The thesis deals with one major issue of how the amaXhosa authors reflect change and transition in the lives of their characters in the period under consideration. This change pertains both to the socio-politico-economic life of the people concerned and the contents of the books and the style of the authors' writings. The study is ground-breaking in that it goes beyond common dissection of the structural elements of the books to a synthetic study of their themes, subject matter, character portrayal and setting. The primary aim is to give a holistic overview of the changing culture of the black people against the backdrop of subjugation and transformation. Chapter 1 contains all the formal preliminary information such as aim, method, context, relevance and topicality of study. Chapter 2 anchors the study in the newspaper age as a solid foundation for the amaXhosa literature. Chapter 3 is an overview of the beginnings of literary endeavours among the amaXhosa and how they reflect the impact of socio-economic pressures in the lives of the people. Chapter 4 further illustrates the impact of education and Christianisation on the blacks as well as growing political awareness among the authors. Chapter 5 focuses on culture-clash among the amaXhosa as a result of the alienating influence of both the church and the school. Chapter 6 highlights changes in society at the height of oppression under the previous political dispensation. Chapters 7 and 8 reflect the authors' thinking and how they depict changes in post-apartheid South Africa while Chapter 9 focuses on the role of Language Boards in restricting freedom of writing and expression during the apartheid years. Chapter 10 is a general conclusion that encapsulates the main points of the thesis. / African Languages / D. Litt, et Phil. (African Languages)

Made available in DSpace on 2016-04-28T19:59:22Z (GMT). No. of bitstreams: 1 Vander Lucia Silva Lessa.pdf: 584208 bytes, checksum: 256293927ca2cdd5f28eca06c0b3aefe (MD5) Previous issue date: 2010-06-16 / The subject matter of this study is grounded on the analysis of the playful and wonderful aspects contained in the book O sofá estampado, of Lygia Bojunga Nunes. The issue of the research is based on the study of the fantastic aspects of some points of the narrative in which the imaginary and wonderful predominate and, as a consequence, are identified from the narrative construction, that is, in the characters universe. A bibliographic review was conducted for the wonderful, strange and fantastic concepts from different theorists viewpoints in order to try to clarify and set the framework of each concept. After studying such themes and procedures regarding these genders of imaginary, we found that Todorov s theory is the one which best applies to the analysis of the LBN text. We also looked into how unreal characters Dalva and Vítor are framed by the real effects of the speech, creating a verisimilitude effect in the narrative. For this purpose, we revisited Aristotle and the major theorists such as Barthes to look into the mimesis and verisimilitude concepts. The wonderful or the fantastic substantiates whenever the character Vítor digs to find a balance in the universe of the desert street, whereas the wonderful or the fantastic is a resource which allows to shorten the time of maturity of the character, since, by using magic, the character runs from unbalance to balance faster, otherwise the narrative would take much more time. The universe of the desert street may take different meanings, e.g. the character s search for knowledge inside itself. Accordingly, the work is interesting for the reader of any age and different intellectual levels, since it allows various levels of understanding and reading / O objeto de estudo desta dissertação fundamenta-se na análise dos aspectos lúdico e maravilhoso presentes no livro O sofá estampado de Lygia Bojunga Nunes. O problema da pesquisa baseia-se no estudo do fantástico. Para que seja identificado, devemos observá-lo a partir da construção narrativa, ou seja, do universo das personagens. Inicialmente foi feita uma revisão bibliográfica dos conceitos de maravilhoso, de estranho e de fantástico, sob o ponto de vista de diferentes teóricos, para tentarmos clarear e delimitar cada conceito. Depois de estudarmos os temas e procedimentos referentes a esses gêneros do imaginário, constatamos que a teoria de Todorov é a que melhor se aplica à análise do texto de Lygia Bojunga Nunes. Foi investigado também como as personagens Dalva e Vítor são captadas pelos efeitos do real do discurso, criando-se na narrativa um efeito de verossimilhança. Para isso retomamos a Aristóteles e aos principais teóricos como Barthes, para estudarmos os conceitos de mimese e verossimilhança. A inscrição do maravilhoso ou do fantástico é um recurso capaz de encurtar o tempo de amadurecimento da personagem, pois usando a magia, a personagem passa de um estágio de desequilíbrio ao de equilíbrio mais rapidamente, caso contrário a narrativa se estenderia por muito mais tempo. A inscrição do maravilhoso ou fantástico ocorre sempre que a personagem Vítor cava em busca de equilíbrio no universo da rua deserta - universo de profundidade - a partir do sofá estampado - universo de superfície. O universo da rua deserta pode assumir diferentes significados como a busca de conhecimento da personagem no interior de si mesma. Neste sentido a obra interessa ao leitor de qualquer idade e de diferentes níveis intelectuais, pois possibilita vários níveis de apreensão e de leitura

Made available in DSpace on 2016-04-26T18:16:14Z (GMT). No. of bitstreams: 1 patricia.pdf: 10314725 bytes, checksum: 715f5c31241bfc42e4c33c08b3d4387a (MD5) Previous issue date: 2007-05-10 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Between 1976 and 1981 Bernard Faucon staged window mannequins of children for photographic mise en scènes. These mise en scènes present celluloid dummies with glass eyes arranged in scenes constructed to appear natural and familiar (such as outdoor promenades, games and picnics) and belong to the series called Les Grandes Vacances. In some images, and disturbing the fictions, a living child is seem naked among the manequins. This research focus on the relation between verisimilitude and inverisimilitude as found between the living child and the non-living ones in this series. It also deals with the relation between the experience of time and the photographic gaze. As far as methodology is concerned, our study is based in authors such as Roland Barthes, Maurice Blanchot e Sigmund Freud, who approach, each of them in his own field of reaserch, the connections of the gaze with life and death, as well as with verisimilitude and inverisimilitude. The conclusions indicate that, in these photographs, life and truth are not to be searched in reality, for they ermerge from the non-living and the inverisimilitude. It is the mannequin, rather than the living body, that concentrates the power of guiding the gaze to places where it can experience true affections and fictionalize possible lifes. The true and living body is impossible / Entre 1976 e 1981, Bernard Faucon realizou mise en scènes fotográficas com manequins de vitrine infantis. Reunidas na série que viria a se chamar Les Grandes Vacances, elas apresentam bonecos de cera e olhos de vidro em cenas construídas para parecerem naturais e familiares como passeios ao ar livre, jogos e piqueniques. Em algumas imagens, um menino vivo, de corpo descoberto, aparece em meio aos manequins, para abalar as ficções. Esta pesquisa se debruça sobre a questão da verossimilhança e da inverossimilhança, pautada na relação entre a criança viva e a não-viva nestas imagens. Também buscamos explorar como nelas se articula a experiência do tempo e o olhar fotográfico. Metodologicamente, este trabalho parte de um diálogo com um conjunto de autores, como Roland Barthes, Maurice Blanchot e Sigmund Freud, que tangenciam, cada qual em seu próprio campo de estudo, a relação do olhar com a vida e a morte, bem como com a verossimilhança e a inverossimilhança. As conclusões às quais chegamos indicam que em Les Grandes Vacances a vida e a verdade não são buscadas pelo lado da realidade, mas emergem do não-vivo e do inverossímil. Percebemos que é o manequim que concentra todas as potências de conduzir o olhar a experienciar afetos verdadeiros e a fabular vidas possíveis. O corpo vivo e verdadeiro é impossível

Esta dissertação realiza uma análise do livro A Máquina do Tempo, escrito por H.G. Wells em 1895, e sua transposição fílmica homônima realizada por George Pal em 1960 dentro do escopo do gênero ficção-científica. São analisadas as mudanças que foram realizadas no processo de transposição da literatura para o cinema. Este trabalho discute inicialmente as características do gênero ficção-científica na literatura, como o gênero se diferencia de outros gêneros como a literatura fantástica, por exemplo, e quais são os elementos que compõem a identidade do gênero ficção-científica. Em um segundo momento investigamos os problemas que o gênero ficção-científica apresenta quando transposto a mídia cinematográfica. Entre os fatores investigados estão como a verossimilhança funciona na literatura de ficção-científica e como o leitor se relaciona com ela. Também se analisou como o gênero utiliza o conhecimento científico para criar seus universos ficcionais, e as mudanças que os realizadores fílmicos às vezes precisam fazer para tornar o universo literário ficcional aceitável ao espectador em termos de verossimilhança, considerando que o que é verossímil na literatura não é necessariamente verossímil no cinema, especialmente na literatura de ficção-científica, um gênero que possui uma ligação íntima com a ciência e o progresso. Para finalizar essa pesquisa analisa a relação entre o gênero ficção-científica e o cinema no que diz respeito aos problemas que o gênero apresenta ao cinema em termos de tecnologia. Em outras palavras, o gênero literário ficção-científica traz aos realizadores fílmicos problemas e desafios que exigem a pesquisa e o desenvolvimento de novas tecnologias e técnicas visando resolvê-los. / The present work analyzes the book The Time Machine, written by H.G.Wells in 1895, as well as its transposition into a homonymous movie made by George Pal in 1960 as part of the science fiction genre. This work initially discusses the characteristics of the science fiction genre in literature, the way the genre differs from others such as the fantastic literature, for instance, and the fundamental elements of the science fiction genre. It then investigates the problems the science fiction genre presents when transposed to film media. Among the investigated factors are the problem of verisimilitude in science fiction literature and how the reader responds to it. This includes discussing the way the genre uses scientific knowledge to create its fictional universe, and the changes, in terms of verisimilitude, moviemakers need to consider when the fictional literary text is transferred into film. What sometimes is plausible in literature not always seems plausible in movies, especially in regard to science fiction literature, a genre that has a intimacy with science and progress. To conclude, this research analyzes the relation between the science fiction genre and film concerning the challenges the genre presents when transposed into another medium in terms of technology. These challenges require research and the development of new procedures for the cinematographic medium.

The thesis deals with one major issue of how the amaXhosa authors reflect change and transition in the lives of their characters in the period under consideration. This change pertains both to the socio-politico-economic life of the people concerned and the contents of the books and the style of the authors' writings. The study is ground-breaking in that it goes beyond common dissection of the structural elements of the books to a synthetic study of their themes, subject matter, character portrayal and setting. The primary aim is to give a holistic overview of the changing culture of the black people against the backdrop of subjugation and transformation. Chapter 1 contains all the formal preliminary information such as aim, method, context, relevance and topicality of study. Chapter 2 anchors the study in the newspaper age as a solid foundation for the amaXhosa literature. Chapter 3 is an overview of the beginnings of literary endeavours among the amaXhosa and how they reflect the impact of socio-economic pressures in the lives of the people. Chapter 4 further illustrates the impact of education and Christianisation on the blacks as well as growing political awareness among the authors. Chapter 5 focuses on culture-clash among the amaXhosa as a result of the alienating influence of both the church and the school. Chapter 6 highlights changes in society at the height of oppression under the previous political dispensation. Chapters 7 and 8 reflect the authors' thinking and how they depict changes in post-apartheid South Africa while Chapter 9 focuses on the role of Language Boards in restricting freedom of writing and expression during the apartheid years. Chapter 10 is a general conclusion that encapsulates the main points of the thesis. / African Languages / D. Litt, et Phil. (African Languages)

Esta dissertação realiza uma análise do livro A Máquina do Tempo, escrito por H.G. Wells em 1895, e sua transposição fílmica homônima realizada por George Pal em 1960 dentro do escopo do gênero ficção-científica. São analisadas as mudanças que foram realizadas no processo de transposição da literatura para o cinema. Este trabalho discute inicialmente as características do gênero ficção-científica na literatura, como o gênero se diferencia de outros gêneros como a literatura fantástica, por exemplo, e quais são os elementos que compõem a identidade do gênero ficção-científica. Em um segundo momento investigamos os problemas que o gênero ficção-científica apresenta quando transposto a mídia cinematográfica. Entre os fatores investigados estão como a verossimilhança funciona na literatura de ficção-científica e como o leitor se relaciona com ela. Também se analisou como o gênero utiliza o conhecimento científico para criar seus universos ficcionais, e as mudanças que os realizadores fílmicos às vezes precisam fazer para tornar o universo literário ficcional aceitável ao espectador em termos de verossimilhança, considerando que o que é verossímil na literatura não é necessariamente verossímil no cinema, especialmente na literatura de ficção-científica, um gênero que possui uma ligação íntima com a ciência e o progresso. Para finalizar essa pesquisa analisa a relação entre o gênero ficção-científica e o cinema no que diz respeito aos problemas que o gênero apresenta ao cinema em termos de tecnologia. Em outras palavras, o gênero literário ficção-científica traz aos realizadores fílmicos problemas e desafios que exigem a pesquisa e o desenvolvimento de novas tecnologias e técnicas visando resolvê-los. / The present work analyzes the book The Time Machine, written by H.G.Wells in 1895, as well as its transposition into a homonymous movie made by George Pal in 1960 as part of the science fiction genre. This work initially discusses the characteristics of the science fiction genre in literature, the way the genre differs from others such as the fantastic literature, for instance, and the fundamental elements of the science fiction genre. It then investigates the problems the science fiction genre presents when transposed to film media. Among the investigated factors are the problem of verisimilitude in science fiction literature and how the reader responds to it. This includes discussing the way the genre uses scientific knowledge to create its fictional universe, and the changes, in terms of verisimilitude, moviemakers need to consider when the fictional literary text is transferred into film. What sometimes is plausible in literature not always seems plausible in movies, especially in regard to science fiction literature, a genre that has a intimacy with science and progress. To conclude, this research analyzes the relation between the science fiction genre and film concerning the challenges the genre presents when transposed into another medium in terms of technology. These challenges require research and the development of new procedures for the cinematographic medium.

This dissertation critically appraises some ofChauke's literary works within a semiotic approach especially in terms of colours of the spectrwn. In this study the spectrum is reganled as a replica or symbol of man's various filcets of Jife. Analyses of the representations of "Life is a Spectrum" have been made in tenns of psychological and symbolic &.cets. Cbauke's narrative s1yle in delineating characters and milieus sketching received attention in the discussion. The cunent scenario in education and politics as well as socio-economic issues have also been dealt with. This study has revealed that Chauke is an author who dmws readers very close to his works that serve as mirrors of their lives. It bas been established that Chauke is an outstanding writer who uses real situations and events that are relevant to people•s life in this contempotaty situation. / African Languages / M.A. (African Languages)

Esta dissertação realiza uma análise do livro A Máquina do Tempo, escrito por H.G. Wells em 1895, e sua transposição fílmica homônima realizada por George Pal em 1960 dentro do escopo do gênero ficção-científica. São analisadas as mudanças que foram realizadas no processo de transposição da literatura para o cinema. Este trabalho discute inicialmente as características do gênero ficção-científica na literatura, como o gênero se diferencia de outros gêneros como a literatura fantástica, por exemplo, e quais são os elementos que compõem a identidade do gênero ficção-científica. Em um segundo momento investigamos os problemas que o gênero ficção-científica apresenta quando transposto a mídia cinematográfica. Entre os fatores investigados estão como a verossimilhança funciona na literatura de ficção-científica e como o leitor se relaciona com ela. Também se analisou como o gênero utiliza o conhecimento científico para criar seus universos ficcionais, e as mudanças que os realizadores fílmicos às vezes precisam fazer para tornar o universo literário ficcional aceitável ao espectador em termos de verossimilhança, considerando que o que é verossímil na literatura não é necessariamente verossímil no cinema, especialmente na literatura de ficção-científica, um gênero que possui uma ligação íntima com a ciência e o progresso. Para finalizar essa pesquisa analisa a relação entre o gênero ficção-científica e o cinema no que diz respeito aos problemas que o gênero apresenta ao cinema em termos de tecnologia. Em outras palavras, o gênero literário ficção-científica traz aos realizadores fílmicos problemas e desafios que exigem a pesquisa e o desenvolvimento de novas tecnologias e técnicas visando resolvê-los. / The present work analyzes the book The Time Machine, written by H.G.Wells in 1895, as well as its transposition into a homonymous movie made by George Pal in 1960 as part of the science fiction genre. This work initially discusses the characteristics of the science fiction genre in literature, the way the genre differs from others such as the fantastic literature, for instance, and the fundamental elements of the science fiction genre. It then investigates the problems the science fiction genre presents when transposed to film media. Among the investigated factors are the problem of verisimilitude in science fiction literature and how the reader responds to it. This includes discussing the way the genre uses scientific knowledge to create its fictional universe, and the changes, in terms of verisimilitude, moviemakers need to consider when the fictional literary text is transferred into film. What sometimes is plausible in literature not always seems plausible in movies, especially in regard to science fiction literature, a genre that has a intimacy with science and progress. To conclude, this research analyzes the relation between the science fiction genre and film concerning the challenges the genre presents when transposed into another medium in terms of technology. These challenges require research and the development of new procedures for the cinematographic medium.

Cette thèse propose l’examen des textes de théorie de l’art et de critique d’art portant sur la peinture en France, aux XVIIe et XVIIIe siècle, suivant l’angle de la vraisemblance. De nombreuses réflexions sur la légitimité de la critique de ceux qui ne pratiquent pas la peinture ont précédé la naissance de la critique d’art, et la question fait toujours débat au XVIIIe siècle. Or, la notion de vraisemblance, présente dans le discours des théoriciens (peintres ou non) du point de vue de la réalisation des œuvres, manifeste la prise en compte d’un regard porté sur le tableau, c’est-à-dire du point de vue de la réception : est-ce que l’ « on » peut croire à ce que le tableau représente ? Ce que nous souhaitons montrer est le rôle crucial que joue la vraisemblance dans la légitimation de la critique d’art. Si un spectateur, qui n’est pas peintre, n’est pas à même de juger la qualité du dessin ou du coloris dans une œuvre, il est en droit de dire si ce que le tableau lui présente est vraisemblable ou non.Notre étude cherche à comparer les différentes acceptions que le terme de vraisemblance prend sous la plume des théoriciens et des critiques, afin d’une part de mettre en évidence que cette notion est considérée des deux côtés comme une règle en peinture, et de préciser son évolution dans les discours au XVIIIe s. / This thesis offers to examine theory of art and art criticism texts about painting in 17th and 18th c. France, via the angle of verisimilitude. Numerous thoughts upon the legitimacy of the criticism of those who do not practice painting have preceded the birth of art criticism, and the debate is still going on during the 18th c. However, the notion of verisimilitude, present in art theory discourses (by painters or not) about the creation of an art piece, manifests that the perception of the painting by someone looking at it is taken into account, this time from the point of view of reception: can “one” believe what the painting shows? We aim at proving the crucial role of verisimilitude in giving art critic legitimacy. If a spectator – who is not a painter – has no legitimacy to judge the quality of drawing or colour in an art piece, he can say whether the painting is credible or not.We compare and study the several acceptations of verisimilitude in theorists and critics’ writings in order to highlight that the notion is considered as a rule of painting on both sides, and analyse its evolution in 18th c. discourses.

The thesis consists of the novel, Stargate Atlantis: Exogenesis (Whitelaw and Christensen, 2006a) and an accompanying exegesis. The novel is a stand-alone tie-in novel based on the television series Stargate Atlantis (Wright and Glassner), a spin-off series of Stargate SG-1 (Wright and Cooper) derived from the movie Stargate (Devlin and Emmerich, 1994). Set towards the end of the second season, Stargate Atlantis: Exogenesis begins with the discovery of life pods containing the original builders of Atlantis, the Ancients. The mind of one of these Ancients, Ea, escapes the pod and possesses Dr. Carson Beckett. After learning what has transpired in the 10,000 years since her confinement, the traumatised Ea releases an exogenesis machine to destroy Atlantis. Ea dies, leaving Beckett with sufficient of her memories to reveal that a second machine, on the planet Polrusso, could counter the effects of the first device. When the Atlantis team travel to Polrusso, what they discover has staggering implications not only for the future of Atlantis but for all life in the Pegasus Galaxy. The exegesis argues that both science and science fiction narrate the dissolution of ontological structures, resulting in cognitive estrangement. Fallacy writers engage in the same process and use the same themes and tools as science fiction writers to resolve cognitive estrangement: they technologise mythology. Consequently, the distinction between fact and fiction, history and myth, is blurred. The exegesis discusses cognitive estrangement, mythology, the process of technologising mythology and its function as a novum that facilitates the resolution of cognitive estrangement in both fallacy and science fiction narratives. These concepts are then considered in three Stargate tie-in novels, with particular reference to the creative work, Stargate Atlantis: Exogenesis.