The purpose of this essay is to do a narratological analysis of Utvandrarna by Vilhelm Moberg to see how the form affects the theme of freedom and liberation. I used narratology as the method of analysis and my questions for the text regards the significance of the narrator, the use of focalization, the powers, helpers and opponents, the locations and spaces, and how these aspects affect the theme. In my analysis of the novel I found that the narration took place in three levels. This gave the story different perspectives of the theme; an outer perspective, a semi-distant perspective and a more personal perspective. The focalization of the main characters creates sympathies, and the focalization of non-main characters gives the reader an outer perspective on the characters. This could both enhance the perception of oppression in Sweden and make clear that the characters move out of their comfort zone in order to travel to the new country. There are not many helpers in the novel, the main characters are often left to help themselves. The opponents found in the book were mostly characters in Sweden who kept the main characters from their freedom. Negative powers are the social structure and religious oppression, positive powers are determination that help the characters go through with their journey. The locations and the perception of space often enhances the feeling of being shut in which is contrasted to the longing for freedom. One of the main characters opposes the journey and does not see freedom at the other side of the Atlantic Ocean. This, together with the miserable conditions on the ship, problematizes the theme of liberation. The ocean can stand for opportunity and freedom, but once the main characters are on the ship the ocean becomes a threat and the ship holds them prisoners. Since it is not clear whether the main characters reach freedom in America or not, the focus in this novel is on the process of liberation. In my analysis I could see that the theme of freedom was visible in different ways in the different aspects of the narrative.

Orientador: Cleide Antonia Rapucci / Banca: Thomas Bonnici / Banca: Antonio Roberto Esteves / Resumo: O principal assunto desta dissertação é a técnica narrativa cut-up, desenvolvida e empregada pela primeira vez no gênero romance em 1959, pelo escritor norte-americano William Burroughs, em sua obra-prima Naked Lunch. O processo da técnica consiste na sobreposição e justaposição de fragmentos textuais de diferentes teores. Esse processo é similar a alguns artifícios usados pelas Vanguardas, principalmente a "escrita automática" dos surrealistas. A intenção fundamental é conceder novos e inusitados significados às palavras e sentenças e, ao mesmo tempo, envolver o leitor num esforço cognitivo. Além disso, o escritor aponta a linguagem enquanto suporte ideológico, e assim revoga o sistema aristotélico presente nela. Os capítulos de abertura contêm uma exposição ampla a respeito da Beat Generation, um importante grupo literário surgido no período pós-guerra nos Estados Unidos. Os membros ligados à Geração militaram numa outra noção referente à vida intelectual e artística, e criaram obras guiadas nesse sentido. William Burroughs foi o mentor intelectual deles. A Beat Generation está incluída numa tradição literária norte-americana que começa com Thoreau e Whitman, uma tradição de enfrentamento social e estético. / Abstract: The main subject of this research is the narrative technique called "cut-up", developed and employed in the novel genre by American writer William Burroughs, for the first time in 1959, in his masterpiece Naked Lunch. The process of the technique consists in the superposition and juxtaposition of textual fragments with different purports. This process is similar to some artifices used by Vanguards, mainly the "automatic writing" by surrealists. The principal intention is to concede new and unusual meanings to the words and sentences, and, at the same time, to involve the reader in a cognitive effort. Besides, the writer notes the language while ideological bearer, and thus revokes the aristotelian system present in it. The opening chapters contain an ample exposition about the "Beat Generation", an important literary group that arose at post-war period in the United States of America. The members linked to the Generation were engaged in another notion concerning artistical and intellectual life, and they created works guided in this sense. William Burroughs was their intellectual mentor. The Beat Generation is included in a literary tradition, in the U.S.A., that starts with Thoreau and Whitman, a tradition of social and esthetical struggle. / Mestre

While Disgrace seems to be written from a single perspective, it is in fact multi-layered. In order to support this claim, this essay investigates what the novel's protagonist sees, how he sees it and who is narrating the story, using respectively the narratological key concepts of internal focalization, fallible filter and covert narration. The essay thereafter studies how the novel has affected readers in South Africa and how it is neccessary to challenge the perspective presented in the novel in order to fully understand the text.

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-03-11Bitstream added on 2014-06-13T20:20:14Z : No. of bitstreams: 1 paulinojunior_j_me_assis.pdf: 515440 bytes, checksum: 06e1d330c5483f056dc028fc22d894ac (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O principal assunto desta dissertação é a técnica narrativa cut-up, desenvolvida e empregada pela primeira vez no gênero romance em 1959, pelo escritor norte-americano William Burroughs, em sua obra-prima Naked Lunch. O processo da técnica consiste na sobreposição e justaposição de fragmentos textuais de diferentes teores. Esse processo é similar a alguns artifícios usados pelas Vanguardas, principalmente a “escrita automática” dos surrealistas. A intenção fundamental é conceder novos e inusitados significados às palavras e sentenças e, ao mesmo tempo, envolver o leitor num esforço cognitivo. Além disso, o escritor aponta a linguagem enquanto suporte ideológico, e assim revoga o sistema aristotélico presente nela. Os capítulos de abertura contêm uma exposição ampla a respeito da Beat Generation, um importante grupo literário surgido no período pós-guerra nos Estados Unidos. Os membros ligados à Geração militaram numa outra noção referente à vida intelectual e artística, e criaram obras guiadas nesse sentido. William Burroughs foi o mentor intelectual deles. A Beat Generation está incluída numa tradição literária norte-americana que começa com Thoreau e Whitman, uma tradição de enfrentamento social e estético. / The main subject of this research is the narrative technique called cut-up, developed and employed in the novel genre by American writer William Burroughs, for the first time in 1959, in his masterpiece Naked Lunch. The process of the technique consists in the superposition and juxtaposition of textual fragments with different purports. This process is similar to some artifices used by Vanguards, mainly the automatic writing by surrealists. The principal intention is to concede new and unusual meanings to the words and sentences, and, at the same time, to involve the reader in a cognitive effort. Besides, the writer notes the language while ideological bearer, and thus revokes the aristotelian system present in it. The opening chapters contain an ample exposition about the Beat Generation, an important literary group that arose at post-war period in the United States of America. The members linked to the Generation were engaged in another notion concerning artistical and intellectual life, and they created works guided in this sense. William Burroughs was their intellectual mentor. The Beat Generation is included in a literary tradition, in the U.S.A., that starts with Thoreau and Whitman, a tradition of social and esthetical struggle.

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Critical work on popular American women's fiction still has not reckoned adequately with the themes of interracialism present in these novels and with interracialism's bearing on the sentimental. This thesis considers an often overlooked body of women's popular sentimental fiction, published from 1860-1865, which is interested in themes of interracial romance or reproduction, in order to provide a fuller picture of the impact that the intersection of interracialism and sentimentalism has had on American identity. By examining the literary strategy of "miscegenated narration," or the heteroglossic cacophony of narrative voices and ideological viewpoints that interracialism produces in a narrative, I argue that the hegemonic ideologies of the sentimental romance are both "deterritorialized" and "reterritorialized," a conflicted impulse that characterizes both nineteenth-century sentimental, interracial romances and the broader project of critiquing the dominant national narrative that these novels undertake.

Instead of discussing an outstanding literary work by a well-known Swahili writer, this time I would like to present a second- or third-rate book by a renownless author (at least to my knowledge), Gilbert Gicaru Githere.2 Its title is Mwana Maji na Mrembo (The Marine and the beauty). It was published in 1990 by an otherwise unknown publishing house, Merengo Publishers, and printed in Hawaii. I have chosen this book because, in spite of its many flaws, it has some interesting features: The whole novel is written almost as a film script; descriptions of actions and landscapes are film-like, and the characters are seen as if they were on the screen. The problem is that this narrative technique does not work, so I want to analyse what is wrong with it.

In his monograph on Sepedi/North Sotho, Groenewald (1993:19) describes Moses Josiah Madiba as one of the first authors of didactic or moral tales. He also points out that Madiba’s contribution includes other kinds of works, such as poetry and school readers. Groenewald (1993:19) emphasises Madiba’s pioneering role in the development of literature in Sepedi. Because he was one of the earliest writers in Sepedi, his influence on the development of this literature should not be underestimated. In this study, the focus is therefore on the writing of Madiba as an author, but only his novelette Tsiri (1953) is selected for specific analysis. In the analysis, the content and structure of the work are discussed in detail and they are interpreted against the historical background of Sepedi literature in order to highlight Madiba’s place in this literature. The descriptive model used in this study is an adaptation of the narratological model. It requires a comprehensive definition of the relevant concepts. In this case a distinction is made between the theme and topic as concepts. The elements of the content, namely the characters, the action, the milieu and historical time, are defined precisely. The novelette deals with the difficult life circumstances encountered by the protagonist, which result in his falling into a life of laziness. The relationship that develops between the various characters is highlighted in terms of the topic. The historical course of the facets of the action is described. The various time aspects are closely examined, after which the milieu is discussed. The entire discussion is situated in an historical framework in order to reveal the importance of Madiba in the history of this literature. The structure of the work is discussed in four sections. First, the theme of the story, the narrative strategy, the title and the pillars on which the structure rests are discussed. Second, characterization is explored, with particular emphasis on Tsiri and his father, Madubaduba, who respectively represent the negative and positive poles in the novelette. This includes a discussion of the various narrative techniques which are used to persuade the reader to accept Tsiri after he repents. Third, the milieu is described in as far as it supports the theme. It contributes to the rationale for the turning point in Tsiri’s life. The milieu is functionally incorporated by means of a multitude of techniques. Fourth, the study focuses on the action, which presents the events in terms of an exposition, the development, climax and dénouement. Once the author has indicated the conflict between the main characters, he uses a variety of narrative moments to increase tension. In particular, he uses changes of the point of view and focalisation extensively. As can be expected in the early works in any literature, there are some bothersome structural flaws, and in this case they are related specifically to the use of the different points of view, where there is no clear rationale for the presence of the author’s moralisation. Although this flaw is pointed out, this does not imply a negative critical analysis of the work. The fact remains that Madiba writes in a flowing narrative style and that his Sepedi language usage is impeccable, which makes him an important pioneer in the history of Sepedi literature. His pioneering work in the educational arena positions him as a champion of the Sepedi language. Further studies could evaluate his other novelettes and poems against this background. AFRIKAANS : In sy monografie oor die Sepedi/Noord Sotho letterkunde beskryf Groenewald (1993:19) Moses Josiah Madiba as een van die eerste skrywers van die didaktiese of morele verhaal. Hy wys ook daarop dat Madiba se bydrae ander werke insluit, byvoorbeeld gedigte en skoolleesboeke. Groenewald (1993:19) beklemtoon Madiba se baanbrekerswerk in die Sepedi letterkunde. Omdat hy een van die vroegste skrywers in Sepedi was, mag sy invloed op die ontwikkeling van hierdie letterkunde nie onderskat word nie. In hierdie studie word die ondersoek derhalwe op die skrywerskap van Madiba toegespits, maar slegs die novelle Tsiri (1953) word vir spesifieke ontleding uitgesonder. In die bespreking word die inhoud en die struktuur van die werk indringend beskryf en dit word teen die historiese agtergrond van die Sepedi letterkunde geïnterpreteer om sodoende Madiba se plek in hierdie letterkunde duidelik uit te lig. Die beskrywingsmodel wat in hierdie studie gebruik word, is ‘n aanpassing van die narratologiese model. Dit vereis ‘n volledige omskrywing van die begrippe wat ter sprake kom. In hierdie geval word daar tussen die tema en die onderwerp as begrippe onderskei. Ook die elemente waaruit die inhoud bestaan, naamlik die karakters, die handeling, die milieu en historiese tyd, word presies omskryf. Die novelle handel oor die hooffiguur se moeilike lewensomstandighede, wat daartoe bydra dat hy in luiheid verval. Die verhouding wat tussen die verskillende karakters ontwikkel, word ten opsigte van die onderwerp uitgelig. Die historiese verloop van die fasette van die handeling word beskryf. Die verskillende tydsaspekte word onder die loep geneem, waarna die milieu bespreek word. Die hele bespreking word binne ‘n historiese raamwerk geplaas sodat die betekenis van Madiba in die geskiedenis van hierdie letterkunde na vore kom. Die struktuur van die werk word in vier afdelings behandel. Eerstens word die tema, die vertelstrategie, die titel en pilare waarop die struktuur staan, bespreek. Tweedens word karaktertekening nagegaan; en hier val die kollig op Tsiri en sy vader Madubaduba, wat onderskeidelik die negatiewe en positiewe pole in die verhaal verteenwoordig. Dit sluit ‘n bespreking in van die verskillende verteltegnieke waardeur die leser oorgehaal word om Tsiri, na sy berou, te aanvaar. Derdens, word die milieu beskryf en wel in soverre dit die tema ondersteun. Dit dra daarom by dat die keerpunt in Tsiri se lewe gemotiveer word. Deur ‘n veelheid van tegnieke word die milieu funksioneel ingespan. Vierdens val die klem op die handeling wat onder vier hoofde aan die orde kom, te wete die eksposisie, die ontwikkeling, die klimaks en die ontknoping. Nadat die outeur die botsing tussen die hooffigure aangedui het, kom hy met ‘n verskeidenheid vertelgrepe vorendag om die spanning uit te bou. Daar word veral gebruik gemaak van gesigspuntwisseling en fokussering word ekstensief aangewend. Soos te wagte in enige vroeë werk in ‘n letterkunde, kom daar hinderlike struktuurfoute voor, en in dié geval lê dit juis by die aanwending van die gesigspunttegnieke, waar die teenwoordigheid van die outeur se moralisering nie duidelik gemotiveer word nie. Hoewel die gebrek uitgewys word, lei dit nie na ‘n kritiese ontleding van die werk nie. Die saak is dat Madiba ‘n vloeiende vertelmanier het en dat sy taal in onbesproke Sepedi is, wat hom in die geskiedenis van die Sepedi letterkunde ‘n belangrike baanbreker maak. Sy pionierswerk op die gebied van die onderwys plaas hom as taalstryder voorop. In verdere studies sou sy ander novelles en gedigte teen hierdie agtergrond beoordeel kan word. Copyright / Dissertation (MA)--University of Pretoria, 2010. / African Languages / unrestricted

Privilegia-se nesta dissertação a leitura e interpretação de Avalovara, romance de Osman Lins, sob a ótica de um tema universal da literatura o amor humano, seguindo-se as pistas deixadas pelo autor em entrevistas e analisando-se, de modo especial, sua configuração poética na narrativa. Tendo em vista o intenso conteúdo sexual do romance, estuda-se as várias dimensões do amor carnal, desde o uso político do corpo até seu aspecto mítico e cosmogônico. Para tanto, primeiro conceitua-se literatura erótica para depois contextualizar-se Avalovara na tradição ocidental no século XX. Em seguida, são apontadas suas fontes, que remontam à Bíblia e à tradição hindu do tantra. Unindo-as, Lins cria um amor concreto e carnal, capaz de levar os amantes a reencontrar a unidade original. Além disso, ao incorporar a geometria simbólica do tantra na estrutura do romance, Lins confere à literatura um poder mágico até então encontrado apenas em textos religiosos e místicos. De modo que esta dissertação, fundamentada também em teorias da narrativa e do romance e numa abordagem comparatista, tem sobretudo uma perspectiva crítica: mostrar a especificidade de Avalovara, dentro da tradição da literatura erótica e o seu papel no contexto da literatura brasileira, nos anos da ditadura militar. / This dissertation focuses on the reading and interpretation of Osman Lins novel Avalovara based on a universal literary theme human love -, following the clues left by the author in interviews and analyzing especially its poetic configuration in the narrative. Taking into consideration the intense sexual component of the novel, it studies the various aspects of carnal love, from the political use of the body to its cosmogony and its mythical aspect. In order to do so, it first defines erotic literature to then position Avalovara in the twentieth century occidental tradition. Afterwards, it indicates its sources, which go back to the Bible and the Hindu tradition of the tantra. In uniting them, Lins creates a carnal and concrete love, capable of taking the lovers back to the original unity. In incorporating the symbolic geometry of tantra in the novels structure, Lins gives literature a magical power until then only seen in religious and mystical texts. Moreover, this dissertation, also based in narrative and novel theories and in a comparative approach, has above all a critical perspective: to show Avalovaras uniqueness in the tradition of erotic literature and its role in Brazilian literature, during the military dictatorship.