This diploma thesis aims to study the protocol literature which originated mainly in the former German Democratic Republic. The protocol literature of the Federal Republic of Germany is mentioned only briefly. In connection with the protocol literature, it is vital to firstly deal with the ambiguity and nonuniformity of the term Protokoll-Literatur. It is also necessary to clarify the term Frauenliteratur and Männerliteratur. The main objective of the theoretical part is to set the protocol literature into its historical and cultural context, to characterise protocol literature - its features, mainly the authenticity and subjectivity of this type of literature. The important task of this thesis is to manage the classification of the protocol literature into a literary genre and answer the question whether the protocol literature can be regarded as an independent literary genre. Furthermore, the topics occurring in the protocol literature are presented. Each topic is accompanied with a list of literary works, which are briefly introduced. The second part of the thesis offers an interpretation of three selected works of the so called Männerliteratur. The inner and outer composition of each work is further analysed, attention is paid to the narrative perspective, to the titles of the works, as well as...

Arbetets syfte är att genomsöka Tacitus första bok ur verket Annales efter versmått och vidare undersöka om genomsökningens resultat förmår att säga någonting om deras roll i Tacitus stil. / Tacitus´Annales I has been scanned for poetic verses. Attempts have been made to identify their role in Tacitus´stylistic efforts.

The thesis focuses on mutual blending of the factual and the fictional writing in the work of a Belarusian author Ales Adamovich. Regarding the choice of the analyzed works, two of them (Out of the Fire, 1975; Leningrad Under Siege, 1981) are identified as documentaries in the paratexts. These two works consist of recorded oral testimonies. The other two analyzed works (Khatyn, 1972, The Chasteners, 1981) are fictions, incorporating, however, several authentic documents. Using these works as examples, the thesis illustrates how the (hypothetical) borders between the fact and fiction are blurred and trespassed. The first, literary-historical part will briefly summarize the main concepts of the relationship between art and reality in the Soviet area, beginning with the Formalists and their interest in genre innovations, and concluding with an accent on the individual reader reception of Lidiya Ginzburg and Pyotr Palievsky. The plural aspect is implicitly reflected also in the second part of the thesis, focusing on Adamovich's thinking about the notion of truthfulness in literature. At this point, there is also a related theme of the impact of the genre tradition on the reception of the text. Also in the author's view, the role of the reader seems to be crucial. In the description of the receptive...

Refugees, a novel in progress, begins in the collective first-person with a group of people who live on the same residential street of middle-class homes in an east coast American city and are experiencing the most exquisitely vivid aurora borealis to appear in recorded history. But they quickly learn that this gorgeous wonder is a harbinger of civilization's demise and possibly the end of all life on the planet, because the solar storms causing the sky's fantastic nightly coloring is also slowly stripping away the atmosphere and leeching oxygen into space. This "we" narrative switches to third person, moving between two characters—Julie and Amira—as the narrative moves forward. The first chapter covers the first few months of this apocalyptic crisis, and Julie and Amira are central as they are forced decide if they still have the strength and the will to even attempt survival in these new and brutal circumstances. The second chapter, also told in third person, picks up seventeen years in the future with Aya, Amira's daughter who was six during the initial atmospheric disaster. A small group survived in an underwater refuge, recently discovered the atmosphere above had healed over time, and sent an excursion group, including Aya, to evaluate the changing environment. This chapter reveals the history and particular struggles of these characters living in this complex society, both residual and nascent. The third chapter returns to the group of neighbors—including Julie and Amira—seventeen years prior, immediately following the catastrophic event as their story continues to unfold. This chapter opens, like the first chapter, in the "we" voice, tracing the movement of the group south in a search for help and a desperate, though orderly, effort toward survival. This next phase of their journey introduces fresh conflicts and new characters and points to approaching challenges and the persistent hope for survival. Two short stories, unrelated to the novel and each other and entitled "Awake" and "Her," are also included.

Symptoms of a Cosmic Fluke is a book of poems.

The osmotic relationship between oral and written literature has been neglected for a long time by literary criticism in post-independence Tanzania: the development of new genres and the related debates about literary values have until the end of the Eighties mostly attracted the attention of the scholars, making thus marginal the study of oral literature until the recent awakening of critical studies. Residual were especially those oral forms, like contemporary oral poetry, not wholly ´traditional` - coming from a pre-colonial past or alluding to unchanging features -, nor enough `modern` and `progressive` to be assigned much interest in scholarship. This paper is a tentative to approach the question from a different perspective, presenting the case of one kind of oral poetry - taarab songs - , which has been dealt within creative writing, from the pre-independence era until our days - creative literature, being not bound to categorising and coherence as criticism is, sometimes succeeding better than a too `scientifically- oriented` criticism in containing the subtle relations between opponents, like orality and writing, tradition and modernity, elite and popular arts. In the following pages I will discuss three Swahili prose works, namely Wasifu wa Siti Binti Saad by Shaaban Robert (1958), Utengano by S.A Mohamed (1980) and Siku njema by K. Walibora (1996), in which taarab appears in the narration- both thematically and stylistically -, evidencing the continuities but also stressing the different ways in which symbolism and literary techniques are employed by the authors.

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With the publication of On the Road in 1957, Jack Kerouac became a cultural phenomenon. Crowned the "King" of the Beat Generation, Kerouac embodied the restlessness of Cold War-era America. What no one realized at the time, however, was that the movement that he supposedly led went against Kerouac's own beliefs. Rather than rebellion, Kerouac wanted to write in a way that no one had written before. Heavily influenced by, among others, Mark Twain, Fyodor Dostoevsky, Marcel Proust, Herman Melville, and, especially, James Joyce, Kerouac used the influence of his predecessors to formulate his own style of writing-spontaneous prose. The critics who label Kerouac as a cultural icon akin to James Dean fail to see Kerouac as a serious author. The removal of the cultural fanfare surrounding Kerouac shows the truth about his writing, his influences, and his influence on late-twentieth century literature, including the entire postmodern movement.

This collection of short stories explores the different ways women tolerate violence in exchange for some form of validation. The narratives focus on women and the reverberations of small moments which carry violent mass. While the violence occasionally includes physical elements, the collection is more concerned with the ways women accept emotional and psychological violence—specifically from men. Themes, motifs and symbols from the Clytie-Helios myth are threaded throughout the collection as well as a concern for space and touch, art and the creation of art, silence and voice. All of these elements involve control as the women characters in these stories struggle to resist their own objectification. A critical introduction which explains how form and language amplify story precedes the collection.

What You Leave Behind is a collection of essays framed by the theme of travel. The essays seek to understand the changeability and the consistency of the self when exposed to new cultures and new environments. They also explore what travel tells us about varying world perspectives, and how much of those varying world perspectives people can hope to understand. Lastly, these true-life stories and ruminations explore how travel shapes relationships: familial, romantic, and platonic. At its core, this thesis strives to reveal how traveling can inform the way people understand themselves, the world around them, and the relationships they have with others, both at home and abroad.