This essay analyses Burnt Shadows (2009) by Kamila Shamsie from a postcolonial feminist perspective, with a focus on agency of women, representation and re-presentation, and cultural stereotypes. The degree of agency in the main characters Hiroko, Elizabeth and Kim is discussed, followed by an analysis of the re-presentation of Indian, Pakistani and Arab Muslim women characters in the text, with a focus on homogenisation and voice. Moreover, suggestions of how to teach Burnt Shadows with a postcolonial (and) feminist lens within the course English 6 in the Swedish upper secondary school EFL classroom are discussed. It is concluded that Hiroko, Elizabeth and Kim have voice and agency to various degrees. Moreover, it is stated that Indian, Pakistani and Arab Muslim women are re-presented in a stereotypical and homogenising way, and their lack of voice obstruct the possibilities of regarding these characters from a contextual, historical, and cultural perspective. The pedagogical framework concludes that Burnt Shadows can be used to study postcolonial feminist theory in the EFL classroom. Given that the teacher is open-minded, inclusive and objective, the teaching can pursue equality and solidarity in line with the fundamental values of the Swedish upper secondary school.

La croûte intra-océanique du sud-Kohistan comprend les complexes de Spat et Jijal, les amphibolites de Kamila et le complexe de Chilas. Le complexe de Jijal est une intrusion litée constituée de dunite, clinopyroxénite à olivine, websterite, webstérite à grenat et de gabbro à grenat. Mis en place à l'interface manteau croûte, il résulte de la cristallisation fractionnée sous haute pression et haute température (10-12 Kbars; 800- 1100°C) d'un liquide tholéiitique d'arc intra-océanique hautement magnésien. Les roches de Thak Gah (complexe de Chilas) ont cristallisé sous plus faible pression et température (5 - 6 kbars, 800 à 950°C) dans un réservoir magmatique plus superficiel. Les métaplutonites de Chilas et Kamila présentent également des signatures géochimiques analogues à des tholéiites d'arc insulaire. Au contraire, les amphibolites à grains fins du Groupe de Kamila apparaissent comme des métavolcanites de type N-MORB, elles représentent des reliques de croûte océanique et le substratum de l'arc du Kohistan. Plusieurs horizons enrichis en PGE caractérisent le complexe de Jijal. Des enrichissements en Ir,Ru, Ni corrélés au Cr dans les dunites, indiquent que l'irridium et le ruthénium précipitent précocément avec la chromite sous haute fugacité d'oxygène. Des enrichissements en Ir et Ru du même type caractérisent les dunites chromifères des complexes de Thak Gah et de Spat. Dans les webstérites à grenat de Jijal, des sulfures disséminés (chalcopyrite, pentlandite, pyrrhotite± pyrite) et des minéraux du Groupe du platine (témagamite, monchéite, mérenskyite et sperrylite) correspondent à des enrichissements en Ir, Ru, Pt, Pd, Au, Ni et Cu. Ils résultent de la formation d'un liquide sulfuré consécutif à la baisse de f02. Dans les gabbros à grenats, des enrichissements en Pt, Pd et Cu traduisent l'action de fluides hydrothermaux tardi-magmatiques. Ces minéralisations diffèrent de celles du Bushveld. La saturation en soufre induite par les processus de cristallisation sous haute pression apparaît le moteur essentiel des dépôts observés dans les webstérites à grenats. De telles minéralisations représentent un exemple type de dépôts de PGE associés aux arcs insulaires.

This thesis deals with the reception of the works of Michail Bugakov by the Czech community from the 1920s to 1980s. This time frame is set by the publishing of two translations of Bulgakov's novella Fatal Eggs. Using the two translations, published over fifty years apart, this thesis attempts to demonstrate how were Bulgakov's works received by the Czech community and in what context were they understood. The thesis focuses mainly on the impact of the novel in the life and work of Michail Bulgakov. Following that, a picture of the author created by the Czech journalism and commentaries accompanying his works is shown. Through the analysis of these texts the thesis focuses on the influence of ideology on the interpretation of author's works and fate. Further focus is given to the differences of translation styles of both translators. The translatological analysis of selected samples of both translations has been conducted and upon it the methods used by each of the translators have been synthesized. Key words: Michail Bulgakov, Fatal Eggs, Kamila Značkovská-Neumannová, Alena Morávková, the picture of the author, translation method, translatological analysis

Writers of fiction have long since relied on love, romance, and desire to drive the plots of their work, yet some postcolonial authors use romance and interpersonal relationships to illustrate the larger political and social forces that affect their relatively marginalized experiences in a global context. To illustrate this literary strategy, I have chosen to discuss four novels written in the twenty-first century by Pakistani authors: Tbe Reluctant Fundamentalist by Mohsin Hamid, Trespassing by Uzma Aslam Khan, The Wasted Vigil by Nadeem Aslam, and Burnt Shadows by Kamila Shamsie. With the geographical origin of these writers as a common starting place from which to compare and contrast their perspectives on global politics, their understandings of gender, and their perceptions of how the public and the private constitute and intersect each other, I will use postcolonial theory to dissect the treatment of romance in their respective novels. / v, 85 leaves ; 29 cm