Inaug.-Diss.--Berlin. / Lebenslauf.

Thesis (Ph.D.)--Aberdeen University, 2009. / Title from web page (viewed on July 20, 2009). Includes bibliographical references.

Thesis (D. Ed.)--Ball State University, 1971. / Includes bibliographical references (leaves 315-326).

Bachelor-Arbeit Univ. St. Gallen, 2008.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In early 1870, Machado de Assis translated part of Oliver Twist, a novel by Charles Dickens (LÍSIAS, 2002). Although unfinished, since the Brazilian writer stopped his contribution at chapter twenty-eight, this translation presents particularities, which are worth being analysed. It is especially noticeable the French mediation in the translation of the Dickensian novel into Portuguese as well as the manipulation of the narrative, which remodelled the novel (MASSA, 1965). Recent studies approached the issue to a limited extent, mainly for not regarding the implications of both major and minor adjustments promoted by Machado. Hence, this study has a two-fold purpose: a) to investigate the route of Oliver Twist to Brazil, through the analysis of the relation between the English editions of this novel, the French translation made by Alfred Gérardin and the Brazilian translation by Machado de Assis; b) to analyse in detail the procedures adopted by the Brazilian writer while translating Dickens novel and discuss their implications for the narrative structure. The (re)writing of Oliver Twist seems to have encompassed, so as to say, a process of selection of repertoire and formal reorganisation of the narrative, which appears to respond to the specificity of nineteenth-century Brazilian context of reception. / No início de 1870, Machado de Assis traduziu parte do romance Oliver Twist, de Charles Dickens (LÍSIAS, 2002). Mesmo inconclusa, dado que o escritor brasileiro encerrou sua contribuição no capítulo vinte e oito, essa tradução apresenta particularidades de grande interesse analítico. É especialmente notável a mediação francesa no processo tradutório do romance dickensiano para o português, bem como a manipulação da narrativa, que remodelou o romance (MASSA, 1965). Estudos recentes abordaram a questão de modo limitado, principalmente por não considerarem as implicações dos ajustes, sejam eles grandes ou pequenos, promovidos por Machado. Em vista disso, este estudo tem o duplo objetivo de: a) investigar o percurso de Oliver Twist até o Brasil, analisando a relação entre as edições inglesas desse romance, a tradução francesa de Alfred Gérardin e a brasileira de Machado de Assis; b) analisar em detalhe os procedimentos adotados pelo escritor brasileiro ao traduzir o romance de Dickens, bem como discutir suas implicações na estrutura narrativa. A (re)escrita de Oliver Twist teria implicado, por assim dizer, um processo de seleção de repertório e reorganização formal da narrativa, que responderia à especificidade do contexto de recepção do Brasil oitocentista.

One of the major text-oriented movements of the twentieth century, structuralism interests itself in the structural patterns of literary works. Gerard Genette, renowned French structuralist, examined the complex relations between the narrative and the story it tells. Among others, he dealt with tense,which works with the relationship between the time of the story (histoire) and the time of the text (recit). Thus he order concerns the relationship between the succession of events in the story and their arrangement in the text, duration has to do with distortion of narrative speed, while frequency denotes the relationship between the number of times an event appears in the story and the number of limes it is narrated or mentioned in the text (Chapter 1). Rooted in the aforementioned tenets, this study examines time order, i.e.order relations, in three novels of Northern Sotho author 0 K Matsepe, viz LeSitaphiri (Chapter 2), meqokqo ya Bjoko (Chapter 3) and Letsofalela (Chapter 4). By reconstructing the story from the text in each case, the remarkable extent to which Matsepe deviated from linear chronology was revealed The investigation disclosed numerous discrepancies between story-time and text-time, in Genette's terms known as anachrolis: analepsis which implies a "return to the past" and prolepsis denoting "a leap into the future". All three works begin in medias res, which means that the starting point of the text is not the starting point of the story. Through his abundant use of analepsis Matsepe manages to blur the distinction between past and present, creating a literary portrait of simultaneity and timelessness, a reality, yet different from the real world. In a world fraught with magic, turmoil and strife, peace can only be enjoyed when the inhabitants have moved to a new locality. In so doing, Matsepe hints at another world as the eventual peaceful destination of man. The few instances of prolepsis similarly stress that longing for a better dispensation: on earth man is but a sojourner on his way somewhere (Chapter 5). / African Languages / D. Litt. et Phil. (African Languages)

One of the major text-oriented movements of the twentieth century, structuralism interests itself in the structural patterns of literary works. Gerard Genette, renowned French structuralist, examined the complex relations between the narrative and the story it tells. Among others, he dealt with tense,which works with the relationship between the time of the story (histoire) and the time of the text (recit). Thus he order concerns the relationship between the succession of events in the story and their arrangement in the text, duration has to do with distortion of narrative speed, while frequency denotes the relationship between the number of times an event appears in the story and the number of limes it is narrated or mentioned in the text (Chapter 1). Rooted in the aforementioned tenets, this study examines time order, i.e.order relations, in three novels of Northern Sotho author 0 K Matsepe, viz LeSitaphiri (Chapter 2), meqokqo ya Bjoko (Chapter 3) and Letsofalela (Chapter 4). By reconstructing the story from the text in each case, the remarkable extent to which Matsepe deviated from linear chronology was revealed The investigation disclosed numerous discrepancies between story-time and text-time, in Genette's terms known as anachrolis: analepsis which implies a "return to the past" and prolepsis denoting "a leap into the future". All three works begin in medias res, which means that the starting point of the text is not the starting point of the story. Through his abundant use of analepsis Matsepe manages to blur the distinction between past and present, creating a literary portrait of simultaneity and timelessness, a reality, yet different from the real world. In a world fraught with magic, turmoil and strife, peace can only be enjoyed when the inhabitants have moved to a new locality. In so doing, Matsepe hints at another world as the eventual peaceful destination of man. The few instances of prolepsis similarly stress that longing for a better dispensation: on earth man is but a sojourner on his way somewhere (Chapter 5). / African Languages / D. Litt. et Phil. (African Languages)

Journalists have insisted that John Oliver has inspired a new kind of journalism. They argue that Oliver's show Last Week Tonight with John Oliver has inspired real-world action, a phenomenon journalists have called the "John Oliver Effect." Oliver, a comedian, refuses these claims. This thesis is the result of in-depth research into journalists' claims through the lens of agenda-setting. By conducting a qualitative content analysis, I evaluated the message characteristics of framing devices used on Oliver's show, then compared those message characteristics to the message characteristics and framing devices employed by legacy media.

Politics and Church in Saeculum – History and Political Theology in Oliver O’DonovanThis essay explores the relation between church, history and politics in the theology of Oliver O’Donovan. It asks the question of how O’Donovan’s political theology and understanding of the church is shaped by his view of history and how God acts within history. It shows how O’Donovan, following Augustine, stresses the tension between the two cities within history – the City of God and the City of Man – and uses this as a paradigm in which to understand the secular political authority. As a provisional ordering in saeculum, the earthly City of Man has a temporary function, awaiting God’s final reign in eschaton, in which it will hand over its authority to Christ. The church, though being a political community already prefiguring the reign of God in Christ, it still lives, in this age, under the secular rule. Awaiting the coming Kingdom its primary occupation is that of witness, inviting society and its ruler alike to accept the kingship of Christ. As a successful example of this mission O’Donovan gives a significant focus to the era known as Christendom, in which the western civilization, following the conversion of the Roman emperor Constantine, is understood as a Christian society with Christian rulers. In discussing O’Donovan’s political theology, the essay asks questions about O’Donovan’s reading and usage of Christendom and tries to reason about the application of O’Donovan’s theology in a situation where Christendom no longer defines the western experience (or what has been called a predominantely post-Christendom context). An important question in the discussion is whether O’Donovan stays true to the heritage of Augustine, or if he, in theory as well as practice, tends to follow other voices within the theology of history.

This thesis looks at the criminals of Charles Dickens' Oliver Twist as a criminal type: impoverished, unattractive people who lack family roots. It establishes connections between the criminal characters themselves as well as the real-world conditions which inspired their stereotypes. The conditions of poverty and a lack of family being tied to criminality is founded in reality, while the tendency for criminals to be unattractive is based on social bias and prejudice. It also identifies conflicting ideologies in the prevailing Victorian mindset that begins to emerge as a result of research into the criminal type.