The dissertation emerged from a growing realization that various of the distinctive traits in The Good Soldier could be considered as bearing traces of certain characteristics of Postmodern fiction. The study sets out to scrutinize The Good Soldier for further evidence to support this possibility. The areas that present themselves as specifically promising in this regard concern the issue of epistemology in the novel as well as the use of narratological devices in The Good Soldier. These two issues serve as the main area of focus for the study and are considered for the possible congruencies they demonstrate with Postmodern thought and fictional characteristics. After providing an orientation to the issues of epistemology and narratological devices in the context of Modernism and Postmodernism, the study proceeds to discuss the issue of epistemology in The Good Soldier and its relationship to Postmodern fiction. This involves a discussion of surfaces, simulations, perception, epiphany, history, language and re-enchantment and how these issues are conducive to demonstrating that The Good Soldier bears traces of Postmodern thoughts on knowledge. The use of narratological devices in The Good Soldier are also considered for possible congruencies with Postmodern fiction, specifically regarding the use of narrator, character and chronological sequencing. In this regard the issue of text and intertextuality are discussed and it is discovered that The Good Soldier foregrounds its own status as text through its references to a number of other texts. It is concluded that The Good Soldier does indeed bear traces of a Postmodern epistemology and employs narratological devices plausibly identifiable as Postmodern. The comments on knowledge in The Good Soldier, as well as the use of narrator, character and chronological sequencing are comprehensively elucidated and accounted for in the context of Postmodern epistemology and narratological devices. The Good Soldier is an accepted and well-loved Modernist novel. A study that seeks to scrutinize the text for elements of Postmodernism questions and foregrounds the issue of literary periodization and the division of literary texts on the basis of year of publication and authorship. Demonstrating that The Good Soldier bears traces of Postmodemism through its epistemology and use of narratological devices therefore provides evidence that literary movements are not mutually exclusive and that the traits of one literary period may be beneficial in an elucidation and elaboration of a text belonging to another literary movement. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2001.

The dissertation emerged from a growing realization that various of the distinctive traits in The Good Soldier could be considered as bearing traces of certain characteristics of Postmodern fiction. The study sets out to scrutinize The Good Soldier for further evidence to support this possibility. The areas that present themselves as specifically promising in this regard concern the issue of epistemology in the novel as well as the use of narratological devices in The Good Soldier. These two issues serve as the main area of focus for the study and are considered for the possible congruencies they demonstrate with Postmodern thought and fictional characteristics. After providing an orientation to the issues of epistemology and narratological devices in the context of Modernism and Postmodernism, the study proceeds to discuss the issue of epistemology in The Good Soldier and its relationship to Postmodern fiction. This involves a discussion of surfaces, simulations, perception, epiphany, history, language and re-enchantment and how these issues are conducive to demonstrating that The Good Soldier bears traces of Postmodern thoughts on knowledge. The use of narratological devices in The Good Soldier are also considered for possible congruencies with Postmodern fiction, specifically regarding the use of narrator, character and chronological sequencing. In this regard the issue of text and intertextuality are discussed and it is discovered that The Good Soldier foregrounds its own status as text through its references to a number of other texts. It is concluded that The Good Soldier does indeed bear traces of a Postmodern epistemology and employs narratological devices plausibly identifiable as Postmodern. The comments on knowledge in The Good Soldier, as well as the use of narrator, character and chronological sequencing are comprehensively elucidated and accounted for in the context of Postmodern epistemology and narratological devices. The Good Soldier is an accepted and well-loved Modernist novel. A study that seeks to scrutinize the text for elements of Postmodernism questions and foregrounds the issue of literary periodization and the division of literary texts on the basis of year of publication and authorship. Demonstrating that The Good Soldier bears traces of Postmodemism through its epistemology and use of narratological devices therefore provides evidence that literary movements are not mutually exclusive and that the traits of one literary period may be beneficial in an elucidation and elaboration of a text belonging to another literary movement. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2001.

The impact of economic crisis on tourism in Spain seen by the perspective of newspaper (study based on newspaper articles) The aim of the thesis is recognition of possibilities of analysis and interpretation of texts and reflection on limitations that emerge from this analysis. The thesis is divided in theoretical part and research. The theory starts with politic-economic background of the topic and continues with linguistic specifics of text analysis. The role of media is mentioned afterwards; also the description of the language used in the media and principles that rule newspaper article creation are described. One chapter is dedicated to the construction and description of corpus. Theoretical description of discourse analysis and narratological analysis follows. Research focuses on qualitative analysis and narratological analysis based on corpus written in Czech as well as in Spanish.\\

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Pretendemos com esta pesquisa redenir categorias teÃricas e metodolÃgicas que possam servir como ferramentas de anÃlise interpretativa da narrativa, da qual decorre o tÃtulo redeniÃÃo da narrativa à luz da narratologia contemporÃnea. A fim de atingirmos o nosso objetivo, tomaremos duas ordens de fundamentaÃÃo teÃrica. A primeira engloba as teorias pÃs-modernas do campo da filosofa e pÃs-modernismo da teoria literÃria como possibilidade de superar o pensamento estruturalista que tem agenciado a compreensÃo de estudos da narrativa pela linguÃstica; na segunda, nos apoiamos nas abordagens teÃricas da linguÃstica textual, implÃcita ou explicitamente, a partir dos trabalhos de Jean-Michel Adam (1992, 1999), Adam e Revaz (1997), e na concepÃÃo hermenÃutica de texto, principalmente, presente na obra de Paul Ricoeur (1986, 1990, 1991, 1994, 1995, 1997). Durante a nossa elaboraÃÃo teÃrica, exemplificamos com textos literÃrios, especificamente com contos de autores brasileiros. A tese foi organizada em cinco capÃtulos. O primeiro define o que compreendemos por contemporaneidade, exatamente por ser o termo sem fronteira conceitual, identifiado quase sempre como contexto epocal. O segundo trata da no- ÃÃo de sujeito numa perspectiva de tornÃ-la uma categoria suficiente de anÃlise do texto narrativo, a qual chamamos de sujeito ficcional. O terceiro aponta a noÃÃo de tempo como categoria linguÃstica mediadora entre a experiÃncia de tempo do sujeito empÃrico e de tempo no texto. No quarto capÃtulo, redefinimos a noÃÃo de intriga, dando-lhe uma funÃÃo de organizaÃÃo das mÃltiplas aÃÃes constitutivas do texto narrativo e, por Ãltimo, desenvolvemos uma proposta de mÃtodo para estudos da narrativa contemporÃnea, ou seja, hermenÃutica narratolÃgica. O nosso propÃsito de estudo està estabelecido como interdisciplinar (linguÃstica textual, produÃÃo literÃ- ria e hermenÃutica filosÃfica) por entendermos que a produÃÃo de cultura emergente exige o rompimento com as gramÃticas exclusivas de cada ciÃncia especÃfica. Portanto, redefinir narrativa na compreensÃo contemporÃnea à definir procedimentos teÃricos metodolÃgicos de anÃlise interpretativa do texto ficcional.

Ranamane (in Gerard 1993: 177) describes L. D Raditladi as one of the first Setswana writers of importance, a dedicated conservationist and enthusiastic developer of the Setswana language whose works have won considerable acclaim. Raditladi is well known as a prolific dramatist, novelist and poet, and as the translator of Shakespeare’s Macbeth into Setswana. He also wrote for both the Naledi ya Batswana newspaper and Kutlwano magazine (Boikutso 1985: 17). Shole (1988:97) speaks of Raditladi as the first dramatist to write history in Setswana, explaining that Raditladi drew inspiration from the historical dramas of Shakespeare. According to Gerard (1981), Boikhutso (1985) and Ranamane et al. (1986) the quality of Raditladi’s writing was widely recognised during his lifetime. He won numerous prices in for example, the IAI, the May Esther Bedford and the library competitions. In addition he received a monetary grant for the South African Publishing Company became of the exceptional quality of his writing. A representative example of Raditladi’s work is his drama Dintshontsho tsa Lorato, published in (1957). A survey of the literature reveals that his drama has already been investigated, by Ranamane (1986) Shole (1988) and Malimbe (1994). However Malimbe confines her investigation to the plot, and Ranamane and Shole theirs to the plot and style of the drama. Thus, no critic has previously examined the content of Dintshontsho tsa Lorato. The chief aim of this investigation is thus to critically analyse the structure of the drama Dintshontsho tsa Lorato at the level of content and plot, using two research methods, namely definition and interpretation, within the context of the adapted narratological model. This model conceives of a text according to three levels, namely content, plot and style, and focuses on the topic of the content, the theme of the plot and the atmosphere of the style. Thus this research study differs from the three previous investigation of Dintshontsho tsa lorato because it focuses on the content level of the text by examining the topic, and the plot level by analysing the theme. The content of a text is coordinated by the topic to form a unified entity. The topic of the drama we are investigating is reflected in its title, namely Dintshontsho tsa Lorato. The topic is thus of vital importance, and determines the arrangement and presentation of four important elements of content, namely character, time, place and events. These four elements are examined in more detail. The characters of the drama can be grouped into two categories, namely kind-hearted persons (e.g. Mmamotia) and quarrelsome persons (e.g. Sakoma). Mmamotia the antagonist, opposes the hero, Sakoma, who tries to force her to marry him against her will. These two characters are investigated using the concepts of intention, patronage, resistance, assistance and success. Time and place together fall under setting. Setting can be defined as the natural and artificial environment in which characters in literature live and move (Roberts 1982: 1). Time is the period in which the events of the plot happen, and the order in which they happen. This can be expressed in various units, for example a day, month or year. Place denotes the geographical and topological position in which the characters in the story are situated and the events of the plot take place. Bal (1985:8) regards the place within which the characters find themselves as the ‘frame’. The last of the four elements, the events, together make up the plot of the drama, which Strachan (1988: 20) and Magapa (1997) describe as the second level of the text. Here theme is key. Theme is the message the writer actually intends to give to the audience. The theme of the drama Dintshontsho tsa Lorato centres on dishonesty and unfaithfulness. The conflict begins when Sakoma is unable to marry Mmamotia because he is a foreigner in the Bangwato tribe, whose cultural beliefs forbid intermarriage. The plot is examined by focussing on the special functions in the plot of the protagonist Sakoma and the antagonist Mmamotia, and the events related to them are classified as representing either good or evil. The study of Dintshontsho tsa Lorato not only reveals how Raditladi creates his characters but also how he selects and shapes them for the purpose of dramatizing human life with all its varied manifestations. The action that takes place reveal essential character traits of the various characters, and do the words of the characters around them. For instance, Sakoma describes himself as a brave man who will not take no for an answer, and other characters describe Mmamotia as an extraordinarily beautiful woman who is extremely attractive to men. The plot is them examined according to the conflicts that occur in its various stages, namely the exposition, the development, the climax and the denouement. There are eleven distict conflicts that can be identified occurring between characters in he events of the plot. The event of Raditladi using two techniques, namely song and rhetorical questions, presents the events of the exposition, which form the first conflict that sets the plot going. In the development, several other techniques are used to show the conflicting forces of character and events and to emphasize message of the drama. The second, fourth and eleventh conflicts are discussed in detail because they involve the protagonist and the intagonist. (The other conflicts, which are between other characters, can be described as weak, and are not examined in great detail, though they are vital for creating suspense). In the climax phase the technique of dialog is examined, particularly in the conflict between the protagonist and the helper. The denouement phase has no conflict. Here Raditladi uses one important technique, namely monologue, to streangthen the presentation of the theme of Dintshontsho tsa Lorato. Overall, the most frequently used techniques are dialogue, monologue, point of view, repetition, foereshadowing, rhetorical questions and are the inactive mood. This drama can be classified as a tragedy, because its ending is sad, since the three main characters die. Using this tragic ending Raditladi tries to caution his audience against dishonesty and unfaithfulness. Thus it is the theme that holds the audience to the end of the drama. / Dissertation (MA (Setswana))--University of Pretoria, 2007. / African Languages / MA / unrestricted

This thesis deals with the analysis of the British author's China Miéville's literary debut King Rat. For the analysis, I used especially semiotically/semiologically oriented narratology, the thesis therefore draws especially from the methods used in Roland Barthese's, Tzvetan Todorov's and Lubomír Doležel's works. It also uses methods of Gérard Genette, Seymour Chatman and Shlomith Rimmon-Kenan. I analysed categories from the domain of narratology, specifically: the narrator, story, characters, space (surroundings) and the time.

A representative example of Monyaise’s work is his novel Go ša Baori, published in 1970. A survey of the literature reveals that this novel has already been investigated, by Malope R.M and (1986), Shole J. S.S (1988) who analysed only the dream found in this novel. The chief aim of this investigation is thus to critically analyse the structure of the novel Go ša Baori at the level of content and plot, using two research methods, namely definition and interpretation, within the context of an adapted narratological model. This model conceives of a text according to three levels, namely content, plot and style, and focuses on the topic of the content, the theme of the plot and the atmosphere of the style. Thus this research study differs from the two previous investigations of Go ša Baori because it focuses on the content level of the text by examining the topic, and the plot level by analysing the theme. The content of a text is coordinated by the topic to form a unified entity. The topic of the novel we are investigating is reflected in its title, namely Go ša Baori. The topic is thus of vital importance, and determines the arrangement and presentation of four important elements of content, namely character, time, place and events. These four elements are examined in more detail. The characters of the novel can be grouped into two categories, namely kind-hearted person (Olebile) and quarrelsome person (Wapeipi). These two content characters are investigated using the concepts of intention, patronage, resistance, assistance and success. Time and place together fall under setting. Setting can be defined as the natural and artificial environment in which characters in literature live and move (Roberts 1982:1).Time is then the period in which the events of the plot happen, and the order in which they happen. This can be expressed in various units, for example a day, month or year. Place denotes the geographical and topological position in which the characters in the story are situated and the events of the plot take place. Bal (1985: 8) regards the place within which the characters find themselves as the ‘frame’. The last of the four elements, the events, together make up the plot of the drama, which Strachan (1988: 20) and Magapa (1997: 11) describe as the second level of the text. Here theme is the key. The theme of the novel Go ša Baori centres on jealousy and competitive spirit. The plot is examined by focusing on the special functions in the plot of the protagonist Olebile and the antagonist Wapeipi, and the events related to them are classified as representing either good or evil. This study of Go ša Baori not only reveals how Monyaise creates his characters but also how he selects and shapes them for the purpose of dramatizing human life with all its varied manifestations. The actions that take place reveal essential character traits of the various characters, as do the words of the author as he describes Wapeipi as someone who makes up his mind at once and he is prepared to be hurt emotionally. While on the other hand, Olebile is a soft spoken man and very loving who shows his love to his fiancée by buying her a big diamond ring. The plot is then examined according to the conflicts that occur in its various stages, namely the exposition, the development, the climax and the denouement. There are twelve distinct conflicts that can be identified occurring between characters in the events of the plot. Monyaise using three techniques, namely repetition, elision and motif, presents the events of the exposition, which form the first conflict that sets the plot going. In the development, several other techniques are used to show the conflicting forces of character and events and to emphasize the message of the novel. The other conflicts, which are between other characters like the helpers, can be described as medium, and are not examined in great detail, though they are vital for creating suspense. In the climax phase the techniques of focus, idioms and motif are examined, particularly in the conflict between the protagonist and the antagonist, which leads to the death of the protagonist caused by emotions and complications. The conflict in the denouement phase is characterised by a very important technique, shadow to strengthen the theme of Go ša Baori. Here Monyaise uses this important technique, to strengthen the presentation of the theme of Go ša Baori. Overall, the most frequently used techniques are repetition, motif, idioms, elision, focus, rhetorical questions and foreshadowing. This novel can be classified as a tragic novel, because at the end, the antagonist dies. Using this tragic ending, Monyaise tries to caution his audience against jealousy and a competitive spirit. Thus it is the theme that holds the audience to the end of the novel. / Dissertation (MA (African Languages))--University of Pretoria, 2007. / African Languages / MA (African Languages) / unrestricted

<p><!--StartFragment--></p><p class="MsoNormal"><span lang="EN-GB">My thesis deals with the novel </span><em><span>Ladies</span></em><em><span lang="EN-GB">,</span></em><span lang="EN-GB"> written in 2007 by the Swedish author Mara Lee. When published, it was received as a book belonging to the chick lit genre but still got good reviews. This combination is really unusual and awoke my interest in the novel. My thesis is therefore an analysis whether </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> can be considered a chick lit novel or not, and in what way it is similar to or differs from the genre.</span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><p class="MsoNormal"><span lang="EN-GB">I start my thesis with an overview of former research of chick lit and what earlier was called trivial literature. Here Lisbeth Larsson’s <em>En annan historia</em>, </span><em><span lang="EN-GB"><span>[</span></span></em><em><span lang="EN-GB">Another Story</span></em><em><span lang="EN-GB"><span>]</span></span></em><em><span lang="EN-GB">,</span></em><span lang="EN-GB"> Janice Radway’s <em>Reading the Romance</em> and Suzanne Ferriss’ and Mallory Young’s anthology <em>Chick Lit The New Woman’s Fiction</em> were necessary to understand the background of the genre.</span></p><p class="MsoNormal"><span lang="EN-GB">After the research overview I continue with a narratological analysis, using the concepts of Maria Nikolajeva’s <em>Barnbokens byggklossar </em></span><em><span lang="EN-GB"><span>[</span></span></em><em><span lang="EN-GB">The Bricks of the Children Book</span></em><em><span lang="EN-GB"><span>]</span></span></em><span lang="EN-GB"> to look at the structure of a chick lit story. After finishing my chick lit genre analysis I try to complete my own definition of the genre.</span></p><p class="MsoNormal"><span lang="EN-GB">I find the themes love, sexuality and body focus in </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> especially interesting and therefore choose to look closer into how these areas are represented in the book. By using Judith Butler’s concepts the heterosexual matrix, the represented gender and Tiina Rosenberg’s hetero normativity I analyse the representation of the themes. </span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><p class="MsoNormal"><span lang="EN-GB">In the final discussion I compare my different analyses and my conclusion shows that </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> can’t be considered belonging to the chick lit genre. The biggest difference lies in how love and sexuality are represented in the book compared to chick lit novels. Whereas chick lit in many cases confirms gender stereotypes and conservative norms, </span><em><span lang="EN-GB">Ladies</span></em><span lang="EN-GB"> actually, according to my analysis, questions them.</span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><p class="MsoNormal"><span lang="EN-GB">In the end I am finally doing a short reflection about the novel and the author using Pierre Bourdieus concepts about symbolic resources and ”habitus”. </span></p><p class="MsoNormal"><span lang="EN-GB"> </span></p><!--EndFragment--><p> </p>

<!--StartFragment--> <p class="MsoNormal"><span lang="EN-GB">My thesis deals with the novel </span><span>Ladies</span><span lang="EN-GB">,</span><span lang="EN-GB"> written in 2007 by the Swedish author Mara Lee. When published, it was received as a book belonging to the chick lit genre but still got good reviews. This combination is really unusual and awoke my interest in the novel. My thesis is therefore an analysis whether </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> can be considered a chick lit novel or not, and in what way it is similar to or differs from the genre.</span> <p class="MsoNormal"><span lang="EN-GB"> </span> <p class="MsoNormal"><span lang="EN-GB">I start my thesis with an overview of former research of chick lit and what earlier was called trivial literature. Here Lisbeth Larsson’s En annan historia, </span><span lang="EN-GB"><span>[</span></span><span lang="EN-GB">Another Story</span><span lang="EN-GB"><span>]</span></span><span lang="EN-GB">,</span><span lang="EN-GB"> Janice Radway’s Reading the Romance and Suzanne Ferriss’ and Mallory Young’s anthology Chick Lit The New Woman’s Fiction were necessary to understand the background of the genre.</span> <p class="MsoNormal"><span lang="EN-GB">After the research overview I continue with a narratological analysis, using the concepts of Maria Nikolajeva’s Barnbokens byggklossar </span><span lang="EN-GB"><span>[</span></span><span lang="EN-GB">The Bricks of the Children Book</span><span lang="EN-GB"><span>]</span></span><span lang="EN-GB"> to look at the structure of a chick lit story. After finishing my chick lit genre analysis I try to complete my own definition of the genre.</span> <p class="MsoNormal"><span lang="EN-GB">I find the themes love, sexuality and body focus in </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> especially interesting and therefore choose to look closer into how these areas are represented in the book. By using Judith Butler’s concepts the heterosexual matrix, the represented gender and Tiina Rosenberg’s hetero normativity I analyse the representation of the themes. </span> <p class="MsoNormal"><span lang="EN-GB"> </span> <p class="MsoNormal"><span lang="EN-GB">In the final discussion I compare my different analyses and my conclusion shows that </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> can’t be considered belonging to the chick lit genre. The biggest difference lies in how love and sexuality are represented in the book compared to chick lit novels. Whereas chick lit in many cases confirms gender stereotypes and conservative norms, </span><span lang="EN-GB">Ladies</span><span lang="EN-GB"> actually, according to my analysis, questions them.</span> <p class="MsoNormal"><span lang="EN-GB"> </span> <p class="MsoNormal"><span lang="EN-GB">In the end I am finally doing a short reflection about the novel and the author using Pierre Bourdieus concepts about symbolic resources and ”habitus”. </span> <p class="MsoNormal"><span lang="EN-GB"> </span> <!--EndFragment-->

The aim of the present study is to analyze the representation of the mythic timelessness and the religious subversion in the novel Pedro Páramo (1953) by the Mexican writer Juan Rulfo. The novel is analyzed from a narratological perspective based on the concept of focalization proposed by the French theoretician Gérard Genette. According to Genette it is possible to identify different levels of focalization depending on the position of the narrative voices.The key question in this investigation is if any salvation is possible in the universe of Pedro Páramo and how the mythic timelessness and the religious subversion are represented in the textual intentionality through the narrative voices. The main conclusion is that there is no possible salvation in the fictional universe of Pedro Páramo. The collective sin is so vast that the intermediation between God and the inhabitants of Comala does not work anymore. Thus, the only possible ”salvation” consists in the separation of the soul from the body the people of Comala experience after death. In Pedro Páramo the dead body is liberated from remorses, but - contrary to the Catholic concepts - becomes a conscious materia sentenced to remember eternally.Keywords: Juan Rulfo, Pedro Páramo, narratological analysis, Gérard Genette, textual intentionality, focalization, mythic timelessness, religious subversion, narrative voices.