Abstract, Ancrene Wisse, "Guide for Anchoresses" A Czech Translation (2015) Klára Petříková Ancrene Wisse (Guide for Anchoresses) is a remarkable work of the Middle English literature dating back to the first half of the 13th century. Its author (presumably a Dominican) conceived it as "spiritual life guidelines" for three sisters of a noble origin who decided to renounce the world. Besides its didactic purpose, its character is meditative and contemplative. Riveting in its style, its rich metaphors and heightened sensibility link it with the later tradition of the English mystical writers (Julian of Norwich), The work abounds in quotations, paraphrases of the continental monastic authors (St. Augustine, Bernard of Clairvaux). Surviving in seventeen manuscripts, it had been quoted till the Renaissance and its importance is further confirmed by a contemporaneous translation into Latin and French. Present translation aims to introduce this work to the Czech readers and to put it in its historical, social and literary context.

The present thesis is devoted to selected prosaic works of Anna Blažíčková - specifically to her books Čekání v zástupu, Psí víno and Teď něco ze života. In its chapters-which focus successively on the narrator, composition, characters, time, and space-the thesis shows the repertory of elements and procedures which link the texts as well as how these elements and procedures help to create the world of the chosen prosaic works. These observations are based on an analysis of the original texts and with the help of theoretical literature.

This study is, by its intention at any rate, an attempt at assembling the scattered fragments of Can Themba’s life to make a composite being out of the various existing phenomena that shaped the contours of his life in both literary and literal senses. Given the disjunctive manner in which Can Themba and his work have been represented thus far, a combination of Historical and Biographical research methods will underpin the approach of this study. The resultant approach is the Historical-Biographical method of research. According to Guerin et al (2005, 22) the Historical-Biographical approach “sees the work chiefly, if not exclusively, as the reflection of author’s life and times or the life and times of the characters in the work.” This research is premised on the conviction that an individual is a constellation of multiple factors that play a pivotal role in the construction of their persona. These factors will be traced from his family background, early schooling, tertiary education, socio-economic conditions as well as his contribution to various newspapers and journals. While so much has been written about Themba and his work, there is no comprehensive biography of Can Themba as a person. Most importantly, the factors that contributed to his making as well as his breaking, or destruction, have not been interrogated in a form of comprehensive academic research. Rightly or wrongly, Themba’s meteoric rise into the South African literary canon is often traced from the moment he won the inaugural Drum Magazine short story competition. Themba became one of the most popular journalists and rose within the ranks of Drum to become the Assistant Editor. However, my research demonstrates that winning the Drum short story competition was the culmination of a literary talent that was developed and had been simmering for a number of years. Themba studied at the University of Fort Hare between 1945 and 1951 alongside the likes of Dennis Brutus, Ntsu Mokhehle, Robert Mangaliso Sobukwe, Mangosuthu Buthelezi, and many other prominent individuals. He was a regular contributor to The Fortharian, a university publication that published opinion pieces, poems and short stories. This is a vital component of Themba’s intellectual growth and it remains the least explored aspect of his life. As a result, what has been discursively documented by various scholars, writers and journalists, thus far, is a very parochial representation of Can Themba’s oeuvre. / English Studies / D. Litt. et Phil. (English Literature)

Made available in DSpace on 2014-06-11T19:35:37Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-03-02Bitstream added on 2014-06-13T20:46:36Z : No. of bitstreams: 1 kaimoti_apmc_dr_sjrp.pdf: 831961 bytes, checksum: 87abed1a4341ec657401cd3379a08f97 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Neste trabalho, investigamos os modos como a reportagem Esqueleto na lagoa verde (1953) e o romance Reflexos do baile (1976), de Antonio Callado, instauram um impasse entre seu projeto realista de narrativa e a forma fragmentária da escrita. Buscando compor um retrato do Brasil no qual a história recente do país aparece em primeiro plano, a obra romanesca de Callado foi freqüentemente vinculada à carreira de jornalista que o escritor também desenvolveu. Nesse sentido, ao mesmo tempo em que se pode constatar a influência que o apego ao universo factual exerceu sobre sua ficção, se deve também destacar o confronto contínuo com a linguagem do jornal, no qual se manifesta a crença do autor na capacidade da literatura em iluminar os fatos de maneira privilegiada, para além da objetividade e da organicidade do discurso jornalístico. Essa confiança no poder revelador da ficção já aparece subrepticiamente no desejo do repórter de esclarecer o mistério que envolve a constituição do Brasil, narrando sua expedição ao Xingu, em Esqueleto na lagoa verde; ela também está na maneira como o escritor fragmenta Reflexos do Baile com o intuito de tornar sensível a violência que predominava no país, no decorrer da década de 70; e está ainda na tentativa do cronista Callado de buscar, em sua memória literária, o entendimento dos fatos jornalísticos e históricos da contemporaneidade, em Crônicas de fim do milênio (1997). Em Esqueleto na lagoa verde, a reportagem se multiplica em outras narrativas, incoerentes entre si, e a expedição que a fundamenta não consegue esclarecer nenhum de seus enigmas; em Reflexos do Baile, a fragmentação do romance se radicaliza, desviando-se do objetivo de representar a história da época; e, nas crônicas, a presença da literatura, no lugar de esclarecer os fatos, faz do próprio texto o fato que interessa... / In this work we have investigated the ways the report Esqueleto na lagoa verde (1953) and the novel Reflexos do baile (1976), by Antonio Callado, initiate an impasse between its narrative realist project and the fragmentary form of writing. By seeking to build a portrait of Brazil, in which the country’s recent history comes in the foreground, the novel by Callado has often been linked to the career as journalist also pursued by the writer. While the influence of the attachment to the factual universe may be verified in his fiction, the continuous confrontation with the newspaper language must also be highlighted, wherein the author’s belief manifests itself in the ability of literature to illuminate facts in a privileged way beyond the objectivity and organicity of the journalistic discourse. This belief in the revealing power of fiction already surreptitiously appears in the reporter’s desire to clarify the mystery involving the constitution of Brazil, by narrating his expedition to the Xingu River in Esqueleto na lagoa verde. It is also in the way the writer fragments Reflexos do Baile, with the purpose of turning the predominant violence in the country in the 70s sensitive, and yet in Callado’s attempt to search, in his literary memory, the understanding of contemporary journalistic and historical facts in Crônicas de fim do milênio (1997). In Esqueleto na lagoa verde, the report multiplies itself into other narratives, incoherent between themselves, and the expedition grounding it cannot clarify any of its enigmas; in Reflexos do baile, the fragmentation of the novel becomes radical and stirs away from the goal of representing the history of that period; and, in the chronicles, the presence of literature, instead of clarifying the facts, makes the text itself an interesting fact. Usually considered only stylistic byproducts of a realist project, ...(Complete abstract clik electronic access below)

Made available in DSpace on 2014-12-17T15:06:52Z (GMT). No. of bitstreams: 1 FranciscoMSA_DISSERT.pdf: 1003537 bytes, checksum: b8ce002ce1c22594454d46863041567e (MD5) Previous issue date: 2011-05-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The actual study proposes Raul d‟?vila Pomp?ia‟s O Ateneu (1888) among the most significant works in Brazilian Literature panorama, according to the perspective of verbal materiality of the Romanesque genre under a form nostalgia sign that, in its turn, ascends to the archaic origin poetry of fable. Along with large rereading of pertinent bibliography, it is gone here toward narrator Sergio‟s cr?nica de saudades on pursuit of showing it, firstly, as poetic language allegory updated in the novel technique; secondly, as radical metalanguage that still renders problematic several aspects of modern fictional prose / O presente estudo prop?e O Ateneu (1888) de Raul d‟?vila Pomp?ia dentre as obras mais significativas no panorama da Literatura Brasileira, segundo a perspectiva de materialidade verbal do g?nero romanesco sob o signo de uma nostalgia da forma que, por sua vez, remonta ? poesia da origem arcaica da f?bula. A par de ampla releitura da bibliografia pertinente, envereda-se aqui pela cr?nica de saudades do narrador S?rgio em busca de mostr?-la, primeiro, como alegoria da linguagem po?tica atualizada na t?cnica do romance; segundo, como metalinguagem radical que ainda problematiza v?rios aspectos da moderna prosa de fic??o

O objetivo deste trabalho é apresentar ao leitor brasileiro a tradução do romance Mémoires de porc-épic (2006), de Alain Mabanckou. Para chegarmos à tradução, fez-se necessário entender alguns elementos centrais de sua poética e da estrutura narrativa do romance, assim como sua trajetória de vida e obra. Para tanto, discorremos, num primeiro momento, sobre sua visão de mundo e sobre as principais dimensões de sua poética, relacionando-os, sobretudo, ao pensamento rizomático proposto por Édouard Glissant. Em seguida, analisamos o romance em questão atentando para elementos macroestruturais, relacionados à literatura oral tradicional de algumas sociedades africanas de expressão francesa, nos baseando, majoritariamente, nos estudos feitos por Jacques Chevrier, e em elementos microestruturais, concernentes ao uso de repetições, paralelismos, interjeições, léxico africano, provérbios, responsáveis por criar o que Mabanckou chama de ritmo congolês da narrativa. Por fim, destinamos o terceiro capítulo à discussão tradutória, no qual apresentamos nosso projeto de tradução, baseado na abordagem de viés não etnocêntrico proposta, entre outros, por Antoine Berman; e nossa concepção sobre as notas de tradução, levando em consideração, primordialmente, o pensamento de Ana Cristina Cesar em relação ao ritmo na prosa. Apresentamos as notas de tradução divididas em dois blocos, o semântico e o sintático, ambos em diálogo com o que entendemos ser o ritmo da narrativa. A tradução completa é vista no anexo. / The aim of this work is to present to the Brazilian public the translation of Mémoires de porc-épic (2006), a novel by Alain Mabanckou. In order to arrive at the translation, it seemed necessary to have a more in-depth understanding of some of the central elements of the poetic and narrative structure of the novel, as well as the authors life and work. Therefore, we at first discuss his worldview and the main dimensions of his poetics; relating them, especially, to the concept of rhizome proposed by philosopher Édouard Glissant. Then, we analyze the novel in question, with attention to the macrostructural elements related to traditional oral literature in some African societies of French expression, drawing mainly on studies by Jacques Chevrier, as well as microstructural elements concerning the use of repetitions, parallelisms, interjections, African vocabulary and proverbs, responsible for creating the Congolese rhythm of the narrative. Finally, the third chapter discusses the translation and presents the translation project, drawing upon the non-ethnocentric approach proposed, among others, by Antoine Berman, and our conception of the translation notes, taking into account primarily the thoughts of Ana Cristina Cesar regarding rhythm in prose. The translation notes are divided into two blocks, semantic and syntactic, which are both in dialogue with what we understand to be the rhythm of the narrative. The full translation is located in the Annex.

O presente trabalho realiza uma leitura da chamada segunda trilogia em prosa de Samuel Beckett composta pelos textos Company (1980), Ill Seen Ill Said (1981) e Worstward Ho (1983), com especial atenção para a obra Company. Tais textos fazem parte da prosa final do autor, marcada pelo hibridismo de gêneros e por um intenso questionamento da linguagem e da representação literária. Destacando as características desta fase procuramos argumentar que, em meio a todos os experimentos do narrador beckettiano, há um mecanismo de busca de companhia na própria narrativa, tema que atravessa diversos trabalhos de Beckett e se evidencia com a publicação de Company. A necessidade de companhia através do ato de narrar, contudo, processa-se de forma ambígua e conflituosa. / This dissertation presents a reading of Samuel Beckett´s so-called second trilogy in prose comprising the works Company (1980), Ill Seen Ill Said (1981), and Worstward Ho (1983), with special focus on Company. These texts belong to the authors late prose, characterized by a mixture of genres and the intense questioning of both language and literary representation. While highlighting the specificities of this period, we argue that among all the experiments of the Beckettian narrator there is a mechanism that seeks for company within the very narrative a theme present in many of Becketts works, which is further stressed by the publication of Company. The need for company through the act of narrative, however, unfolds in an ambiguous and conflicted manner.

Made available in DSpace on 2016-03-15T19:42:02Z (GMT). No. of bitstreams: 1 Daniele dos Santos Souza Onodera.pdf: 1162180 bytes, checksum: e5a910b019243d04406e2d0df4ba4559 (MD5) Previous issue date: 2011-02-15 / Fundo Mackenzie de Pesquisa / The objective of this paper is to discuss how the literary form competes in the building of a historical and social memory of the temporality in the novel Memórias Póstumas de Brás Cubas by Machado de Assis considering the period in which it was produced. Firstly, it was used Lukács'studies (2000) to talk about the fact that the novel did not have a formal pre adaptation and because of that permitted, more than in other genres, the transposition from reality to the literary plan. Secondly, Machado de Assis was situated in relation to social and political aspects that surrounded the daily life in the Brazilian empire, and also in relation to literary practice and literary plan. Finally, this paper focused on the analysis of the memorial report by the dead-author Brás Cubas. Using the famous metaphors created by Pierre Lévy (1996) virtualization and "update". it was verified how the update about his life imerse in the memorial universe (virtual) made the dead-author to reveal the social and historical context of the court in the 19th century simultaneously. / O objetivo deste trabalho é discutir como no romance Memórias Póstumas de Brás Cubas de Machado de Assis, a forma literária concorre para a construção do memorial histórico-social da temporalidade em que esta obra foi roduzida. Em um primeiro momento, baseado nos pressupostos de Lukács (2000), discorreu-se sobre o fato de que a não pré-normatização formal no romance permitiu-lhe, mais do que em outros gêneros, a transposição da realidade para o plano literário. Em seguida, situou-se Machado de Assis, tanto em relação às questões políticas e sociais que permeavam o cotidiano do Império brasileiro, quanto frente à pratica literária e à estética realista. Por fim, esta dissertação concentrou-se na análise do relato memorial do defunto autor Brás Cubas. A partir da metáfora da "virtualidade" e da atualização ambos termos conceituados por Pierre Lévy (1996) buscou-se verificar como a atualização que o defunto autor faz de sua trajetória de vida imersa no universo memorial (virtual), revela simultaneamente o contexto histórico-social da corte do século XIX.

This master's thesis The picture of concentration camps in Czech prose of the 50's analyses selected literary works from 1950᾿s. These works are presented by different author's approaches from presented reality. First part of this work focuses on concept of "Holocaust" and on possibility of its verb representation as well. Another part of thesis deals with development of "literature with topic of Holocaust" from 1945 to contemporary times. The emphasis is placed to the texts from 1950᾿s and 1960᾿s that had formed reader's memory. Next chapter observe a permeation and reciprocal influencing of historical and fictional discourse. The picture of life in Nazi concentration camps, the author's character creation as well as representation of Jewishness are analyzed in these works: A Box of Lives by Norbert Frýd, Osm odtamtud by E. F. Burian, and Diamonds of the Night by Arnošt Lustig. Key words: the Holocaust, Nazi concentration camps, 1950's, prose, Norbert Frýd, E. F. Burian, Arnošt Lustig, historical discourse, fictional discourse, characters, motive, environment

This collection of prose-poems and flash fiction, together with a few short stories, shows how romantic relationships colour our perspectives on the world. The collection has echoes throughout of speakers' voices, theme, imagery and tone. There is a narrative logic too, but working on a subtle level of echo and resonance