Des travaux sur la littérature gabonaise en général et le roman en particulier, suscitent de l’étonnement, des exclamations du fait de leur rareté. Notre travail de thèse a eu pour objet de réajuster certaines approches de l’esthétique romanesque gabonaise. Il a été question de conjurer la notion du retard souvent utilisée pour présenter l’écriture romanesque gabonaise. L’esthétique romanesque gabonaise admet une identité d’isolement. Les systèmes de son élaboration découlent principalement de cet aspect. Dire les modalités de l’élaboration romanesque dans la littérature gabonaise à travers les écritures de Peter Ndemby et de Chantal Magalie Mbazoo Kassa, c’est d’une part, préciser les questions d’influences de la prose gabonaise et configurer le rapport entre le texte et la société. Un procédé qui a permis de révéler une redéfinition de la notion de littérarité au Gabon selon les travaux de Fortunat Obiang Essono. D’autre part, parler des modalités du Roman gabonais, c’est décliner la spécificité littéraire autour de la littérarité mimétique, de la littérarité autistique et de l’exiguïté. De l’histoire littéraire de Lanson en passant par la sociocritique de Claude Duchet et de Pierre Zima, le texte romanesque gabonais a révélé des spécificités qui imposent des nouvelles approches, une nouvelle conception du phénomène littéraire romanesque au Gabon. / Gabonese literary works in general and the novel in particular raise amazement because of their being scarce. The goal of our dissertation has been to improve some aesthetical approaches of the Gabonese novel. It has consisted in turning down the common description of the Gabonese novel as being behind. The aesthetics of the Gabonese novel reveals an identity of isolation. The systems of its setting up result mainly from this aspect. Revealing how the novel has been built up in the Gabonese literature through the writings of Peter Ndemby and Chantal Magalie Mbazoo Kassa means, on the one hand, developing issues of influences in the Gabonese prose and shaping the relationship between text and society. This process helps to uncover a better definition of literariness in Gabon according to the works of Fortunat Obiang Essono. On the other hand, in dealing with the modalities of the Gabonese novel, we have had to develop its literary peculiarity through its mimetic and autistic literariness, and its ‘exiguousness’. From the literary story of Lanson through the sociocriticism of Claude Duchet and Pierre Zima, the Gabonese novel has unveiled peculiarities requiring new approaches, a new conception of literariness in the Gabonese novel.

O tradutor literário pode estimular o diálogo entre a tradição literária da obra original e a da língua-alvo. Para essa finalidade, proponho a tradução de autores por intermédio de outros autores. Tal abordagem revela-se satisfatória por três razões: (a) a literariedade de uma obra não se perderia invariavelmente num texto denotativo escrito em linguagem padronizada para consumo popular, a menos que fosse essa a intenção do tradutor; (b) por outro lado, levar-se-ia igualmente em conta o contexto literário da língua-alvo, sem prejuízo das opções estéticas do tradutor e não obstante limitações que lhe fossem impostas pelo mercado; (c) essa atitude em relação aos paideumas envolvidos permitiria um sem-número de possibilidades tradutórias. Esta visão não-reducionista e não-prescritiva do processo de tradução literária tenta assim explicitar e desenvolver um aspecto inerente ao ofício do tradutor, pois só se pode efetivamente traduzir literatura a partir dela própria. / Translating authors through other authors can enable the translator of literature to promote vigorous interaction between the literary tradition of the original and that of the target language. This approach to translation proves useful for three main reasons: (a) a work\'s literariness would no longer be watered down by translators attempting a reader-friendly, contemporary rendering in plain language, unless this is clearly their choice; (b) the other extreme would likewise be avoided, as both the local literary heritage and the translator\'s preferences would be relevant, despite the everpresent need to meet editorial demands; (c) this attitude toward the role of opposing traditions in literary translation would entertain various possibilities. Thus this nonbinding quasi-manifesto seeks to elucidate literary translation and above all to unveil it as the site where literature begets literature.

O tradutor literário pode estimular o diálogo entre a tradição literária da obra original e a da língua-alvo. Para essa finalidade, proponho a tradução de autores por intermédio de outros autores. Tal abordagem revela-se satisfatória por três razões: (a) a literariedade de uma obra não se perderia invariavelmente num texto denotativo escrito em linguagem padronizada para consumo popular, a menos que fosse essa a intenção do tradutor; (b) por outro lado, levar-se-ia igualmente em conta o contexto literário da língua-alvo, sem prejuízo das opções estéticas do tradutor e não obstante limitações que lhe fossem impostas pelo mercado; (c) essa atitude em relação aos paideumas envolvidos permitiria um sem-número de possibilidades tradutórias. Esta visão não-reducionista e não-prescritiva do processo de tradução literária tenta assim explicitar e desenvolver um aspecto inerente ao ofício do tradutor, pois só se pode efetivamente traduzir literatura a partir dela própria. / Translating authors through other authors can enable the translator of literature to promote vigorous interaction between the literary tradition of the original and that of the target language. This approach to translation proves useful for three main reasons: (a) a work\'s literariness would no longer be watered down by translators attempting a reader-friendly, contemporary rendering in plain language, unless this is clearly their choice; (b) the other extreme would likewise be avoided, as both the local literary heritage and the translator\'s preferences would be relevant, despite the everpresent need to meet editorial demands; (c) this attitude toward the role of opposing traditions in literary translation would entertain various possibilities. Thus this nonbinding quasi-manifesto seeks to elucidate literary translation and above all to unveil it as the site where literature begets literature.

Thesis (M. A. (African Languages)) -- University of Limpopo, 2004 / Refer to document

Scholars argue that Coetzee’s novels critique and disavow the origins and legacy of the novel tradition and its influence on the contemporary novel. They also claim that J.M. Coetzee’s novels herald in the demise of the contemporary novel. These interpretations are motivated by the political readings of postcolonialism and postmodernism. The premise of this dissertation is to depart from those postcolonial and postmodern approaches and offer close readings of Coetzee’s novels through the origins and legacy of the early eighteenth-and nineteenth century novel. My study argues that several of Coetzee’s novels allude to the intellectual, historical, and cultural legacies of the eighteenth-and nineteenth-century novel. I argue that the origin and rise of the English novel and its subgenres provide Coetzee with ideas to use in his own novels. These paradigms in Coetzee’s novels espouse —rather than renounce — the influence and tradition of the early novel, showing that its inspiration remains relevant in the contemporary novel. Thus, the general premise of this dissertation is that Coetzee does not necessarily “write back” to the canon and the origins of English novel, but rather he writes through and with those enduring forms and structures. This study shows that there are literary connections between the early beginnings of the novel and the contemporary novel that offer cogent examinations —examinations that find compromise between the past and present rarely made through postcolonial or postmodern approaches.

This thesis investigates the poetical interplays of the contemporary magical realist computer game Kentucky Route Zero. Through the notion of literariness coined by the Russian formalists, the work centers on the ways the game operates with the established conventions of magical realism. The theory of intermediality, with its concepts of media modalities, media representation and transmediation, introduced by Lars Elleström, foregrounds the underlying connectedness of Kentucky Route Zero with older media – early instances of computer games – and with the discussed literary style. Text-world theory, outlined by Alison Gibbons and Sarah Whiteley, allows locating and analyzing the idiosyncratic presence of magical realism in the game. As the analysis demonstrates, the realization of magical realism in the game performs a subversive role by destabilizing the aspects of linearity and progression, important for games of the same genre. This, in turn, composes an overarching theme of Kentucky Route Zero – nostalgia; the theme that runs both through the stylistic features of the game and through its content.

Письма, которые наряду с автобиографией, воспоминаниями (мемуарами), дневниками и записными книжками входят в корпус автобиографических текстов, в силу своей жанровой специфики позволяют взглянуть на эту проблему под особым углом. Данное диссертационное исследование рассматривает проблему анализа форм литературности автобиографических текстов, в частности писем, на материале эпистолярного наследия Марины Цветаевой. Для анализа выбираются большие блоки переписки, а именно: письма к С. Андрониковой-Гальперн, А. Бахраху, А. Берг, В. Буниной, В. Булгакову, А. Вишняку (Геликону), Н. Гайдукевич, Н. Гронскому, Р. Гулю, Ю. Иваску, О. Колбасиной-Черновой, Р. Ломоносовой, К. Родзевичу, В. Рудневу, В. Сосинскому, П. Сувчинскому, А. Тесковой, Г. Федотову, Д. Шаховскому, А. Штейгеру. / Laiškai – kaip ir autobiografijos, atsiminimai (memuarai), dienoraščiai ir užrašų knygutės – yra autobiografiniai tekstai, kurių tyrimuose visada iškyla „poezijos ir tiesos“, t. y. fakto ir išmonės, santykio klausimas, sprendžiamas pagal tam tikroje kultūroje galiojančias literatūrines konvencijas. Disertacijoje tyrinėjama literatūriškumo formų analizės autobiografiniuose tekstuose problema, pavyzdžiu imant epistolinį Marinos Cvetajevos epistolinio palikimą. Į analizuojamos korespondencijos korpusą įtraukiami stambesni susirašinėjimo blokai: tyrimo medžiaga tampa Cvetajevos laiškai N. Gaidukevič, S. Andronikovai-Galpern, A. Bachrachui, A. Berg, V. Buninai, V. Bulgakovui, A. Višniakui (Helikonui), N. Gronskiui, R. Guliui, O. Kolbasinai-Černovai, R. Lomonosovai, K. Rodzevičiui, V. Rudniovui, V. Sosinskiui, P. Suvčinskiui, A. Teskovai, G. Fedotovui, D. Šachovskui, A. Šteigeriui. / Like autobiographies, memoirs, diaries and notebooks, letters are autobiographical texts which problematize, in one way or another, the relationship between “poetry” and “truth”, i.e. fact and fiction, an issue that is examined by means of the literary conventions available to a given culture. This dissertation explores the issue of forms of literariness in autobiographical texts as based on Marina Tsvetajeva’s epistolary legacy. The corpus of correspondence includes larger blocks of writings, consisting of Tsvetajeva’s letters to N. Gaidukevitch, S. Andronikova-Galpern, A. Bachrach, A. Berg, V. Bunin, V. Bulgakov, A. Vishniak (Gelikon), N. Gronskij, R. Gul, O. Kolbasina-Tchernova, R. Lomonosova, K. Rodzevitch, V. Rudniov, V. Sosinskij, P. Suvtchinskij, A. Teskova, G. Fedotov, D. Shachovsk, and A. Shteiger.

Ce travail de recherche vise à montrer en quoi l'ironie investit toutes les nouvelles de Mérimée et en modifie le sens à réception. Nous abordons l'ironie dans les domaines de la stylistique, de l'énonciation et de la thématique. Sur le plan stylistique, l'ironie marque les nouvelles du sceau du jeu, s'exprime en des lieux déterminés, notamment dans les descriptions, et peut avoir une incidence sur la structure du récit. Mais l'ironie joue aussi à faire entendre le sérieux qui traverse les récits, s'alliant à la violence à travers l'ironie du sort. Sur le plan énonciatif, l'ironie brouille les repères traditionnels dans la répartition des postes d'actants de niveau 1, de narrateur et d'auteur abstrait. Sur le plan thématique, l'ironie marque les récits exotiques par la distance qu'elle instaure dans la quête ethnographique et archéologique. Elle travaille également les récits fantastiques, dont l'interprétation incertaine est présentée comme un jeu ouvrant vers la découverte de l'interdit. Enfin, plus classiquement dans les nouvelles mondaines, elle passe par la satire. Nous démontrons que la temporalité met en scène une forme de discours ironique, investissant la représentation spatio-temporelle du récit. Nous dégageons ensuite les contours de l'ethos de l'ironiste, en le comparant à celui du rieur. Nous prolongeons l'étude par des questionnements : l'ironie peut-elle êtrte considérée comme un stylème, peut-elle s'exprimer à travers les non-dits ? Enfin, nous montrons que l'ironie est un marqueur de littérarité, et nous proposons de la percevoir comme un registre ainsi qu'un marqueur intemporel de modernité. / This research aims at showing how irony pervades Merimee’s short stories and how irony alters the meaning for the reader. Irony is tackled through the fields of stylistics, linguistics and themes. Stylistically, irony permeates the short stories in the guise of playfulness, it mostly crops up in descriptions, and it often has an impact on the structure of narratives. But irony is also used to underscore the widespread seriousness of the narratives and it merges with violence -in the shape of irony of fate. Linguistically, irony blurs the traditional lines in the way "second level" agentsʼ parts are handed out. Thematically, irony roots itself in the exotic stories by creating a distance in the ethnographic and archaeological quest. It is also at work in the fantastic stories, whose problematic interpretation is presented as a game leading to the discovery of a forbidden world. Lastly, in the "society" short stories, it is more commonly expressed through satire. We strive to demonstrate that temporality contrives to create an ironic discourse, which permeates the narratives, temporal and spatial frameworks. Then, we endeavor to delineate the ethos of the "ironist" by comparing it with the figure of the "laugher". After this, we ask ourselves whether irony can be considered a stylistic marker, whether it can be expressed through the unspoken. Finally, we attempt to show that irony is a marker of literariness and that it can be regarded as a speech register, as well as a timeless marker of modernity.

L’œuvre de Jean-Marie Gustave Le Clézio a déjà donné lieu à de nombreuses investigations, mais celles-ci n’apportent que de rares lumières sur le lecteur potentiel, figure pourtant essentielle du phénomène littéraire. Le rôle de ce lecteur en tant que récepteur de l’œuvre possède une importance particulière dans la qualité de l’acte de communication, car il reçoit le livre avec la somme de ses préjugés et de ses aspirations ; il participe à la production du sens et au développement des thèmes qui parcourent l’œuvre de l’écrivain. Quelle est l’image de lecteur virtuel telle qu’elle est projetée dans le texte de Le Clézio ? Quel est son rôle dans la création de l’œuvre ? Et comment l’auteur s’arrange-t-il pour réduire le plus possible la distance qui risque de s’établir entre l’écriture et la lecture ? Nous tenterons de répondre à ces questions en effectuant une analyse sémiostylistique des recueils de nouvelles de l’écrivain : La fièvre, Mondo et autres histoires, La ronde et autres faits divers, Printemps et autres saisons et Cœur brûle et autres romances. / The work of Jean-Marie Gustave Le Clézio has already been the subject of numerous investigations, but they provide little lights on the potential reader who is nevertheless an essential literary phenomenon. The role of the reader as receiver of the work has a particular importance on the quality of the act of communication because he receives the book with the sum of his prejudices and aspirations. He participates in the production of meaning and development of themes that run through the work of the writer. What is the virtual reader’s image as projected in the text of Le Clézio? What is his role in creating the work? And how does the author manage to minimize the distance between writing and reading? We try to answer these questions by making a sémiostylistique analysis on short story cycles of the writer : Fever, Mondo and Other Stories, The Round and Other cold Hard Facts, Spring and other seasons and Burn Heart and Other Romances.

Thesis (MA)--Stellenbosch University, 2015 / ENGLISH ABSTRACT : Between Languages – Exploring the potential of exophonic literature for the implementation of didactics of literariness in German foreign language teaching at tertiary level in South Africa This thesis aims to make a contribution to the field of literature study in foreign language teaching in South Africa. It investigates the practical implications of Claire Kramsch’s theory of “symbolic competence” of the multilingual subject, Michael Dobstadt’s and Renate Riedner’s theory of a “Didaktik der Literarizität” as well as theories of multilingualism and exophony. Specifically this thesis looks at how these approaches can be combined and then implemented at advanced levels in foreign language teaching (B1 and B2), namely German modules at Stellenbosch and other South African universities where a multilingual background of language learners is the norm. The thesis thus explores how exophonic literature as an educational tool can help students to improve their language learning and shows the range of possibilities that exophonic literature offers in the field of foreign language learning. On the basis of the theories and a survey amongst the students studying German in their third year in Stellenbosch, two sets of lesson plans are developed for university students with B1/B2 level in Stellenbosch. The literature used was Maja Haderlap‘s poem “Als mir die Sprache abhanden kam” as well as Yoko Tawada’s Essay “Bioskoop der Nacht”. These lesson plans shall serve as examples on how Dobstadt/Riedner’s and Kramsch’s theories can be implemented in practise using exophonic literature in a multilingual environment. / AFRIKAANSE OPSOMMING : Hierdie tesis beoog om ‘n bydra tot die gebied van literatuurstudie in vreemde taal-onderrig in Suid-Afrika te lewer. Dit bestudeer die praktiese implikasies van Claire Kramsch se teorie “simboliese kompetensie” van veeltaligheid, Michael Dobstadt en Renate Riedner se teorie van ‘n “didaktiek van letterkundigheid” asook ander teorieë van veeltaligheid en “eksofonie”. Daar word veral gefokus op hoe hierdie benaderinge gekombineer kan word en dan toegepas moet word op hoër vlakke van vreemde taal-onderrig (B1 en B2); naamlik by die Duitse modules van Stellenbosch en ander Suid-Afrikaanse universiteite, waar studente met ‘n veeltalige agtergrond die norm is. Die tesis ondersoek dus hoe “eksofoniese” literatuur as onderrigmiddel studente met verbetering van taalvaardighede kan help. Verder stel dit die omvang van moontlikhede ten toon wat “eksofoniese” literatuur in die gebied van vreemde taal-onderrig kan bied. Gebaseer op die bogenoemde teorieë en ‘n opname onder studente wat in hul derdejaar Duits aan die Universiteit van Stellenbosch studeer, word twee lesplanne vir Stellenbosch studente op B1/B2 vlak ontwikkel. Die literatuur wat gebruik is, is Maja Haderlap se gedig “Als mir die Sprache abhanden kam” sowel as Yoko Tawada se essay “Bioskoop der Nacht”. Hierdie lesplanne sal dien as voorbeelde van hoe Dobstadt/Riedner en Kramsch se teorieë prakties toegepas kan word deur die gebruik van “eksofoniese” literatuur in ʼn veeltalige omgewing.