The research focuses on solutions to problems experienced in distinguishing between tragedy and pathos. The tragic is always characterised by emotions, and 'narrative can only be regarded as tragic through its tragic theme' (Steiner, 1961:16). Aristotle was the first to define tragedy he regards dramas/narratives as tragic if the protagonists die at the end, and the emotions of pity and fear are aroused. The tragedies Aristotle refers to all display emotional intensity, but are quite dissimilar. In some, the central emotions are evoked by the death of the protagonist, but in others there are events that are more intensely emotive than the death itself. In this study, the researcher provides an in-depth definition of the key concept 'tragedy', the different tragic emotions experienced and related concepts. Phatudi'sTladi wa Dikgati (1958) and Rammala's Lukas Mot helet hele (1963) prove clearly that there are two different types of tragedies, one of which contains pathos and the other contains tragedy. The research emphasises that these Sepedi narratives contain tragedy rather than mere pathos. The focus of this study is Sepedi tragic narratives, which have not previously been investigated in depth (Mohatlane, 2002:17). Only M.L. Bopape, P.M. Makgamatha and P.S.M. Mokgobu concentrated on tragic narratives, and P.M. Kgatla and P.S. Groenewald commented briefly on tragic narratives. The adopted narratological model employed in this research focuses plot and language usage, which are only briefly touched on in this research, as they have already been dealt with by prior theorists whose explanations of these narrative levels assist in understading the arrangement of the plot in tragic narratives. The research methodologies employed in analysing the structure of Sepedi tragic narratives/pathos to distinguish tragedy from pathos are descriptive, discussive and comperative. The researcher found few narratives containing pathos and tragedy in African languages, especially in Sepedi. The discussion of tragedy focuses on an analysis of the foundations, description, types and main characters (protagonists) of tragedy. Sepedi tragic narratives and pathos were influenced by Western culture; for example, Serudu's drama aka la peloga le tlale (1990) and G.H. Frans's Maaberone (1940) were influenced by Shakespeare's Romeo and Juliet. In this study, pathos is defined as related to societal sympathy. Holman (1936:166) explains that the 'emotional events in pathos affect the main character, his/her family and relatives, and they are left alone in those miseries and are expected to solve those problems without help from society'. In texts containing pathos, the main character is neither a villain nor a model of perfection, but basically good and decent. Even though the protagonist is great, he dies, but not because of moral blindness or error. He receives empathy because of his good character. The research concludes that in a text containing pathos, the protagonist is portrayed as simple and perfect. The events are so tragic that they induce pity and fear, more than death itself. Concerning tragic narratives, the investigation focuses on narratives of morality and ethics. Groenewald (1993:37) lists seven types of moral narratives, including tragedy and pathos. The two books that were the focus for this study were Rammala's Lukas Mot helet hele and Phatudi's Tladi wa Dikgati. The discussion of Lukas Mot helet hele focuses on the concepts of the (a) topic, (b) characters, (c) protagonists/antagonists as the most distinctive elements in tragic narratives and pathos. Authors organise their work in line with themes, which also control the main ideas and supporting ideas of the plot from beginning to end, and the protagonist, who dies at the end. This character is a great person who dies because of flaws (pride, jealousy and failure to take advice from others). The mistake is not easily recognised, it is hidden; it arouses emotions of pity and fear in the spectators. The analysis of Lukas Mot helet hele looks at (a) love, (b) segregation and hatred, (c) the hooliganism of Lukas Junior, (d) the emotional pain of the wife of Lukas (senior), and (e) the character Albi. The literary style (writing techniques) is analysed. Phala (1999:78) describes technique as 'the elements of writing and other concerns of the development of the plot, message and narrative' which are noted after the theme/message. Phatudi's novella Tladi wa Dikgati is analysed focusing on the protagonists and events that make it a tragic novella. The summary exposes the theme, characters, events, and place. The emphasis is on characters and events as central to tragic narrative. Analysis of Tladi wa Dikgati focuses on the theme, techniques, plot and writing style. The arrangement of events depends on the aim of the author and his objectives. It was found that this type of narrative reveals the emotions of fear, and depicts tragedy, and that the protagonist arouses pain or pity in the reader through attraction and suspense as the main techniques. Events are arranged and language is used to evoke a sense of tragedy and pity. / Thesis (DLitt)--University of Pretoria, 2016. / African Languages / DLitt / Unrestricted

In Sepedi, there is a problem of using irony instead of satire in reference to literary genres. The difference between the two concepts is that irony is a figure of speech and satire is a text type. To bring clarity on this issue, an attempt was made to give a thorough explanation of these concepts. In addition to this, emphasis was on the indication of how irony is employed in writing satire , explanation of structure of genres classified as irony, the correct name for such writings and an indication of how style differentiates those genres. Satire as a literary genre, like moral and didactical narratives has the aim of exposing evil in the society. In the light of this, an attempt was made to differentiate between satire as a literary genre and as a didactical narrative. In an attempt to clarify this, use was made of narratological model which emphasises content, plot and style in genre analysis. Irony as a figure of speech is embedded in the analysis of style in a text. This implies contrast which may be vertical or horizontal, depending on the position of words, sentences or morphemes in a sentence. When used vertically, it gives a meaning different from the reality, thus saying the opposite of what one means. To give a thorough explanation of the concept of satire, it was differentiated from moral stories by using two short stories namely, ‘Nna nka se je dipute…’ from Mantšhaotlogele (1985) by S.N. Nkadimeng and ‘Nka se sa boeletša’ from Medupi ya megokgo (1985) by D.L.M Mpepele. The two short stories were preferred in this study because of remarkable resemblances in respect of their content. They both outline the conflict between the child and a parent and they are similar in setting and milieu. The differences of these concepts as outlined in the summary of this work lies in their style. In his work, Nkadimeng stated the conflict in such a way that it is resolved by introducing a new character, the father in this case, who seemed to be passive all along. He intervenes in the conflict to act as the conscience of the mother, jolting her to her senses on time. Nkadimeng’s style is cool and calm, thus creates a pleasant atmosphere. Mpepele outlined the conflict until the parent acknowledges his wrong behaviour and confesses that he will never do it again. The father thus learned a hard way. Mpepele’s style is sharp, self – biting and spells out venom which effectively intercepts the lesson the father must learn. / Thesis (DLitt)--University of Pretoria, 2012. / African Languages / unrestricted

Tourist texts provides information to a wide variety of readers. The main functions of these texts is typically to be both informative and persuasive. When translating a tourist text, the translator should not only maintain these two functions in the target text, but is also faced with the challenge of adapting the text to the premises of the target culture.      The aim of this study is to identify the characteristics of the cultural aspects related to history and religion, as well as the stylistic features in the tourist text Los Caminos del Norte a Santiago. The techniques used in the translation of these aspects from the original spanish cultural context to the new swedish target culture are also studied, more specificly which ones of these translation techniques are the most frecuently used and why.      A cualitative as well as a cuantitative analysis of our translation has been carried out, which indicates that the translation techniques most commonly used regarding the translation of the cultural aspects related to history and religion was amplification and modulation. These were used, for example, in order to compensate for the lack of previous knowledge of the Spanish culture amongst the target text readers. Regarding the adaptation of the style to the target context, modulation and especially generalization was the most commonly used translation techniques. This is due to the intention of making the text less formal and poetic so as to better adjust to the target culture and its textual conventions.

<p>Намера студије јесте да се целокупни досадашњи драмски опус Виде Огњеновић<br />сагледа у ширем контексту савремене српске драматургије и књижевне традиције. Овакав<br />задатак подразумева анализу примењеног литерарно-драматуршког поступка, тематско-<br />мотивских одредница, жанровских и стилских особености, језичког израза,<br />карактеризације ликова, односа према историјским, политичким, идеолошким, културним,<br />социјалним и другим друштвеним феноменима. За реализацију тако дефинисаног циља<br />истраживања, било је неопходно формирати својеврсни координатни систем. Унутар<br />система једна оса представља најзначајније ауторе и њихова репрезентативна дела, који су<br />кључни за развој савремене српске драме од Другог светског рата до прве деценије овог<br />века, а друга оса означава књижевну традицију као недвосмислену исходишну тачку и<br />креативну инспирацију. Рад је подељен у три органски повезане целине: &bdquo;Савремена<br />српска драма&rdquo;, &bdquo;Драмски опус Виде Огњеновић&rdquo; и &bdquo;Књижевна традиција као креативна<br />инспирација</p> / <p>Namera studije jeste da se celokupni dosadašnji dramski opus Vide Ognjenović<br />sagleda u širem kontekstu savremene srpske dramaturgije i književne tradicije. Ovakav<br />zadatak podrazumeva analizu primenjenog literarno-dramaturškog postupka, tematsko-<br />motivskih odrednica, žanrovskih i stilskih osobenosti, jezičkog izraza,<br />karakterizacije likova, odnosa prema istorijskim, političkim, ideološkim, kulturnim,<br />socijalnim i drugim društvenim fenomenima. Za realizaciju tako definisanog cilja<br />istraživanja, bilo je neophodno formirati svojevrsni koordinatni sistem. Unutar<br />sistema jedna osa predstavlja najznačajnije autore i njihova reprezentativna dela, koji su<br />ključni za razvoj savremene srpske drame od Drugog svetskog rata do prve decenije ovog<br />veka, a druga osa označava književnu tradiciju kao nedvosmislenu ishodišnu tačku i<br />kreativnu inspiraciju. Rad je podeljen u tri organski povezane celine: &bdquo;Savremena<br />srpska drama&rdquo;, &bdquo;Dramski opus Vide Ognjenović&rdquo; i &bdquo;Književna tradicija kao kreativna<br />inspiracija</p> / <p>This study is aimed at offering an overview of the entire dramatic oeuvre of Vida<br />Ognjenović to date within the wider context of the contemporary Serbian dramaturgy and literary<br />tradition. This objective entails an analysis of the literary-dramatic procedure used, as well as the<br />thematic-motif determinants, distinctive features in regard to genre and style, linguistic<br />expression, characterisation, attitude towards historical, political, ideological, cultural, social and<br />other societal phenomena. In order to accomplish the objective of research thus formulated, it<br />was necessary to form a singular coordinate system. One coordinate axis represents major<br />authors and their representative works, which bear crucial significance for the development of<br />the contemporary Serbian drama from World War II to the first decade of this century, while the<br />other axis represents literary tradition as an unambiguous point of origin and creative inspiration.<br />The study is divided into three organically related units: &lsquo;Contemporary Serbian drama&rsquo;,<br />&lsquo;Dramatic oeuvre of Vida Ognjenović&rsquo; and &lsquo;Literary tradition as creative inspiration&rsquo;.</p>

This dissertation examines Lennart Sjögren’s conception of life as revealed through his poetry and other written documents. Light is shed on his writings in three chapters, with an Introduction that opens the investigations, and a Conclusion that sums up the findings. His collection of poetry Ur männisovärlden (2008, From the world of the living) is commented upon in an epilogue. Chapter Two analyses the collection Havet (1974, The Sea), focussing on Sjögren’s view of nature and his imagery. A religious tone can be apparent throughout the poems. In earlier centuries, poems about migratory birds often gained in authenticity via their Christian context. In a secularised age, ecological insights add to the credibility of the poems. Chapter Three is an analysis and interpretation of Sjögren’s collection of poems Fågeljägarna (1997, The Bird Catchers), as well as of the intra- and intertexts that the reader meets in his writings and that, for various reasons, serve to make Sjögren’s poetic voice so distinctive. In a series of subsections the uniqueness of Fågeljägarna is defined by means of a comparison with ecology, secularisation (secularism), nihilism, religion and mythology. In addition, there is a discussion of the “poetry of place” and a final analysis of what unites and divides Sjögren and K. E. Løgstrup, regarding a poetic understanding of life. Independent of the ideological direction that is identi-fied, this cycle of poems is marked by an elegiac mood. The poem “Dagen före plöjarens kväll” (1984, “The Day before the Plough-man’s Evening”) from the eponymous collection of poems is an example of an ekphrasis (a transformation of images). Chapter Four makes a close reading of this poem, for which Pieter Bruegel the Elder’s picture “Landscape with the Fall of Icarus” is a model. Four interpretative hypotheses are advanced: a moral, ontological, theological and a folkloristic one. The interpretation of the poem points out that the dialogue is not merely the poet’s private affair – the reader is also invited to take an active part in the discussion, now with the picture and the ekphrasis as prerequisites. The chapter contains a further three analyses of ekphrasis dealing with other poems from the collection Dagen före plöjarens kväll.

The central theme of the thesis is an in-depth translation criticism of the Austrian novel Die Liebhaberinnen by Elfriede Jelinek in the translation of Jitka Jílková. The criticism is based on the theoretical model of Katharina Reiss which is explored in her work Möglichkeiten und Grenzen der Übersetzungskritik. This model is expanded by the role of the editor and translationese style. At the end of the thesis Jitka Jílková is briefly presented, the translation analysis is summarised and evaluated with regard to an interview with the translator about her work.