Originally presented as the author's thesis (doctoral)--Freie Universität Berlin, 2006. / Includes bibliographical references.

Thesis (Ph.D.) - University of St Andrews, May 2009.

Thesis (Ph. D.)--University of Wisconsin, Madison, 1975. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 207-226).

No description available.

This study deals with the works of F. T. Marinetti between 1898 and 1938, giving special emphasis to the years 1909 to 1920, covering the 'periods eroico' of Futurism. I seek to illuminate the special relationship between Marinetti and Futurism which is the central topic of this study, beginning with the prelude to Futurism and continuing through its course until 1938. I trace the development in Marinetti of those ideas which he brought to Futurism and to this end I consider the literary and political background of the time in Italy and France, as well as examining Marinetti's own writings. I then trace the evolution of Futurism in both the literary and the political sphere and discuss its interaction with individuals and movements in the contemporary literary scene in Europe. With the outbreak of the First World War there is a clear watershed between the early Futurism and its·later manifestation, as issues come to the fore which will also dominate post-war Italian politics. As an experience with long-term effects on those involved, the war enjoys a prominent position in this study. It also provides the link between Futurism and Fascism, an association which is still a source of controversy today. The importance of this chapter in the history of the movement is reflected in its extensive discussion in this study. This study re-assesses the view of Marinetti and Futurism generally advanced. I also seek to redress the tendency to divorce these events from their historical content.

Master of Arts - Translators and Interpreters / This paper analyses the decisions made in the dubbing of a comedy of a specific genre, that is, in the translation of the humour used in the English film Austin Powers, The Spy Who Shagged Me into Italian Austin Powers, La Spia Che Ci Provava as packaged on a DVD. The study attempts to answer the following question: Does the dubbing of a film diminish the humourous appeal of the film?

This study of Abdelkebir Khatibis autobiography, La Mémoire tatouée, addresses two specific questions with respect to autobiography: What does this autobiography tell us about autobiography in general and about its own status as autobiography? What is the relationship between Khatibis autobiography and his other more well-known texts? Chapter One focuses on questions of autobiography and how this text challenges generic classification and definition. The analysis in this chapter focuses on a consideration of form and innovation, the multiplicity of the autobiographical subject, and questions of completeness, accuracy and memory in the creation of autobiography. Chapter Two begins with the idea that this autobiography is a story of becoming, of how the protagonist comes to be a writer. As such, it is also the protagonists history as a reader, from his days at the Quranic school, to his years in the French educational system, and to his first efforts at creative writing. The narrators mention of a previous publication and his suggested ideas for future publications lead the reader to understand that this autobiography, as a story of writing, addresses the past writing efforts, the present autobiographical project, and possible future texts. Chapter Three addresses the intertextual relationship between Khatibis autobiography and his other texts. Khatibis key concepts of pensée-autre and double critique, the bi-langue, and the intersémiotique are evaluated here with respect to decolonization, translation and bilingualism, and writing and its relationship to multiple signifying or semiotic systems such as geography and urban planning, tattooing, and calligraphy. I show in this chapter that these ideas, elaborated in Khatibis later texts, are all present in the autobiography. The analysis of the intertextuality of Khatibis autobiography and his other texts reveals that the autobiography serves as a kind of introduction to Khatibis body of work. The repeated references to music, especially in the autobiography, indicate a fugal relationship between the autobiography and the later texts: the former is the theme and the latter are the variations on that theme. Thus, the autobiography is a prelude to Khatibis lifes work, his Text.

This dissertation examines the different ways in which Edouard Glissant, Kateb Yacine and William Faulkner combine landscape, history and identity in their work. The depiction of landscape in literature is not new, but the French Romantics in the 19th century, for instance, tended to describe the beauty of landscape without conceiving any rapport between landscape and humankind, and thus created a gap between the two. For Kateb and Glissant, landscape is also a witness of History. The (hi)story of their respective communities has been confiscated and shattered by the respective colonizers, hence the necessity to recreate it through the poetics of land. However, because of the different contexts some differences in the conception and use of landscape arise between these three writers. In the case of Kateb Yacine, the Algerian landscape is the repository for the ancient history of North Africa. The North African people have to turn to their landscape in order to recreate their history and redefine their identity. For Edouard Glissant, the landscape was an accomplice of the Caribbean People. When the slaves escaped the plantation confinements the wilderness was their only refuge. It is then essential for the Caribbean community to take roots in this land in order to create its own history. In the case of William Faulkner, the land of his "Yoknapatawpha county" is presented as the podium where some injustices in the South took place, such as the dispossession of Indians, the spoliation of their lands, slavery, and above all the tragedy of the Civil War.

My thesis deals with : ««Engagement» in African Literature : the study of the Poetic Myth: Maïéto Pour Zékia by Joachim Bohui Dali or the Violence as the Symbol for Love». According to the myth of Maïé, at the beginning of the world, men and women lived in different areas and the two communities did not have any physical let alone sexual contact. After a significant war between these two groups, the women were defeated and therefore forced the men to marry. In short, the myth of Maïé explains how men and women met. Bohui Dali, in his book has inverted the myth of Maïé. The new war, according to him, is no longer between men and women. The war in the poem of Bohui Dali is the one that opposes Good to Evil. There are two main reasons for my choice of this topic: First of all, Maïéto Pour Zékia is the first literary work to have dealt with the mythic origin of marriage and polygamy in Ivorian society. In addition, Maïéto Pour Zékia allows us to understand the suffering of women in Africa and why they are always considered to be «inferior» to men. Then, Maïéto Pour Zékia presents issues for a possible approach to teaching of African oral literature in universities and other academic institutions. First, I will begin my study by situating the space of diffusion of the myth of Maïé in a comparative context and by defining the term of myth and explaining its importance in African culture. Finally, I will concentrate on the study of the poetic myth of Maïéto Pour Zékia. I will insist on some aspects such as the place of women in the rebirth of African culture, the question of violence, and the theory of «Engagement» in African literature.

This thesis traces the evolution of attitudes towards the body, desire, autobiography, and self-affirmation, in three novels of Assia Djebar: L'amour, la fantasia, Vaste est la prison, and Les nuits de Strasbourg. The three novels share a common trait: the narrators' will to express their body and their desires. This body, which is simultaneously anonymous and concealed, is at the very center of a contradiction; it is often relegated to representation as a ghost without any corporeal reality. It is been our objective to follow the narrators' introspective reflection on the multiple relationships between Algerian women and public space, designated as a masculin dominion controlled by the male gaze. The narrators move from a symbolic aphasia in L'amour, la fantasia, in which they are incapable of experiencing and expressing emotions to the definition of a private space of desire in Vaste est la prison, and ultimately, in Les nuits de Strasbourg, to the possibility of mastering space and time which they themselves define in their relationships to men. In order to subvert the patriarchal system, the narrators develop strategies of camouflage and disguise as means of manipulating the notion of the incorporeal feminine body. In this progression from passive to active invisibility, they render conscious the unconscious dimension of their attitude towards themselves and towards men. In the context of Algerian society, the presence of woman in the public space is unacceptable. The gesture of making public space accessible to women requires a collaboration between the newly conscious Algerian woman and a male partner who embraces both her and his evolved identity.