Nous définissons l'hybridation littéraire comme la combinaison d'éléments a priori disparates aboutissant à la création d'un ensemble à la fois un et multiple, qui garde les traces de ses parties constitutives tout en étant autre, différent, nouveau. L'hybride englobe les sphères de représentation de ses éléments-parents tout en les dépassant. Par conséquent, l'hybridation tend vers l'extension de toutes les frontières, littéraires et culturelles, dans le but de nous offrir une vision du monde et du sujet toujours plus complète. Dans Oranges are not the Only Fruit, Sexing the Cherry, Written on the Body et The PowerBook de Jeanette Winterson, l'hybridation se manifeste à tous les niveaux du texte. L'hybridité physique et sexuelle des narrateurs est ainsi une des manifestations de leurs identités et vies plurielles et paradoxales. Ces hybrides incarnés (monstres, travestis ou androgynes) se construisant au fil de leurs histoires, qui s'inspirent toujours de récits antérieurs, narrateurs et narrations se démultiplient conjointement, s'entremêlent et se redéfinissent sans cesse. Le texte fluctue au gré de l'hybridation générique et de l'intertextualité. De l'entrecroisement de genres réalistes - tels que l'autobiographie, le récit historique ou le discours scientifique - et fictionnels - tels que le conte ou la romance - naît un hybride générique à résonances parodiques représentant la nature du sujet, de sa vie, de la réalité et de la vérité. Enfin, en hybridant des textes préexistants à des motifs personnels, l'auteur élabore une narration originale qui réécrit les schémas sexistes relayés par ses ancêtres et retranscrit sa vision de l'individu, du monde et de l'art.

This paper seeks to explore the dialogue between postmodern thought and Christian theology. The dialogue will be grounded in four postmodern novels: Toni Morrison's Beloved, Ian McEwan's Atonement, Jill Paton Walsh's Knowledge of Angels, and Jeanette Winterson's Oranges Are Not the Only Fruit. In many Church circles, it has often been said that postmodernism, as it manifests itself in popular culture, is a threat to the Christian faith. However, I will be arguing that the opposite is the case, and that postmodernism has allowed for new ways of thinking about the self that has great resonance with certain theological conceptions of the self. It will be argued that the postmodern subject is one that seeks to make sense of 'the other' without risking the exploitation of the other, and that this lies very close to the theological concept of relationship, based on the idea of covenant. The self as responsible to an other and as a participant in community will be explored, from both the postmodern and theological perspectives. Before exploring issues of the self, this thesis will contextualize the dialogue by exploring postmodern conceptions of space and time. It will examine how ideas around space and time have been imagined throughout human history, thereby contextualizing the emergence of postmodern thinking. It will then show how this emergence of a postmodern space and time in fact creates new possibilities for the Christian faith to reexpress itself in ways that are more relevant to the 21st century. The concluding chapter of this thesis brings to light the longing within our postmodern reality for a place we can call home, a place where we can belong, and find healing. Such a place, such a homecoming, is offered to us in the spaces opened up to us by the dialogue between the Christian faith and postmodernity, and is found within a community of people who are learning that, as, postmodern philosopher Emmanuel Levinas states, "there is something more important than my life, and that is the life of the other" (in Beavers, 1996,16). / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2004.

The subject of this thesis is Slovak mime theatre. It begins with the connections to the period of its foundation and introduces topic about founder of Slovak mime theatre - Milan Sládek. The next part of the thesis focuses on Slovak amateur theatre artists and their work at the time when professional mime theatre didn't exist in Slovakia. These artists used to experiment with different kinds of theatre technics, including mime theatre. Last part is based on analysis work and performances of the modern authors - Miroslav Kasprzyk, Štefan Capko, Juraj Benčík, Tomáš Kasprzyk, Valéria Daňhová, Barbora Debnárová, Pavol Seriš and modern theatre companies - Puppet Thetare Žilina, Debris Company, Teatro Tatro and Theatre Silent Sparks. It describes how the character of Slovak mime theatre has changed within more than fifty years of existence.