No description available.

Tradicionalmente, teóricos dos estudos literários têm dado pouco enfoque aos textos orais por acreditarem na escritura como única fonte teorizadora dos textos artísticos desmerecendo, assim, o valor histórico e o caráter próprio da literatura oral. O mesmo ocorre com a literatura voltada para o público infantojuvenil, que, apesar de ter conquistado o mercado editorial, ainda encontra dificuldades em entrar para o rol dos livros aceitos pelo cânone literário. Por meio de adaptações e traduções, tem-se oportunizado a aproximação dos jovens leitores das obras clássicas, cujas linguagens e distância cronológica e social configuram fator de impedimento de sua leitura. O que se pretendeu neste trabalho foi discutir como se deu a passagem da literatura popular/oral para a literatura canônica, tendo como exemplo o caso do Rei dos Elfos e a constituição de um mito literário com base no oral/popular: do Faustbuch ao Fausto de Goethe. Buscou-se fazer uma reflexão acerca do próprio processo de literarização, a partir de histórias contadas através da transmissão e transformadas em literatura para, por fim, ser possível analisar as múltiplas adaptações de Fausto para a literatura infantojuvenil contemporânea. / Traditionally, literary studies theorists have given little focus to oral texts for believing in scripture as the only source of artistic texts with theory disparaging thus the historical value and the very character of oral literature. The same happens with the literature focused on the infant-juvenile public that, despite winning the publishing market, still finds it difficult to get to the list of books accepted by the literary canon. Through adaptations and translations are giving opportunities about the approach of the young readers of classic works, whose languages and chronological and social distance configure deterrent factor of their reading. This paper was intended in discussing how was the transition from folk / oral literature to the canonical literature, taking the example of the King of the Elves and the establishment of a literary myth based on oral / folk: the Faustbuch to Goethes Faust. We tried to make a reflection on itself literature process from stories that were told through the transmission and transformed into literature to finally be possible to analyze the multiple adaptations of Faust for contemporary children and youth literature.

<p>The dissertation takes as its starting-point the dichotomies between origin and modernity, periphery and centre. This is particularly the case in Astrid Väring’s novels Frosten (1926) and Vintermyren (1927), in which the author pays tribute to the homestead and the rural community in contrast to the industrial community, whilst her novels also express an ambivalent attitude towards modernity. Astrid Väring bases her works on a Norrland literary tradition, which often stood in opposition to the central power despite being dependent on it. In this respect, a similarity with postcolonialism is evident.</p><p>Access to a wealth of archive material, which has not previously been used in literary scholastic research, has resulted in a natural combination of a biographical method and socio-literary reading. When analysing the novels, the same external circumstances that had signifi cance for the author when the work was drafted, for example economic, social and political conditions, have therefore been taken into account.</p><p>With reference to the novel Katinka (1942), the view of popular literature during the 1940s is dealt with. The pejorative view, prevalent in those days, is compared with a contemporary understanding of it. Today, neither the canon nor popular literature stand out as particularly homogeneous categories. Katinka was written at the start of the Second World War. A comparison is made in the dissertation between Vilhelm Moberg’s Rid i natt! (Ride this Night) (1941) and Katinka in order to ascertain the novels’ attitude towards the offi cial Swedish position of neutrality. In Ride this Night rebellion against the enemy is encouraged, in Katinka a cautious, wait and see attitude is urged.</p><p>I som här inträden… (1944) is a novel with a purpose. In this novel Astrid Väring directs a harsh attack against the mental health care at Swedish mental hospitals. The dissertation contains a genre discussion concerning the various genres related to the novel with a purpose, for example roman à thèse. It can be concluded that theoretical work concerning the novel with a purpose is rare. But, when the issue pursued in the novel is no longer relevant, the novel with a purpose is often destined to be forgotten. Furthermore, Astrid Väring had the bad luck of falling in the shadow of Sara Lidman’s modernistic West-Bothnian accounts of the 1950s, which contributed to the fact that her entire works quickly fell into oblivion. This dissertation is the fi rst scholastic work on Astrid Väring’s works.</p>

One of the main aims of this thesis is to examine the translational situation of popular fiction in post-industrial Japan. Specifically, the goal is to uncover two main aspects surrounding the phenomenon of translationese, the language used in translation. One aspect to be investigated is the characteristic features of Japanese translationese, and the other is readers’ attitudes toward translationese. This research is conducted within the framework of Descriptive Translation Studies (Toury, 1995). The literature review includes a background of how translationese has been approached previously and how methods from different fields (e.g., corpus linguistics, sociolinguistics) can be used in the research of translation. Through the review of the historical background of Japanese translationese and the development of Japanese writing styles, it is revealed that the translation norm in Japan had been very closely oriented toward the original text. In the text analysis, the corpora consist of translations from English and non-translations (i.e., originally written in Japanese) in the genre of popular fiction. The goal of the text analysis is to determine whether the features of translationese are actually characteristics of translationese. The features selected for this examination include the following: 1) overt personal pronouns; 2) more frequent loanwords; 3) female specific language; 4) abstract nouns as grammatical subjects of transitive verbs; and 5) longer paragraphs. Two features (third person pronouns and longer paragraphs) are shown to be characteristic of translationese, while others were proven otherwise or questionable (loan words, female language, abstract nouns as subjects of transitive verbs). Findings from the investigation of readers’ attitudes can help identify what constitutes the “norms” of translation (Toury, 1995, 1999) in Japanese society. Readers appear to be able to tell the difference between translation and non-translation. However, readers’ attitudes toward both translationese and non-translationese are more or less neutral or slightly positive. This may indicate that Japanese translationese has become integrated into the contemporary Japanese writing system and that readers do not regard translationese as overtly negative. This study shows that the major translation norm is becoming more domesticated translation in popular fiction, with the focus on making translations easier for the readers. / Translation Studies

The dissertation takes as its starting-point the dichotomies between origin and modernity, periphery and centre. This is particularly the case in Astrid Väring’s novels Frosten (1926) and Vintermyren (1927), in which the author pays tribute to the homestead and the rural community in contrast to the industrial community, whilst her novels also express an ambivalent attitude towards modernity. Astrid Väring bases her works on a Norrland literary tradition, which often stood in opposition to the central power despite being dependent on it. In this respect, a similarity with postcolonialism is evident. Access to a wealth of archive material, which has not previously been used in literary scholastic research, has resulted in a natural combination of a biographical method and socio-literary reading. When analysing the novels, the same external circumstances that had signifi cance for the author when the work was drafted, for example economic, social and political conditions, have therefore been taken into account. With reference to the novel Katinka (1942), the view of popular literature during the 1940s is dealt with. The pejorative view, prevalent in those days, is compared with a contemporary understanding of it. Today, neither the canon nor popular literature stand out as particularly homogeneous categories. Katinka was written at the start of the Second World War. A comparison is made in the dissertation between Vilhelm Moberg’s Rid i natt! (Ride this Night) (1941) and Katinka in order to ascertain the novels’ attitude towards the offi cial Swedish position of neutrality. In Ride this Night rebellion against the enemy is encouraged, in Katinka a cautious, wait and see attitude is urged. I som här inträden… (1944) is a novel with a purpose. In this novel Astrid Väring directs a harsh attack against the mental health care at Swedish mental hospitals. The dissertation contains a genre discussion concerning the various genres related to the novel with a purpose, for example roman à thèse. It can be concluded that theoretical work concerning the novel with a purpose is rare. But, when the issue pursued in the novel is no longer relevant, the novel with a purpose is often destined to be forgotten. Furthermore, Astrid Väring had the bad luck of falling in the shadow of Sara Lidman’s modernistic West-Bothnian accounts of the 1950s, which contributed to the fact that her entire works quickly fell into oblivion. This dissertation is the fi rst scholastic work on Astrid Väring’s works.

The article outlines recent trends in popular writing in Swahili in Kenya and Tanzania, the research being mainly based on titles published after the year 2000, by both well-known writers and newcomers. The author also generalises on some basic social and cultural factors accountable for the present state of popular literature in both countries.

Habilitationsschrift--Göttinger, 1975. / Includes bibliographical references (p [199]-217) and index.

Laima Macienė, Irenos Buivydaitės romanai populiariosios literatūros kontekste. Magistro darbas, vadovė doc. Dr. Irena Baliulė, Šiaulių universitetas, Literatūros istorijos ir teorijos katedra, 2013, 50 p. / Laima Macienė, Novels by Irena Buivydaitė in the Context of Popular Literature. Master Thesis, academic adviser Assoc. Prof. Dr. Irena Baliulė, Šiauliai University, Department of History and Theory of Literature, 2013, 50 p.

No description available.

This thesis is an examination of the mass-market publishing industry in Britain after the First World War and of the 'literature' read by the lower-middle and working classes: novels and weekly magazines. We chronicle the development of the industry both generally and through the experiences of three publishers, examine the activity and motivations of the reading public and consider the treatment of contemporary issues and attitudes within popular fiction as a useful barometer for the historian. There are seven chapters. Chapter 1 considers the period before 1914 in order to provide the necessary background for an understanding of the focus of this study, 1914-1950. The origins of the popular publishing industry and Wilkie Collins' 'Unknown Public' are examined and continuities with post-1914 popular literature traced. In Chapter 2 a broad overview of our period is conducted: the development of the industry and of the market, the influence of war and the depression, and the effect on reading of the growth of other leisure activities. Chapters 3 and 5 look at the reading habits of adults and children/adolescents from the lower-middle and working classes. In both cases contemporaries and readers themselves seemed to think 'escapism' was paramount in the selection of 'light' fiction and there was therefore a significant continuity between child and adult reading. Finally, Chapters 4, 6 and 7 focus on the histories and influence of three publishers of popular fiction during this period. These include two of the most successful (Mills and Boon, D.C. Thomson) and in contrast, a prominent but declining firm (The Religious Tract Society). In each case the complex relationship between market forces and editorial policies is discussed. We conclude that a reciprocal relationship existed between publisher and reader, with the latter dictating much of what was published. Popular fiction, moreover, served to reinforce predominant stereotypes and ideological views of society rather than to impose specific doctrine.