --- 研究局限 --- p.291 / Chapter 9.3 --- 研究前景 --- p.292 / 附錄一 --- p.294 / 參考文獻 --- p.307

This study involves an investigation into the use of satire and humour as strategies of communication. The poetry of four Tsonga poets selected for study includes these strategies which are investigated for the purpose of determining the extent to which they function as strategies of communication. The study consists of four chapters which can be summarized as follows: CHAPTER 1 contains the introduction, aim, scope and method of approach of the entire study. Theories and definitions of satire and humour are also presented here. In CHAPTER 2 the poems selected for study are analysed in terms of invective, subtle and light-hearted satire. CHAPTER 3 focuses attention on the style of presentation of comic and derisive humour. CHAPTER 4 highlights and elucidates the most significant findings of the study. The most competent poet of the four at using satire and humour is identified and his excellence declared and justified / African Languages / M.A. (African languages)

<p>У дисертацији су проучени српски хумористичко-сатирички листови с краја XIX и почетка XX века, тачније из периода 1881&ndash;1903. године. Трагано је за хумористичко-сатиричким прилозима како би се они укључили у корпус српске књижевности тог периода. Истраживање је спроведено применом критичко-методичког апарата за изучавање књижевно-уметничких дела. Основна идеја била је да се покаже да раније маргинализована грађа завређује пажњу историчара српске књижевности, јер прилози који су анализирани у раду показују да су у њима коришћене стилске фигуре и поступци као и у другим родовима и жанровима који су били третирани као норма српске књижевности. Прилози у српској хумористичко-сатиричкој периодици овог времена могу да буду одлична грађа не само за књижевну историју, већ и за историјску, социолошку, психолошку, културолошку или родну анализу. То је важно, јер се кроз хумористичке прилоге проговарало о темама које су биле табуиране и цензурисане у озбиљним политичким листовима. У шаљивој периодици готово увек је постојао и ликовни део у виду карикатура које су пратиле текст. У раду се наглашава повезаност ликовног и текстуалног слоја тих прилога, тако да се помињу и неки од најзначајнијих твораца карикатуре код Срба из тог периода (Драгутин Дамјановић, Јосип Даниловац, Јован Јовановић Змај и други). Стога ови прилози могу да се проучавају и са аспекта ликовне уметности. Текстуални елемент&nbsp;карикатура имао је увек подтекст који је могао бити историјски, књижевни, па чак и религиозни, али који је обавезно био кључ за разумевање карикатуре. Данашњем читаоцу тај подтекст је далек и циљ рада био је да се он појасни и да се карикатура на прави начин протумачи. Показало се да су се аутори хумористичко-сатиричких прилога бавили пре свега политиком на микро и макро нивоу, црквеним темама, родним темама, путописним темама и другим. Рад показује велику актуелност хумористичко-сатиричке периодике у оно време и да су српски листови пратили трендове који су постојали у истоврсној литератури у Европи и шире.</p> / <p>U disertaciji su proučeni srpski humorističko-satirički listovi s kraja XIX i početka XX veka, tačnije iz perioda 1881&ndash;1903. godine. Tragano je za humorističko-satiričkim prilozima kako bi se oni uključili u korpus srpske književnosti tog perioda. Istraživanje je sprovedeno primenom kritičko-metodičkog aparata za izučavanje književno-umetničkih dela. Osnovna ideja bila je da se pokaže da ranije marginalizovana građa zavređuje pažnju istoričara srpske književnosti, jer prilozi koji su analizirani u radu pokazuju da su u njima korišćene stilske figure i postupci kao i u drugim rodovima i žanrovima koji su bili tretirani kao norma srpske književnosti. Prilozi u srpskoj humorističko-satiričkoj periodici ovog vremena mogu da budu odlična građa ne samo za književnu istoriju, već i za istorijsku, sociološku, psihološku, kulturološku ili rodnu analizu. To je važno, jer se kroz humorističke priloge progovaralo o temama koje su bile tabuirane i cenzurisane u ozbiljnim političkim listovima. U šaljivoj periodici gotovo uvek je postojao i likovni deo u vidu karikatura koje su pratile tekst. U radu se naglašava povezanost likovnog i tekstualnog sloja tih priloga, tako da se pominju i neki od najznačajnijih tvoraca karikature kod Srba iz tog perioda (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj i drugi). Stoga ovi prilozi mogu da se proučavaju i sa aspekta likovne umetnosti. Tekstualni element&nbsp;karikatura imao je uvek podtekst koji je mogao biti istorijski, književni, pa čak i religiozni, ali koji je obavezno bio ključ za razumevanje karikature. Današnjem čitaocu taj podtekst je dalek i cilj rada bio je da se on pojasni i da se karikatura na pravi način protumači. Pokazalo se da su se autori humorističko-satiričkih priloga bavili pre svega politikom na mikro i makro nivou, crkvenim temama, rodnim temama, putopisnim temama i drugim. Rad pokazuje veliku aktuelnost humorističko-satiričke periodike u ono vreme i da su srpski listovi pratili trendove koji su postojali u istovrsnoj literaturi u Evropi i šire.</p> / <p>The dissertation examines a set of Serbian humorous-satirical journals at the end of the 19th and the beginning of the 20th century, in the period between 1881 and 1903. It aimed at identifying the humorous-satirical articles in order to include them in the Serbian literature of that period. The research was carried out by using the critical and methodical apparatus for studying literary and artistic works. The main idea was to demonstrate that previously marginalized material deserved proper attention of literary historians, since the articles analyzed in the dissertation contained both the figures of speech and literary procedures seen in other works and genres treated as normative in the Serbian literature. Articles in the Serbian humorous-satirical periodicals of that time could be an excellent material not only for literary history, but also for historical, sociological, psychological, cultural and gender research. This is important, having in mind that the comical articles spoke about the topics that were forbidden or censored in serious political journals. In comic periodicals, there was almost always a segment of fine art, displayed through caricatures accompanying the text. The dissertation emphasises this connection between the caricatures and the text. Therefore, it references some of the most prominent Serbian caricature artists of that&nbsp;time (Dragutin Damjanović, Josip Danilovac, Jovan Jovanović Zmaj, etc.). Furthermore, these articles can be analysed from the point of view of fine arts. The textual element of caricatures always had the subtext which could be historical, literary, or even religious, and it was always the key to understaninding the caricature. To the contemporary reader, this subtext is out of reach. The dissertation aims at making it understandable so as to correctly interpret the caricature. It became obvious that the authors of humorous-satirical articles predominanty dealt with politics on the micro and macro levels, clerical topics, gender issues, travel literature, and so on. The dissertation shows that the humorous-satirical periodical was highly resonant of its time and that Serbian journals followed the trends of the same kind of literature in Europe and elsewhere.</p>

This study involves an investigation into the use of satire and humour as strategies of communication. The poetry of four Tsonga poets selected for study includes these strategies which are investigated for the purpose of determining the extent to which they function as strategies of communication. The study consists of four chapters which can be summarized as follows: CHAPTER 1 contains the introduction, aim, scope and method of approach of the entire study. Theories and definitions of satire and humour are also presented here. In CHAPTER 2 the poems selected for study are analysed in terms of invective, subtle and light-hearted satire. CHAPTER 3 focuses attention on the style of presentation of comic and derisive humour. CHAPTER 4 highlights and elucidates the most significant findings of the study. The most competent poet of the four at using satire and humour is identified and his excellence declared and justified / African Languages / M.A. (African languages)

OF THE THESIS: The novel Captain Pantoja and the Special Service introduces the second period of Mario Vargas Llosa's literary production, which is caracterized by the simplification of the narration and the discovery of humour. The thesis focuses on the formal and thematic analysis of the novel with the objective to prove that despite the novel is in general humorous and parodic, there could be found some constant topics, known to the readers from Llosa's previous novels, which he had always treated very critically, and he also did so in this erotic and humorous work. Therefore, apart from the analysis of humour the thesis also examines the critical approach to the social problems present in the novel. The analysis also shows that the narration is slightly simplified in comparison to the author's formers works, but it still perfectly demonstrates the unconventional narrative techniques, which Vargas Llosa has used since the 1960's, since the period of the new hispano-american novel. KEY WORDS: Mario Vargas Llosa, Captain Pantoja and the Special Service, The Time of the Hero, The Green House, Latin American boom, Hispano-American new novel, total novel, experimental narrative techniques, types of humour and irony, humorous prose, parody, erotic novel, libertine prose, rainforest, criticism of the...