The critical analysis section of this dissertation seeks to define the ode using examples in translation from Greek and Latin odes and examples in English written from the 1500s to the 2000s. Although most definitions of the ode contend that this subgenre of the lyric is an occasional poem of praise that includes a meditative or mythological element, the ode is far more complex. An ode is an occasional poem, but it works to privilege rather than strictly praise its subject, allowing for the speaker's ambivalence toward the subject. Meditation is a key element of the ode, since the poet uses the subject as a means for moving to the meditation or as a conduit through which the meditation occurs. The meditation in the poem is also a way for the poet or speaker to negotiate the relationship between the subject and herself; thus, the ode is concerned with power, since the poet must place herself or the speaker in relation to the subject. Power thus may be granted to either the speaker or the subject; the poet names and speaks of the subject, and often the poet names and speaks of himself in relation to the subject. Additionally, odes usually contain some exhortation, generally directed to the subject if not to those surrounding the reader or capable of "listening in" to the performance of the poem. This definition, it should be noted, is intended to be fluid. In order for a poem to be relevant to its age, it must either adhere to or usefully challenge the contemporary concerns. Thus, while many of the odes discussed will contain the elements of this definition, others will work against the definition. In the remainder of the introduction, I examine ancient models and twentieth- and twenty-first century examples of the ode as a means of exploring what an ode is and how it can undermine the elements of the definition and still work as a poem of this subgenre. In the second section of the dissertation are lyric poems, many of which fit in varying degrees the definition laid out in the critical analysis.

<p> Emerging out of feminist and cyberpunk science fiction of the 1980s, feminist post-cyberpunk SF is a subgenre that is rife with anxieties over novel technologies (such as cloning, genetically modified foods, nanotechnology, virtual reality, telepresence, and artificial intelligence), as they infiltrate daily life and threaten to transform the definition of human being. In this project, Larissa Lai's Salt Fish Girl, Nalo Hopkinson's Midnight Robber, Tricia Sullivan's Maul, and Laura Mixon's Proxies are read as indicative examples of feminist post-cyberpunk, as they all give voice to the increasing shared cultural preoccupation with technology and the body. The thesis is particularly interested in the way these texts expose - and insist upon - the vulnerability of the fleshy body, rather than perpetuate notions of technophilia and technological transcendence. Drawing on the (corporeal) feminist theory of Elizabeth Grosz and Margrit Shildrick (in particular her theorization of the vulnerable body), and on the feminist posthumanist work of N. Katherine Hayles and Elaine Graham, this thesis focuses attention on issues of technological embodiment and the changing definition of what constitutes human corporeal experience and embodiment. Ultimately, the thesis proposes that feminist post-cyberpunk condemns the exploitation and control of, what Shildrick terms, the "visibly vulnerable" body and insists on recognizing the vulnerability of the flesh as a defining trait of what constitutes human being.</p> / Thesis / Doctor of Philosophy (PhD)

This thesis deals with the thematic definition of subgenres of punk music and their comparison. Theoretical part consists of the definition of the concept of culture and several other selected terms. A subculture will be defined as a theoretical unit, which is followed by a historical basis for the punk subculture itself. In addition, the theoretical part deals with the relationship of punk music to left-wing extremism and outlines the beginnings of punk music in Czechoslovakia and the Czech Republic. The practical part is based on interviews with interpreters, of which three selected interviews are presented. The thesis also defines the subgenres themselves and defines their thematic content. These subgenres are then compared at their thematic level and the themes common to all sub-genres are defined.

Detta kandidatarbete undersöker science fiction, en av de större och vanligast använda genrerna inom medier såsom spel, film och litteratur, genom att studera dess undergrupper, de så kallade subgenrerna. Dessa är specialiserade versioner av genren i fråga och använder den inom vissa förutsatta ramar, exempelvis hur samhället ser ut eller vilken typ av teknologi det huvudsakliga fokuset kretsar runt. Genom att studera hur subgenrer är beskrivna i The Encyclopedia of Science Fiction kan man avgöra att de består av sex punkter: plats, tidsperiod, karaktärer, teknologi, narrativ och visuell estetik. Dessa punkter har använts som ramverk för att utveckla en ny subgenre; Mystech, där scenarier utspelar sig i vad som kan ses som en typisk fantasyvärld med magi och monster, men där dessa egentligen bara är teknologi majoriteten av de påverkade inte förstår sig på. För att demonstrera Mystech har två olika miljöer utvecklats, både i bild och skriven form. Dessa är två mycket olika skådeplatser för scenarier att berättas i men som trots sina olikheter har nog med faktorer gemensamt för att kunna klassificeras som delar av samma subgenre. / Dess populäritet är tydlig, men hur spridd är användingen av science fiction i dagens spelindustri? Hur kan man använda sagda populäritet för att slå igenom som utvecklare utan att försvinna i mängden? Detta arbetet studerar subgenrer, specialiserade undergrupper till science fiction som tar upp just de områden du vill utnyttja för din projektidé och hur du kan utveckla egna sådana om du inte finner vad du söker bland de befintliga. / Hampus Juhlin telnr. 076-1853950 Pontus Novén telnr. 073-4448595

The 1930s and 1940s were characterised by considerable interest in research on literary magazines. Relevant studies were undertaken by A.M. Uys (1933, UCT), P.J.J. Dry (1939, UOFS) and W.G. Combrinck (1945, UW). This interest dwindled until J.H. Venter registered a doctorate at UNISA (1991), which he never completed. Today there is a vast gap in the field of research on Afrikaans literary magazines in general. Since no other research has yet been undertaken on the document design of literary magazines in particular, this study may be regarded as groundbreaking. Document design focuses on the utilisation of design elements to purposely create a document for optimal use by the reader. Renkema’s CCC model was chosen to serve as a generic, theoretically founded model for document analysis. In accordance with this model, texts were analysed and reviewed with regard to genre, content, structure, style and layout. Renkema’s model was adapted in order to fine-tune it for reviewing the document design of literary magazines in particular. In this study the choice of genre fell on literary magazines and little magazines of the 1960s (Sestiger, Wurm, Kol and Standpunte), the 1980s (Spado, Graffier, Stet and Standpunte) and the era of 2000 (Driepootpot, PENorent, seepdoos, Tydskrif vir Letterkunde and Spilpunt). The object of this study was to determine whether the parameters governing the document design of literary magazines changed over a period of forty years. The content of these magazines was analysed by classifying it in various subgenres and then comparing the number of writers who contributed to every subgenre in every magazine; the internal and external structure of the various magazines were defined and compared; the style of the various magazines was established and compared; and, lastly, the layout of the twelve magazines was explored and similarities, differences and progression were established. The results indicated that some of the parameters of document design have indeed changed over the past forty years, but that a large number of principles also remained unchanged. The content expanded significantly as a result of the addition of new subgenres. The internal structure remained consistent. The quality of the external structure and layout improved in such a way that it supports the internal structure much better. The style of the content remained unchanged for those magazines that belong to the same era, but changed through the decades to reflect the actualities and struggles of the day. Layout is the area in which the greatest measure of progression was recorded, mainly as a result of the expansion of knowledge in the field of document design, the evolution of technology in the form of the Internet, the layout process, the printing process, et cetera. These developments have, in the course of time, made it substantially easier to design documents for a specific purpose and target audience. / Dissertation (MA)--University of Pretoria, 2006. / Unit for Academic Literacy / Unrestricted

Syftet med den här uppsatsen är att belysa den förbisedda subgenren giallo genom att undersöka om genren har influerat den mer framgångsrika och erkända subgenren slasher. Och om det är fallet undersöka hur omfattande arvet ifrån giallogenren till slashergenren är. För att besvara detta har följande frågor använts som utgångspunkt för analysen och diskussionen: Vilka likheter och skillnader finns mellan subgenrerna giallo och slasher? och Vad återfinns från giallon till slashern och hur omfattande är inflytandet? Med hjälp av tidigare forskning kring skräckgenrens historiska utveckling, influenser, subgenrer och genrekonventioner har generna kartlagts och analyserats. Genom en komparativ analysmetod av två stycken filmer ifrån respektive subgenre påträffade undersökningen väsentliga likheter i innehållet som påvisar att giallogenren har inspirerat och influerat slashergenren avsevärt.

This diploma thesis is focused on the topic of electronic dance music and its genre classification within Czech music scene. The main part of the thesis defines seven primary genres of EDM from the historical and musical perspective, and consequently it divides them into the subgenres that the audience can meet on the Czech dance floors most frequently. Moreover, the thesis describes the origin, evolution as well as the current situation of Czech EDM. The thesis also concerns with the differences among the subgenres by means of the drum pattern notation and sonic samples.

В магистерской диссертации исследуются рукописные воспоминания непрофессионального, наивного автора Фенина В. Е. в свете теории речевых жанров. Рассматривается концепция адресанта в рукописных воспоминаниях. Анализируются строевые элементы гипержанра воспоминаний (субжанры) – метатекстовые высказывания, выделяются их функции. Разбирается информативно-оценочная программа построения субжанров рукописных воспоминаний. / In the master's dissertation the handwritten memories of a non-professional, naive author Fenin V. E. are examined in the light of the speech genres theory. The concept of the addressee in handwritten memories is considered. The structural elements of the hypergenre of memories (subgenres) – metatextual statements – are analyzed and their functions are highlighted. The informative-evaluative program of the subgenres' construction in handwritten memories is analyzed.

Summaries in Afrikaans and English / The aim of this dissertation is to analyse those poems in which the image of the knife, el cuchillo, appears in the collection El rayo que no cesa, by Miguel Hernandez. The poet manifests his all-encompassing tragic view of life by means of this recurring negative symbol. The poetry of Miguel Hernandez is autobiographical: The universal themes of nature, love and death reveal a close link between the course of his life and the evolution of his poetry. El rayo que no cesa is central to the evolution of Hernandez's poetry: it is the product of the crisis of conscience that propelled the poet toward a radical change of world-view. The book reveals his frustration with love within the rigid norms of the society of his time. The poet expresses his bitterness by means of destructive images such as knife, sword, and ray/flash, images that project the tragic fate that threatened his entire existence. / Met eietydse denkrigtings oor die literere historiografie as uitgangspunt, word 'n deelgeskiedenis aangebied van die plaasroman as deurlopende en prominente genre in die Afrikaanse letterkunde oor 'n tydperk van nagenoeg sewentig jaar (1926 -1993). Ter inleiding word besin oor die geldigheid van kategorisering van romans en oor die aard van die plaasroman as eiesoortige genre. Orie opeenvolgende periodes word onderskei binne hierdie deelgeskiedenis op grond van bepaalde perspektiefverskuiwings wat in die Afrikaanse literere klimaat opvat. Hierdie periodes word deur die volgende noemers getipeer: Die Afrikaanse gedagte (1920-1940), Die internasionale gedagte (1956-1976) en Die Afrika gedagte (1976-1993). Twaalf plaasromans van literer-historiese betekenis word sinchronies, diachronies en binne ekstratekstuele konteks bespreek. Ten slotte word 'n oorsig gebied van die historiese gang sowel as die veranderende betekenis van die plaasroman in die Afrikaanse letterkunde. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Die vorliegende Seminararbeit zeigt anhand einer breit gefächerten Analyse von Mystery die Vielfältigkeit des Mystery-Begriffes und -Genres auf, besonders im Hinblick auf die Parallelen und Unterschiede zu seinem englischen Ursprung. Es erfolgt eine detaillierte etymologisch-lexikografische Betrachtung. In dieser wird auf die verschiedenen Bedeutungsfacetten von Mystery eingegangen sowie eine Anglizismus-/Pseudoanglizismus-Debatte geführt. Ausgangspunkt bildet der ursprüngliche Sinn von Mystery als Unerklärliches, generelles Rätsel, Geheimnis oder religiöses Mysterium. Es werden Verbindungen zu englischen Rätselgeschichten (mystery stories) gezogen, die allgemein von unerklärlichen Begebenheiten erzählt. Diese mysteries umfassen sowohl Rätsel im verbrechensbezogenen Kontext (detective stories) als auch die im Deutschen vorherrschenden Verbindungen zum Übernatürlichen sowie Geheimnisvoll-Rätselhaftes in den vielfältigsten Kontexten (Gothic novels, moderne American mystery story). Somit wird eine Annäherung der englisch-deutschen Mystery-Bedeutung sichtbar. Ferner versucht die Arbeit, auf Ursprünge und Entwicklungen des deutschen Mystery-Trends einzugehen und die Faszination Mystery zu erklären. Eine bedeutende Rolle kommt der Serie Akte X zu. Denn im Zuge ihrer Ausstrahlung und Vermarktung im deutschen Fernsehen wurde die englische Mystery-Bezeichnung aufgegriffen. In die gesamte Aufarbeitung werden verschiedenste Meinungen von Rezipientenseite, Vermarktung, Medien, Wissenschaft einbezogen. So entsteht ein Überblick zum Dargestellten im Mystery-Genre. Es wird belegt, dass im deutschsprachigen Raum ein relativ einheitliches Bewusstsein dafür besteht, was das Genre Mystery im filmischen und literarischen Bereich ausmacht.