This thesis is concerned with serbian literature of the second half of 19th century. It describes the main features of the serbian literary realism. More focus is given to the serbian realistic story and its main authors. In the context of this dominant genre deeper tought is given to the rural enviroment of the serbian realistic story. Mainly describing its roots, atributes and the work of the most significant authors of this genre which are Milovan Glišić, Laza Lazarević and Janko Veselinović. Key words: serbian literature, 19th century, realism, story

The subject of this thesis is the analysis of the collective literary output of the two young authors - German writer Martin Becker and his Czech friend Jaroslav Rudiš. A part of my thesis concerns also with their lives and own works. The object is to find Czech motives in the work and life of Martin Becker and influence of German culture on the books of Jaroslav Rudiš, to concern on typical characteristics and analysis of their collective works. In my thesis I arrive at the conclusion that the Czech stay, interest in Czech language and literature reflect in works of Becker, in the similar way are books of Rudiš influenced by his interest in German authors, art, history, German language and other. In collective work are these moments interwoven and supplemented.

Diploma thesis Semiotic analysis of Martin Scorsese's films focusing on Raging bull and The Wolf of Wall Street aims to capture unique and original signs in both films mentioned. Through semiotic analysis it examines key elements of film language - structure, means of expression in film and composition. The thesis also focuses on capturing director's characteristic filmmaking techniques and how these techniques and elements affect the viewer. At the same time it examines in detail various aspects of the director's films and film processing in both of them. It is also focusing on description of unique and specific items of Scorsese's work and analyze them in the context of the two works. The final part explains the cause of the original concept of author's films and his great success and popularity not only among film fans.

"The Mall In America" centers around female protagonist, Sam, as she navigates the sociological and psychological realities of adolescent life. Readers follow Sam through the strained atmosphere of her home, into the transcendental realm brought on by an "Aquatic Underworlds," an IMAX production.Told in the humorous yet vulnerable voice of a teenager, "The Mall In America" demonstrates the varying levels of complexity within human life.

While most critics agree that Anton Chekhov is a funny writer and much critical commentary about his comedic techniques identifies how Chekhov is humorous, none examines why readers find him so. Using the tools of cognitive science, this paper explores the cognitive processes behind humor and narrative, as well as Chekhov’s exploitation of them for comical effect in his early short stories – namely the very concise and blatantly humorous “Kids,” “Grisha,” “Vanka,” and “At Home” – and uncovers, in these early writings, the origins of his celebrated and oft-imitated authorial legacy.

Diploma thesis "Kancelář Blaník: Politická satira jako zrcadlo skutečné politiky" aims to discover what image of politics the satirical series "Kancelář Blaník" presents to the audience and how it achieves it. After the necessary theoretical anchoring of the researched issue follows a practical analysis of the series, which focuses on the characteristics of main and secondary characters, objects of satire and dramaturgical structure of episodes and the whole series. The final part of this thesis also describes the movie "Prezident Blaník", which follows the series and shows the differences in the processing of one theme in different formats.

<p>This dissertation defines the literary genre of the American school story for girls from approximately 1845 to 1910. While recent critical studies have examined the American common school story or the women’s college novel, no scholar has surveyed the genre of American school stories for girls in the second half of the nineteenth century. Instead, the British school story tradition, such as the <i>Tom Brown’s School Days</i> series and twentieth-century girls’ boarding school stories such as those by Angela Brazil, has overshadowed the American genre. I also argue that the study of the girl’s book has focused on domestic (family) stories over the school story. By defining the American school story for girls, this project fills a critical gap and argues for how the school story is an important subgenre of the girl’s book that depicts the nineteenth-century girl in an educational environment with new personal and professional opportunities. </p> <p> </p> <p>The first half of the dissertation provides a genre and historical overview, while the second half consists of case studies of specific educational sites and types of experience. The first chapter provides a guiding definition of the school story and examines its subgenres. I split the school story into the following subgenres: the common story school, the seminary or boarding school story, and the college novel, and describe their common tropes and characters. The second chapter details the history of American women’s education and provides relevant examples of fictional school depictions. In chapter three, I analyze girls’ seminary (boarding school) schools including <i>The Boarding-School Girl</i> (1848) by Louisa C. Tuthill, <i>Hester Stanley at St. Mark's</i> (1882) by Harriet Prescott Spofford, and <i>Betty Baird</i> (1906) by Anna Hamlin Weikel. This chapter argues for the religious, personal, and professional goals that motivated the girl characters to attend school, and how the fiction depicted society’s expectations for these girls. Finally, chapter four examines three Vassar-focused college novels, specifically the first two books in <i>The </i><i>Three Vassar Girls </i>series (1883-1892) by Elizabeth W. Champney and Julia A. Schwartz’s <i>Elinor’s College Career </i>(1906), to argue that the college experience created networks to help further the lives of women, while also working to maintain homogeneity. </p>

Resumo: Combinou-se uma pesquisa bibliográfica fundamentada na teoria literária, privilegiando o encontro da tragédia com a narrativa ficcional do século XX, no caso, a ficção de Mário de Andrade até, e inclusive, Amar, verbo intransitivo. Examinando-a diacronicamente (contos e romance), discerniu-se dedutivamente os componentes trágicos e nacionalistas que compõe sua estética e, por fim, indutivamente, aproximou-se esses elementos para configurar tal estética. Em 1923, Mário de Andrade dividiu-se em dois caminhos, esteticamente falando. Um deles resultou em Amar, verbo intransitivo, em que a reflexão racional e a selvagem e apaixonada manifestação dos afetos aparecem separados por limites formais bem precisos - como acontece na própria tragédia grega - e com uma personagem (Fräulein Elza), digamos assim, de desempenho trágico clássico, em que arroubos dionisíacos e sonhos apolíneos tiveram lugar no plano da narrativa. Este processo veio sendo contemplado nos contos de Primeiro andar com menos ênfase. O romance significou um aprofundamento dos ganhos obtidos anteriormente, neste sentido. O outro caminho estético teve como produto inicial Os Contos de Belazarte em que o sentimento trágico da vida se dilui no cotidiano das vidas sem relevo, sem aquela saliente separação entre razão e paixão. No plano da narrativa (enunciado) encontrou-se apoio fundamentalmente na filosofia de Nietzsche, privilegiando suas reflexões em torno da tragédia, desenvolvidas principalmente em O Nascimento da tragédia, do qual se buscou uma teoria organizada no sentido de configurar uma atitude trágica como experiência do cotidiano, adequada à modernidade... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Agreed a bibliographical research based on the literary theory, privileging the meeting of the tragedy with the ficcional narrative of century XX, in the case, the fiction of Mário de Andrade until, and also, Amar, verbo intransitivo. Examining it diacronicamente (shorts stories and romance), one deductive discerned the tragic components and nationalistic that its aesthetic e composes, finally, inductively, one came close these elements to configure such aesthetic one. In 1923, Mário de Andrade was divided in two aesthetic ways. One of them resulted in Amar, verbo intransitivo, where the reflection rational and the savage and gotten passionate manifestation of the affection appear separate for well necessary formal limits - as greek happens in the proper tragedy - e with a personage (Fräulein Elza), let us say thus, of classic tragic performance, where dionisiacs ecstasies and apollonian dreams had had place in the plan of the narrative. This process came being contemplated in shorts stories of Primeiro andar with little emphasis. The romance meant a deepening of the gotten profits previously, in this direction. The other aesthetic way had as initial product Os contos de Belazarte where the tragic feeling of the life if dilutes in the daily one of the lives without relief, without that salient separation between reason and passion. In the plan of the narrative (statement) support in the philosophy of Nietzsche met, privileging basically its reflections around the tragedy, developed mainly in The Birth of the tragedy, of which if it searched a theory organized in the direction to configure a tragic attitude as experience of the daily one, adjusted to modernity, where the hero arrives exactly at a clear conscience of itself promoting a harmony between life and thought... (Complete abstract, click electronic access below) / Orientador: Luiz Roberto Velloso Cairo / Coorientador: Diléa Zanotto Manfio / Banca: Soraia Georgina Ferreira de Paiva Cruz / Banca: Paulo Roberto de Carvalho / Doutor

[pt] A dissertação propõe questões sobre uma conduta determinada de narrador literário - um narrador que relate somente o que se pode ver e ouvir -, apresentando uma produção própria de ficção feita dentro desta forma e tecendo considerações a partir desta produção. Dessa forma, ela se constitui de três contos e ensaios em torno de questões desta produção. Pretende-se assim falar, por conseqüência, da própria criação literária, de seus caminhos e suas bordas, a partir de leituras de textos conhecidos sobre a própria escrita, como os de Edgar Allan Poe, Alain Robbe-Grillet, Italo Calvino, Umberto Eco e Ricardo Piglia. / [en] This dissertation raises questions concerning a certain form of literary narrative - that of a narrator who reports only what can be seen and heard -, presenting the author s own literary work of this form and making considerations about it. The dissertation consists of three short stories and essays raising questions over these fictional texts. The intention is to discuss literary creation itself, its paths and borders, taking as starting point readings of well-known texts on writing itself by Edgar Allan Poe, Alain Robbe-Grillet, Italo Calvino, Umberto Eco and Ricardo Piglia.

Frente à importância do papel conferido a literatura no processo de formação nacional desse país, o presente trabalho investiga que tipo de sujeito é representado pelas personagens da ficção em prosa publicada pelo do escritor angolano João Melo entre os anos de 1999 e 2009. Através da análise dos contos que compõe todo o corpo de prosa de ficção produzido por Melo, conclui-se, que as configurações identitárias presentes ao longo de suas obras constituem aquilo que o teórico britânico Stuart Hall chama de sujeito pós-moderno, cuja subjetividade é moldada pela dominante histórica e cultural da pósmodernidade, fruto do desenvolvimento do capitalismo tardio em Angola. / Given the importance of the role of literature for the process of national formation of this country, the present work investigates what kind of subject is represented by the characters of the prose fiction published by the Angolan writer João Melo between 1999 and 2009. Through the analysis of the short stories that compose the whole of the prose fiction produced by Melo, it is concluded that the identity configurations found in his works constitute what the British theorist Stuart Hall calls post-modern subject, whose subjectivity is formed by the historical and cultural dominant of post-modernity, result of the development of the late capitalism in Angola.