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Hierdie studie ondersoek vrae rondom die aard van literêre niefiksie - ook die vierde genre genoem. Die bestaande drieledige genreklassifikasiesisteem maak nie voldoende voorsiening vir tekste waarin die grense tussen feit en fiksie opgehef word nie. Die toename van sodanige hibriede tekste noodsaak dus ‘n uitbreiding van tradisionele genrekategorieë tot ‘n vierde, naamlik dié van literêre niefiksie. Dié ondersoek poog om vrae rondom literêre niefiksie te beantwoord met verwysing na De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) van David van Reybrouck. Dié teks dokumenteer Van Reybrouck se ondersoek na die bewering dat Maurice Maeterlinck die termietnavorsing van Eugène Marais sonder erkenning oorgeneem het. Tydens sy navorsingsreis maak Van Reybrouck kennis met die verwikkeldhede van ‘n postapartheid Suid-Afrika en verwoord sy reiservaring met behulp van metafore uit die entomologie. Die resultaat is dat De plaag ‘n hibriede karakter vertoon wat versoenbaar is met die kriteria vir literêr-niefiksionele tekste. / This study attempts to explore the nature of literary nonfiction (the fourth genre). The existing tripartite classification system does not make adequate provision for texts where the borders between nonfiction and fiction are transcended. A marked increase in such texts therefore necessitates an expansion of the traditional genre categories to accommodate a fourth, namely that of literary nonfiction. De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) by David van Reybrouck will serve as point of departure to explore the genre of literary nonfiction. The said text documents Van Reybrouck’s investigation into the alleged plagiarism by Maeterlinck of Marais’ research on termites. Van Reybrouck’s travels expose him to the complexities of a post-apartheid South Africa, which he expresses by using metaphors derived from the field of entomology. The result of this process is that De plaag displays a hybrid character which complies with the criteria for literary nonfiction. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

OF THE THESIS: The novel Captain Pantoja and the Special Service introduces the second period of Mario Vargas Llosa's literary production, which is caracterized by the simplification of the narration and the discovery of humour. The thesis focuses on the formal and thematic analysis of the novel with the objective to prove that despite the novel is in general humorous and parodic, there could be found some constant topics, known to the readers from Llosa's previous novels, which he had always treated very critically, and he also did so in this erotic and humorous work. Therefore, apart from the analysis of humour the thesis also examines the critical approach to the social problems present in the novel. The analysis also shows that the narration is slightly simplified in comparison to the author's formers works, but it still perfectly demonstrates the unconventional narrative techniques, which Vargas Llosa has used since the 1960's, since the period of the new hispano-american novel. KEY WORDS: Mario Vargas Llosa, Captain Pantoja and the Special Service, The Time of the Hero, The Green House, Latin American boom, Hispano-American new novel, total novel, experimental narrative techniques, types of humour and irony, humorous prose, parody, erotic novel, libertine prose, rainforest, criticism of the...

This thesis deals with a myth concept in Thomas Mann's and Ivan Olbracht's work. In regard to the tertium comparationis, which is myth, Mann's novels Joseph and His Brothers (Joseph und seine Brüder) and Doctor Faustus (Doktor Faustus) as well as Olbracht's novels The Bitter and the Sweet (Nikola Šuhaj loupežník) and Valley of Exile (Golet v údolí) are analysed. The concepts of these two authors are being compared both on a genetic level, which includes a possible influence of the tetralogy Joseph and His Brothers on Olbracht's work, and on a typological level. The second one includes analogies, which are independent of the possible direct influence. The thesis is methodological based on interpretation of fictional texts and their continuous comparison considering a literary-historical context and cultural-historical background of that time. Especially in some details, it can be considered that Thomas Mann had a direct influence on Olbracht's work in case of both of the novels. A number of analogies have been found, which exemplify a resemblance between the authors but which don't deny that Olbracht was an autonomous and creative personality at the same time. The specific myth concept of both authors harmonise with a period tendency in the modern literature.

Hierdie studie ondersoek vrae rondom die aard van literêre niefiksie - ook die vierde genre genoem. Die bestaande drieledige genreklassifikasiesisteem maak nie voldoende voorsiening vir tekste waarin die grense tussen feit en fiksie opgehef word nie. Die toename van sodanige hibriede tekste noodsaak dus ‘n uitbreiding van tradisionele genrekategorieë tot ‘n vierde, naamlik dié van literêre niefiksie. Dié ondersoek poog om vrae rondom literêre niefiksie te beantwoord met verwysing na De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) van David van Reybrouck. Dié teks dokumenteer Van Reybrouck se ondersoek na die bewering dat Maurice Maeterlinck die termietnavorsing van Eugène Marais sonder erkenning oorgeneem het. Tydens sy navorsingsreis maak Van Reybrouck kennis met die verwikkeldhede van ‘n postapartheid Suid-Afrika en verwoord sy reiservaring met behulp van metafore uit die entomologie. Die resultaat is dat De plaag ‘n hibriede karakter vertoon wat versoenbaar is met die kriteria vir literêr-niefiksionele tekste. / This study attempts to explore the nature of literary nonfiction (the fourth genre). The existing tripartite classification system does not make adequate provision for texts where the borders between nonfiction and fiction are transcended. A marked increase in such texts therefore necessitates an expansion of the traditional genre categories to accommodate a fourth, namely that of literary nonfiction. De plaag: het stille knagen van schrijvers, termieten en Zuid-Afrika (2001) by David van Reybrouck will serve as point of departure to explore the genre of literary nonfiction. The said text documents Van Reybrouck’s investigation into the alleged plagiarism by Maeterlinck of Marais’ research on termites. Van Reybrouck’s travels expose him to the complexities of a post-apartheid South Africa, which he expresses by using metaphors derived from the field of entomology. The result of this process is that De plaag displays a hybrid character which complies with the criteria for literary nonfiction. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

La Bibliothèque d’Apollodore, probablement composée au IIe ou au IIIe s. ap. J.-C., vise à rassembler les légendes et les mythes grecs en un système cohérent organisé selon un plan généalogique. Son auteur fonde son travail sur les écrits qui faisaient autorité en la matière, en particulier ceux des grands mythographes en prose du Ve s., parmi lesquels Phérécyde et Acousilaos sont les plus souvent nommés par Apollodore. Ce travail se propose d’analyser les rapports entre ces deux mythographes anciens et la Bibliothèque. Il examine chaque mention de leur nom dans cet ouvrage, et confronte tous leurs fragments au texte de la Bibliothèque, afin de comprendre pourquoi Apollodore choisit de les nommer ou, au contraire, de ne pas le faire ; pourquoi il les suit ou pourquoi il s’en écarte ; quelle place ils occupent réellement dans son traité. Plus largement, ce travail présente une réflexion sur les liens génériques entre la Bibliothèque et les mythographes anciens, en examinant en particulier la question de leur écriture, afin de comprendre comment Apollodore se situe par rapport aux premiers traités mythographiques grecs. / Apollodorus’ Library, probably written during the 2nd or 3rd century A. D., aims at gathering Greek legends and myths in a coherent system based upon a genealogical structure. Its author bases his work on the most authoritative sources, including prestigious 5th-century mythographers as Pherecydes and Acusilaus, whose names are the most mentioned ones in Apollodorus’ treatise, along with Hesiod’s. This work analyses the links between those two ancient mythographers and the Library. It takes a close look at every mention of their name, and compares all their fragments to Apollodorus’ text, in order to understand how and why he cites them or not ; why he draws on them or chooses other sources ; what is their real influence on his treatise. This study also offers a reflection about the links between the Library and the ancient mythographical tradition as a genre, mainly on the basis of their respective style.

The dissertation Magical Realism in Persian and Saudi Narrative Writing views as essential the assumption that the phenomenon of magical realism is not restricted solely to the cultures with colonial legacy, but is transferable to literary works created under systematic and systemic violence anywhere in the world. Previous research of the dissertation's author proved the existence of parallels in the dynamics of sociopolitical development of Iran and Saudi Arabia in the 20th century, foremost in the power relation of the states to their citizens and in the status of women in the society, while there was a strong tendency towards institutionalization of the traditional patriarchal, androcentric and misogynic societal paradigms since the second half of the 20th century. In the last thirty years, women have countered this situation through increased literary activity that has turned out to be an important means of self-fulfillment and emancipation. The fact that some of the most significant Iranian and Saudi women writers use magical realism directed the research to examination of this concept's relevance for the Persian and Saudi narrative writing, inquiry into the reflection of the gender issues and their comparison in both literatures. A detailed case study of two works, each from one country, led...

This dissertation is a report on how Tom Lanoye, a contemporary Flemish author who explores themes of social relevance, deconstructs the sexual identity of his characters within the context of a postmodernist culture. The manifestation of this deconstruction process is described within those theoretical paradigms of Michel Foucault and Judith Butler that link sexual identity and social mores. For the purpose of this research Tom Lanoye‘s ‘Monster’ Trilogy was selected. Set against the backdrop of Belgium society during the late nineties of the twentieth century and highlighting the moral downfall of the Deschryver patriarchy, Lanoye’s novels address an assortment of contemporary gender and social political issues in his trilogy. These include the following: political corruption; incest; homosexuality; racism; the sexual abuse of minors; the relation between language and identity, volatile childrenparent relationships; the subversion of gender norms and sexual transformation. / In hierdie verhandeling word verslag gedoen van die wyse waarop Tom Lanoye as hedendaagse eksponent van die Vlaamse versetprosa die seksuele identiteit van sy karakters binne die konteks van 'n postmodernistiese verwysingsraam dekonstrueer. Die manifestasie van hierdie dekonstruksieproses word beskryf binne die teoretiese paradigmas met betrekking tot die verband tussen seksuele identiteit en maatskappy van Michel Foucault en Judith Butler. Vir die doel van hierdie ondersoek is Lanoye se 'Monstertrilogie' geselekteer. Gesitueer teen die agtergrond van die Belgiese maatskappy in die laat negentigerjare van die twintigste eeu en gefokus op die morele ondergang van die Deschryver-patriargie, sny Lanoye se trilogie 'n verskeidenheid van aktuele gender-en sosio-politieke kwessies aan. Hierdie kwessies sluit in: politieke korrupsie; bloedskande; homoseksualiteit, rassisme; die seksuele misbruik van minderjariges; die verhouding tussen taal en identiteit; onbestendige ouer-kind-verhoudings; die ondermyning van gendernorme en die kwessie van seksuele transformasie. / Afrikaans & Theory of Literature / M.A. (Afrikaans)

<p>У раду је описана укупна књижевна заоставштина Милана Савића; извршена класификација и жанровска систематизација појединих дела; дат је поглед на стваралаштво с акцентом на&nbsp;вредновању његовог доприноса српској књижевној историографији; ширини и дубини његовог рада на уређивању Летописа Матице српске; извршено вредновање његових оригиналних књижевних радова, приповедака, путописа, драма и другог.</p> / <p>U radu je opisana ukupna književna zaostavština Milana Savića; izvršena klasifikacija i žanrovska sistematizacija pojedinih dela; dat je pogled na stvaralaštvo s akcentom na&nbsp;vrednovanju njegovog doprinosa srpskoj književnoj istoriografiji; širini i dubini njegovog rada na uređivanju Letopisa Matice srpske; izvršeno vrednovanje njegovih originalnih književnih radova, pripovedaka, putopisa, drama i drugog.</p> / <p>This document describes whole Literary legacy of Milan Savić with classification and systematization according to the genre for several of his works. Further, the document gives overview of his work and its contribution to the Historiography of Serbian Literature, the scope of his editorial work of magazine Letopis Matice srpske, evaluation of his original literary works, short stories, travelogues, dramas and other works.&nbsp;</p>

My thesis explores the potential and the peril of Romantic literature's increasingly complex forms through a close comparative study of the works of William Blake, William Wordsworth, Samuel Taylor Coleridge and Thomas De Quincey. These writers exemplify the Romantic predicament of how to make vision manifest – how to communicate one's imaginative and intellectual expansiveness without diminishing it. They sought different strategies for increasing the capacity of literary form, ostensibly in the hope of communicating more: clarifying meaning, increasing accessibility and intensifying original experience. But textual expansion – materially, stylistically and intellectually – often threatens more opportunities for confused and partial meanings to proliferate, overwhelming the reader by dividing texts and undermining attempts at coherent thought. Expansion thus becomes excess, with all its worrying associations of superfluity. To further complicate matters, Burke's influential tenet of the Sublime makes a virtue out of excess and obscurity, raising the problematic spectre of deliberately confused/confusing texts that embody an aesthetic of incomprehension. I explore these paradoxes through four types of 'textual excess' demonstrated by the writers under discussion: firstly, the tension between poetry and prose adjuncts, such as prefaces and notes, in Wordsworth and Coleridge; secondly, De Quincey's indulgent verbosity and struggle to control the freeing shapelessness of prose; thirdly, Wordsworth's and De Quincey's parallel experiences of revision as both uncontrollably diffusive and statically concentrated; and lastly, Blake's more deliberate, systematic attempt to enact a literary Sublime in which the reader is forced out of passivity by the competing demands of verbal and visual media. All are motivated and thwarted in varying degrees by their anxious preoccupation with saying "Enough", and the difficulty of determining when this becomes “Too much”. These authorial dilemmas also incorporate larger concerns with man's (over)ambition at a time of rapid and unprecedented economic, social and intellectual acceleration from the Enlightenment to industrialism. The fear that the concept and process of 'progress', or 'improvement', marks deficiency rather than fulfilment haunts Romantic writers.