Dissertations / Theses on the topic 'Critisism'

Thesis (M.A. (African Languages)) --University of Limpopo, 2015.
This research ‘Nxopaxopo wa switlhokovetselo hi ku kongomisa eka tsalwa ra Swilo swa humelela’ hi KJ Ngobeni na SJ Malungana highlights what happens in schools nowadays in the era of democracy. There is lack of discipline in schools. Educators are not respected by learners. Circuit managers no longer pay visits to schools for inspection. Black people fought to dismantle separate development, racial segregation and in particular to overthrow the white minority regime commonly known as Apartheid. This research also gives the historical background of protest poetry, its characteristics and its causes. Lastly, we analyse twenty selected poems from Swilo swa humelela by K.J Ngobeni and S.J Malungana. This research consists of five chapters. Chapter one outlines the background to the research, its aim and definition of important terms used in the study. These are terms about poetry such as protest poetry, enjambment and rhetorical questions. This chapter will also present the literature review. Chapter two examines the research methodology used in the study. Explication of two types of research methods, namely qualitative and quantitative research methods are discussed. Chapter three deals with protest poetry in details, its characteristics, origin, causes and its functions. Chapter four gives a critical analysis of twenty selected poems from the book Swilo swa humelela by K.J Ngobeni na S.J Malungana. Chapter five looks at the general conclusion, which indicates the research findings and recommendations of the study.

Posthumanistischer Feminismus ist ein transdisziplinäres Wissenschaftsgebiet, das dem kritischen Posthumanismus zugeordnet werden kann. In diesem rückt die Frage nach der vergeschlechtlichten Dimension des Humanismus-Diskurses in den Fokus, der u. a. auf der androzentrischen Gleichsetzung von Mensch und Mann sowie der rassistischen Gleichsetzung von Mensch und Weiß-Sein beruht. Für eine feministisch-posthumanistische Forschungsprogrammatik gelten folgende Perspektiven als zentral: Der feministische Posthumanismus gesteht allen Lebewesen, Artefakten, Hybridwesen und weiteren belebten und unbelebten Konfigurationen Handlungsfähigkeit (agency) und Aktivität zu und kritisiert die Differenzierung zwischen Natur und Kultur und daran anknüpfende Grenzziehungen zwischen männlich/weiblich sowie Weiß-Sein/Schwarz-Sein. Zudem wird die Frage nach Körperfigurationen und -grenzen sowie nach deren sozialem Konstruktionscharakter und ihrer Kontextabhängigkeit aufgeworfen.

This study utilises a variety of research methods in order to investigate aspects often overlooked within Scottish film criticism, and indeed film studies more generally, namely: pre-production, production experiences, marketing and distribution, and reception. To date, Scottish film criticism has exhibited a preoccupation with questions of nation, national identity and national cinema, and overwhelmingly scholars have privileged almost exclusive analysis of the film text. Spurred by Jonathan Murray’s (2007, 2011, 2012) questioning of the continued relevance of the national framework, this thesis goes beyond the frame of the film text in order to consider new ways in which a national framework might be of relevance when analysing Scotland’s cinematic output. Concurrently, the chosen case study is also used as a means of critiquing existing literature on collective identity and national cinema. As the title of this thesis suggests, analysis centres on the Dogma-inspired Advance Party initiative and its resulting films, Red Road (Arnold, 2006) and Donkeys (McKinnon, 2010). Devised by Glasgow-based Sigma Films and Denmark’s Zentropa, the cross border collaborative dimension of the Advance Party framework initially appears to challenge the appropriateness of the national framework. As this thesis demonstrates however, such a simplistic conclusion is reductive and overlooks the complexities of the film industry. Throughout this thesis, questions as to the intended and eventual function of the Advance Party framework arise, and these are revisited by means of the thesis Conclusion.

I takt med att organisationers omgivande miljö beskrivs som alltmer dynamisk, ökar kritiken mot den budgeteringen, då budget anses var ett statiskt ekonomistyrningsverktyg. Trots medhållet som kritiken får visar empiriska studier att få företag faktiskt överger budget som huvudsakligt planerings- och kontrollverktyg (Sandalgaard 2012; Ekholm & Wallin 2000; Dokulil, Zlámalová & Popesko 2017). Till följd av Covid-19-pandemin under år 2020 förlorande många marknader sin förutsägbarhet vilket resulterade i osäkra omgivningar för många organisationer och branscher. Bilförsäljningen visade en hög variation under pandemiåret. Först tappade marknaden 40% av försäljningen och några månader senare fick den uppgång som täckte upp för de föregående förlorade intäkterna. Marknaden upplevde därmed en berg-och-dal-bana som ger insikt i hur budgetens praktiska användning sammanfaller med kritiserade svagheter. Genom att använda fem av de främsta argumenten i kritiken mot budgetering undersöker studien hur budgeten påverkas hos svenska bilåterförsäljare. Detta illustrerar behovet som bilåterförsäljarna har i en bransch vars omgivning påverkats av en oväntad osäkerhet. Sju bilåterförsäljare kontaktades och intervjuades i syfte att tillhandahålla den empiriska datan som i efterhand kompletterades genom de utvalda återförsäljarnas årsredovisningar. Genom detta urvalet utforskar studien en variation i behovet av budgeten. Studien kommer bland annat fram till att budgeten och dess komplement samspelar för att tillgodose de observerade bilåterförsäljarnas individuella behov av planering och kontroll.
The critique of budgeting has been growing louder during recent years as the influencing factors in the organizational environment is increasingly described as dynamic, while budgeting itself is seen as a static appliance in organizational management. However, despite the support this critique receives, empirical evidence shows that few companies actually abandon budgeting as one of their main tools for planning and control in financial management (Sandalgaard 2012; Ekholm & Wallin 2000; Dokulil, Zlámalová & Popesko 2017). Due to the Covid-19 pandemic year 2020, the wide consumer market lost its predictability, thus making it an uncertain environment for a majority of companies to act in. Sales of cars showed a wide variety during the pandemic year. First a decline of 40% in sales in the overall market and then an upswing which made up for previous loss. The car market had therefore experienced an interchangeable environment which contribute to giving insight to how the praxis of the budget coincide with the criticism. Using five of the main points in the critique against budgeting, the research area of this study, car retailers, were chosen to illuminate the need for the budget of retailers in an industry unexpectedly affected by uncertainty in the environment. Seven car retailer companies were contacted and interviewed to provide the empirical data which were later supplemented by the chosen companies’ annual reports. Through this selection this study explores a variety in the need for the budget. The results include that there is an interaction between the budget and the budget complement to satisfy the observed car retailers' individual needs of planning and control. This study is written in Swedish.

La traduction pragmatique n’est pas le domaine réservé des traducteurs travaillant dans les secteurs économiques en dehors de l’édition. De nombreux traducteurs d’édition sont aussi des traducteurs pragmatiques. Dans ce domaine, leur spécialisation ne se confond pas avec le domaine dans lequel ils travaillent. Leur métier est méconnu et il n’existe aucune formation pour préparer les aspirants traducteurs à cette spécialisation. Cette recherche s’efforce de combler cette lacune. Elle commence par décrire les ouvrages pragmatiques afin de montrer que dans ce secteur, la réflexion traductive porte sur le texte dans sa mise en page. L’unité de traduction s’hybride, puisqu’elle est composée de rubriques textuelles aux fonctions communicatives précises et d’éléments visuels. Il s’ensuit que la réflexion traductive demande une approche multisémiotique qui s’appuie sur une connaissance approfondie du livre pris comme un espace signifiant dont le texte n’est qu’une composante parmi d’autres. La connaissance du livre est au cœur de la spécialisation des traducteurs pragmatiques actifs dans l’édition. Le milieu de l’édition attend des auteurs et traducteurs un travail de rédacteurs. Les tapuscrits fournis sont relus et corrigés, voire partiellement réécrits pour les améliorer, par les correcteurs. Il n’y a plus un auteur mais une fonction auteur qui réunit les différents intervenants de la chaîne du livre. L’apprentissage du métier doit donc comporter une part de socialisation seconde, intégrée aux exercices de traduction proposés, pour préparer les aspirants traducteurs à s’insérer dans cette équipe. Tout en se perfectionnant en traduction, les jeunes traducteurs doivent se muer en collaborateurs fiables capables de prendre part au processus de fabrication du livre en agissant en tant que médiateur culturel. Leur action s’exprime principalement par l‘écriture de la traduction mais aussi par leurs commentaires sur la fabrication du livre
Pragmatic translation is thought as the area of specialized translators working for clients outside of the publishing industry, which is deemed to contract literary translators. This is true to some extend. However a large sector of the publishing industry is not concerned with literature but with pragmatic books dealing with all sorts of topics. Many pragmatic translators working for the publishing industry are in fact specialized in translating pragmatic books, not texts. They have to understand the way pragmatic books, made of visual and linguistic messages, convey information to their readers to translate them. This aspect of translation is little known and, outside the study of translation for advertising, research investigating the interaction of texts and iconography is scarce. There is even less on translator training. This thesis endeavours to contribute the observations of a professional translator turned translator trainer. It begins by describing the layout of pragmatic books and showing how the translator must take in the text and the iconography to make sense of the message. The double page is a visual unit splitting the information between text and images. As a result, a translation unit is a mix of texts and images. It follows that translators have to approach the translation of books as a multisemiotic activity. Therefore, when translating pragmatic books, translators have to consider them as signifying space in which textual units are no longer the only source of information. The core of the specialisation of pragmatic translators working in the publishing industry is a profound understanding of how books communicate meaning. Publishers expect both authors and translators to be able to write following style specifications for a given book series. Tapuscrits are proofread and sometimes partially rewritten to be put in agreement with the social communicative norms. At the end of the process leading to the publication of a book, the published text is a collective product and no longer the text originally provided by its “author”. To translate in this context, trainees must learn how to work in a team, albeit working from home. Translation training, at this point, aims at turning students into independent professional able to rewrite and adapt texts, taking into account the visual around, to accommodate readers’ expectations as defined by publishers. As they strive to improve their translation techniques, soon to be translators also need to learn to become cultural mediator and to criticize the books they are translating so as to improve them if need be. Invisible to readers, their contribution to the making of a book, appears in the writing of the translation and in comments on the book itself; and it is very visible to publishers they work for

Translation Studies encompass various more specific fields which imply tackling the phenomenon of translating from different angles: translation process analysis (synchronic approach), history of translation (diachronic approach), (inter)cultural translation studies, intersemiotic translation (multimediality, intermediality), etc. One of these subclasses is translation criticism, which is one of the most neglected areas due to the lack of interrelationship of theory, criticism and practice. By adopting a descriptive and empirical (functional) approach, contemporary translation criticism features these specific aspects: it is not aimed at “finding mistakes” and it shuns generic, impressionistic and scientifically unmotivated commentaries by identifying categories to classify translations shifts, i.e. differences between source text and target text. Translation criticism is not exclusively metatext-oriented as it was before the introduction of descriptive Translation Studies; it has a reconstructing approach aimed at tracking the translation strategy underlying the process from the prototext to the metatext; it seeks strategic consistence and pinpoints strategic inconsistencies. As for translation shifts, research is still in its infancy: by following the empirical practice, it is necessary to produce a hypothetical model, test it against practice, modify it and eventually re-test it. In this sense, the most conspicuous contributions in the field of translation criticism were given by van Leuven-Zwart (1989) and House (1997), whose models will be illustrated in Chapters 2 and 4. Due to the lack of communication between the translation industry and academic research, on the one hand the notions heralded by Translation Studies are regarded as “parochial,” “too technical” and “academic” by professionals (a category that includes editors, proof-readers, translation agencies and all the other figures working in the translation industry) who oftentimes prefer relying exclusively on their own experience, on the other hand scholars sometimes fail to make their findings accessible to whole community of practitioners. The goal of this dissertation is to bridge this gap and develop a model that synthesises various contributions so that it provides those interested in translation criticism with a source of (exhaustive, if possible) translational metalanguage. The model will be tested against a case study, i.e. a text in English having different translations: the selected text is Joseph Conrad’s The Secret Sharer, which has twelve Italian versions published from 1940s to 2007. The thesis is structured as follows. Chapter 2 reviews and critically examines approaches to translation criticism and translation quality assessment, as well as other contributions which do not specifically deal with the subject matter but are crucial for theoretical or methodological purposes. Chapter 3 is a brief text analysis of the prototext that pinpoints the linguistic and translatological aspects identified in the theoretical section; the analysis also entails extratextual elements such as the historical background, the author’s cultural background, the creation process underlying the novella and intertexts. The model for translation criticism is illustrated in Chapter 4 and is applied to the selected target texts in Chapter 5, which also synthesises the main tendencies found during the metatext analysis. A final chapter summarises the results – also in a diachronic perspective – and attempts to assess the model itself and make some suggestions for its usage.

S'estudia l'obra filològica d' Antoni de Bastero i Lledó (1675-1737), des d'una perspectiva de conjunt, per tal de concretar I'activitat d'aquest estudiós en els camps de la lingüística, la filologia o la crítica literària, i fer-ne una valoració adequada als coneixements actuals sobre I'exercici d'aquestes disciplines durant la primera meitat del segle XVIII. La tesi inclou un estudi biogràfic, absolutament necessari per establir moltes de les circumstancies vitals del canonge Bastero, que ens resultaven obscures i que són decisives per explicar el propi interès per la filologia, les relacions amb determinats cercles acadèmics, la datació aproximada dels diversos projectes iniciats, la interpretació correcta de la seva activitat. S'inclou, així mateix, un catàleg exhaustiu de tots els manuscrits conservats d'Antoni de Bastero i que tenen alguna relació amb el seu treball filològic. En total es tenen en compte 69 volums manuscrits, actualment escampats per diversos arxius i biblioteques de Barcelona i Girona, alguns dels quals eren fins ara desconeguts. D'aquests 69 volums, 48 contenen pròpiament obres de Bastero o altres materials publicables, i la resta són materials de treball. En conseqüència, l' obra filològica del canonge es pot concretar en: la producció d'una gramàtica italiana i d'una gramàtica francesa, en català, que va deixar inacabades; la realització de La Crusca provenzale, un magne diccionari etimològic i d'autoritats que recull una gran quantitat d'hipotètics provençalismes italians -només es va publicar el primer volum d'aquesta obra a Roma, l'any 1724, però n'he localitzat pràcticament tot el contingut; l'elaboració d'una extensa antologia de poesies trobadoresques, copiades amb gran rigor d'alguns còdexs de la Biblioteca Vaticana; el plantejament d'una Història de llengua catalana, que havia de ser una gran compilació dels mèrits i les excel·lències d'aquesta llengua -que l'autor identifica amb la provençal- i la seva literatura, i que es va poder desenvolupar nomes de forma parcial.
Precisament, la part central de la tesi l'ocupa l'estudi particular i l'edició crítica de les parts redactades d'aquesta obra, que suposa la concreció de la particular percepció lingüística i literària que Bastero havia anat perfilant al llarg dels seus anys d'estudi. Es tracta d'una edició molt complexa, perquè l'obra ens ha arribat només en un esborrany, que presenta múltiples correccions i esmenes i evidencia diferents estadis redaccionals; els manuscrits inclouen, així mateix, nombrosos papers amb anotacions o fragments que, o no pertanyen al cos de l'obra, o bé s'han hagut de resituar en el lloc que els correspon. EI resultat és, tanmateix, un text prou coherent que comprèn quasi la totalitat del Llibre primer -sobre l'origen, el naixement i els diversos noms de la llengua, i sobre el nom de Catalunya- i un capítol del Llibre tercer -sobre la primitiva extensió del català per tot Espanya. EI més rellevant d'aquesta obra és el fet que s'hi basteix una original teoria sobre la formació de les diverses llengües romàniques que té el català com a eix central -proposa la identificació del català provençal amb la lingua romana dels documents alt medievals, en una operació que s'avança quasi cent anys a François Raynouard, que propugnava això mateix, referint-se nomes al provençal, amb un àmplia aprovació de la comunitat científica del seu temps. Destaquen també un excepcional rigor històric i documental, i una notable sensibilitat vers l'oralitat lingüística, que és objecte d'algunes anotacions ben interessants.
Tanquen la tesi un seguit d'annexos documentals on es transcriuen diversos documents relacionats amb els aspectes tractats anteriorment.
The philological works of Antoni de Bastero i Lledó (1675-1737) are studied from the perspective of the whole, in order to specify this scholar's studies in the fields of linguistics, philology and literary criticism, and to make an evaluation based on the knowledge of the day in regards to the exercise of these disciplines during the first half of 17th century. The thesis includes a biographical study, absolutely necessary in order to establish the many vital circumstances surrounding Bastero, which were unclear yet decisive in the explanation of his own interest in philology, in his relationships with specific academic circles, in the approximate dating of his varied initial projects and in the correct interpretation of his activities. Included, also, is an exhaustive catalogue of all of Antoni de Bastero's conserved manuscripts which bear any relevance to his philological work. In total there are sixty-nine series of manuscripts scattered in different archives and libraries in Barcelona and Girona, some of which were unknown until now. Of these sixty-nine volumes, forty-eight contain works attributed to Bastero or other publishable material. The rest are working drafts. Consequently, the Canon's philological works can be specified as: the production of both an Italian and French grammar, in Catalan, which were left unfinished; the completion of La Crusca provenzale, a grand etymological and authoritative dictionary which brings together a large number of hypothetical Italian Provençalisms -only the first volume of this work was published in Rome in I724 although we have located almost the entire contents; the elaboration of an extended anthology of troubadour poetry, copied with great rigor from codices found in the Vatican library; the consideration of a Historia de la llengua catana, which was to be a great compilation of the merits and excellencies of this language -which the author identifies with Provençal- and its literature, and which was only partially completed.
It is precisely the specific study and critical edition of these completed parts, which presumes the concretization of the particular linguistic and literary perceptions that Bastero was outlining throughout the many years of his studies, witch occupy the central theme of this thesis. The edition in question is quite complex, keeping in mind that this particular work was available only in its draft form, complete with multiple corrections, rectifications and evidence of differing sages of writing; the manuscripts include, in this manner, numerous annotated or fragmented papers which, either do not belong to the body of the text, or have been restored to their corresponding places in the text. The result is, nevertheless, a quite coherent text which comprises almost the entire First Book -regarding the origin, the birth and various names of the language, and regarding the name Catatonia- and a chapter of Book Three -regarding the early diffusion of Catalan throughout Spain. The most noteworthy aspect of this work is that it offers an original theory of the formation of the various Romance languages with Catalan as the centre axis - proposing the identification of Catalan-Provençal with the Iingua romana of late medieval documents, in an operation that precedes, by almost a hundred years, Francoise Raynouard, who proposes the same idea, but with reference only to Provençal, and was highly supported by the scientific community of his day. His exceptional documentational and historical rigor and a notable sensitivity to linguistic orality are also noteworthy and make for some very interesting annotations.
The thesis ends with a series of annexed documentation with the transcriptions of various documents related to previously discussed aspects.

Thesis (MA)-- Stellenbosch University, 2013.
ENGLISH ABSTRACT: In this thesis I investigate the radical reframing of maternal representation in the photographic series by Cape Town-based artist Svea Josephy (b. 1969), entitled Confinement 2005-ongoing. Using Julia Kristeva’s theorisation of the maternal body’s relation to abjection, as well as its imperative to the remodelling of the relationship between the corporeal and the cultural, I explore how Josephy’s images explicitly engage with the Kristevan abject in order to disrupt cultural inscriptions of maternity and ‘motherhood’. I contend that Confinement situates Josephy’s experience of ‘becoming-mother’ against the dominant discourses of maternity and birth, and thereby uses the maternal subject as a means to interrogate broader issues of gender and identity.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die radikale herberaming van die moederfiguur in Confinement (2005 tot op hede) – ‘n fotoreeks van die Kaapse kunstenaar Svea Josephy (geb. 1969). Julia Kristeva se teorieë oor die moederlike liggaam, en in besonder die moederliggaam se verhouding tot abjeksie, word aangewend om die verband tussen die liggaamlike en die kulturele te herbedink. Ek ondersoek hoe hierdie fotoreeks Kristeva se konsep van die abjekte benut, ten einde kulturele voorskriftelikheid oor moederskap en 'ma-wees' te ontwrig. Ek argumenteer dat Confinement Josephy se ondervinding van 'wordend-moederskap’ die dominante diskoerse van moederskap en geboorte uitdaag, en sodoende die moederlike subjek gebruik om breër aspekte rondom geslag en identiteit te bevraagteken.

The thesis speculates upon the source of Scriabin's pitch selection in several of his atonal works, concluding that Scriabin's "principle" stems from his own "mystic chord," its inversion at the major third, and the transposition of these two chords at the tritone. These four chords share the same invariant harmonic basis, Scriabin's characteristic French-sixth sonority. The quartet of chords combine to form two nine-note scales, each containing as a subset the octatonic scale. The thesis demonstrates how Scriabin composed his works in harmonic blocks, utilizing only the notes from these scales. The thesis traces Scriabin's atonal style back to his tonal period. His fascination with tritone adjacencies and relationships is discussed, and serves to support the theory. Other harmonic and linear theories are discussed. Also, the thesis shows how Scriabin used these scales structurally in his works.

Esse trabalho acompanha a trajetória artística do escritor, teatrólogo e cineasta José Agrippino de Paula do lançamento de seu primeiro romance, Lugar Público, em 1965, até algumas de suas experiências com filmes Super-8 já na década de 70. Como eixo fundamental, ele relata criticamente a gênese e a construção de uma proposta poética intitulada pelo próprio artista de arte-soma. Para tanto, prioriza-se o período que vai do início de sua carreira como romancista até a realização de seu primeiro filme, Hitler IIIº Mundo (1968), considerado aqui peça central na realização desta poética.
This work accompanies the artistic trajectory of the writer, playwright and filmmaker José Agrippino de Paula from the launch of his first novel, Lugar Público, in 1965, to some of his experiences with films super-8 already in the 1970\'s. As a fundamental axis, it reports the genesis and the construction of a poetical proposal entitled by the artist himself as arte-soma. It focus the period of the beggining of his career as a novelist until the completion of his first film, Hitler IIIº Mundo (1968), considered here the central piece on the realization of this poetics.

Dans la variété des thèmes et des formes offerte par les essais de Marguerite Yourcenar, s’ébauche et s’affine le « portrait d’une voix », incitant le lecteur à réfléchir, à la suite de l’essayiste elle-même, à l’avertissement de Jorge Luis Borges : « Un écrivain croit parler de beaucoup de choses, mais ce qu’il laisse, s’il a de la chance, c’est une image de soi ». Ces essais où s’affrontent des visions contradictoires du temps et de l’identité, retracent l’histoire de la résistance du moi à son extinction, prônée par un je qui reste souverain par-delà les métamorphoses. Des premiers essais, où la jeune « Marg Yourcenar » s’effraie et s’enchante, dans un style « tendu et orné », de la décadence de l’Occident, aux dernières notes jetées dans ses carnets, la métaphore récurrente de l’érosion traduit le travail d’épure auquel est soumis le genre, comme l’autoportrait qui s’y dessine. Ce travail est sous-tendu par une vision du temps qui oscille entre écoulement et permanence, et d’où émerge la valeur accordée à l’instant, premier pas vers la « magie sympathique » qui permet de s’établir en n’importe quel point du temps humain. Ainsi dilaté aux dimensions de la « constellation » universelle née de rencontres aléatoires ou surdéterminées, le moi inextinguible incarne pourtant les résurgences de l’individualité, enfin acceptée comme voie d’accès à l’universel. Au terme de cinquante ans de pratique de l’essai, Marguerite Yourcenar a conquis la liberté propre au genre, aux confins de l’autobiographie longtemps refusée, en acceptant que ses métamorphoses épousent au plus près la fluidité de la vie individuelle
Through the variety of themes and forms offered by Marguerite Yourcenar's essays, the "portrait of a voice" progressively takes shape, inclining the reader to ponder, after the essayist herself, Jorge Luis Borges's warning : "A writer thinks he is tackling a lot of subjects; what he leaves behind, however - if he is lucky - is an image of himself". The essays, in which two contadictory conceptions of time and identity constantly clash, testify to the way the "self" resists its extinction, strongly recommended by the "I", which remains supreme beyond the metamorphoses. From the first essays, in which the young "Marg Yourcenar", in a tense and ornate style, appears to be both alarmed and enchanted by the decline of the West, to the last remarks jotted down in her notebooks, the recurring metaphor of the erosion conveys the extent to which the form is being refined, as well as the self-portrait that emerges from it. The process involves a conception of time that wavers between the flowing and the permanent, and brings forth the value given to the moment, first step towards the "sympathetic magic" which enables the reader to settle at any point of the human time. Thus expanded to the dimensions of the universal "constellation" born of random, or highly determined, encounters, the irrepressible "self" still embodies the resurgences of the individuality, accepted at last as a path towards the universal. After writing essays for fifty years, Marguerite Yourcenar conquered the liberty that defines the form and borders on the autobiographical, when she finally allowed its metamorphoses to closely match the fluidity of the individual life

A conduta criativa de João Cabral de Melo Neto é tradicionalmente caracterizada como uma atividade controlada por uma razão arquitetônica, que lucidamente projeta, e rigorosamente realiza a obra literária. A abordagem, aqui feita, de seu pensamento sobre a criação quer dizer, das representações do fazer em seus poemas metalinguísticos e também de sua prática criativa legível nos traços de seus manuscritos afasta-nos sensivelmente do paradigma da arquitetura. Em seu lugar, propomos considerar o fazer cabralino como uma atividade de reformulação constante, que produz, durante o processo de escrita, novos sentidos e estruturas não determinados a priori, integrando, dessa forma, a imprevisibilidade e a instabilidade na essência mesma da criação literária.
João Cabral de Melo Neto\'s creative conduct is traditionally characterized as an activity directed by an architectonic reasoning, which consciously projects and rigorously realizes the literary work. The approach taken here of his creative thinking that is, of the representations of the act of making in his metalinguistic poems and of his creative practice which is discernible on the glyphs of his manuscripts takes us sensibly away from an architectural paradigm. Instead, we propose to consider Cabral\'s making act as a constant reformulation activity, which produces, during the writing process, new meanings and structures not determined a priori, in this way integrating imprevisibility and instability to the very essence of literary creation.

Three of the most notable English women authors, Jane Austen, Charlotte Bronte, and George Eliot, explore similar themes of the individual, particularly the young woman, in relation to a hierarchical, patriarchal society, more specifically a crumbling paternalist society. My focus is on three Victorian novels' representations of society's transformation from a paternalistic nature to one of greater individualism; and in particular, I explore how women defined for themselves positions of power within these structures. So this study is twofold, one on representations of gender and the other of class; for the two are inseparable in discussing power relationships of Victorian women. Austen, Bronte, and Eliot understood and, to some degree, accepted the pervasive paternal values. Their novels, however, do not advocate radical social change; rather, their heroines willingly turn to domesticity. I aim to argue that each author, although dissatisfied with aspects of society, did not desire to radically alter women's role within society. The fictitious lives they created became both a representation and a critique of the ideologies surrounding them. The texts of Emma, Jane Eyre, and Middlemarch are representative of traditional social norms and yet question some of the culture's dominant codes, especially in relation to paternalism and gender. What strikes me about these novels is that although the female characters are limited by society, they are not ineffectual. Rather the authors portray women in control of their lives and able to make choices for themselves within the framework of society. My research includes social, philosophical, and political attitudes of the decades in which each novel was written, as well as personal philosophies held by Austen, Bronte, and Eliot in relation to gender and class and the influence of these philosophies in their art. Finally, my reading of the texts explicates evidences of the culture's and author's attitudes in relation to paternalism and gender.

This project investigates site-specific, ephemeral installation with environmental discourse. The exploration began in response to factional debates surrounding the proposed Tamar Valley Gunns Paper Pulp Mill, which involved clear-fell logging and subsequent degradation of water catchment areas. Tasmania is a site for continuous factional debates surrounding environmental protection and potentially ecological destructive commercial ventures. The scope of this project has emerged from the conflict evidenced through human interaction with planet Earth’s finite resources and lack of respect for global ecological fragility. References to every-day objects, popular symbolism, the beautiful and the sublime are calculated to inspire awe and deep reverence. The work’s beauty and/or grandeur lures audience to an initial engagement and uses metaphorical titles to reference concepts and discourses. The works employ a variety of techniques and site determines scale. As the project developed, the tree, as subject and art object, became a primary focus. Some works were placed in bush settings only accessible by foot, allowing for a holistic saturation of the senses to accompany the experience. This strategy was intended to inspire a connection with nature. To further highlight environmental critique, community space and the landscapes attached to eco-festivals were ideal sites for the works. This included festivals with a visual art focus and festivals with a music and arts focus supported by an eco-sustainability ethos. Installing in public and the organised artist talks included in some of the festivals, added to the didactic and scope for activism. The exegesis provides the context for this investigation. It examines art and environmental critique, land art, earth art and environmental art in historical context, ephemera, installation, sustainable practice, festival and the public sphere.

Afrikaans Dit is meer as dertig jaar gelede dat Childs (1964) sy belangrike artikel lnterprefation in Faith gepubliseer het. Dit het die begin ingelei van 'n nuwe fase in die Ou-Testamentiese navorsing. Talle verdere publikasies van Childs het die lig gesien. Sy publikasies het baie reaksie uitgelok. Die kanoniese benadering van Childs sou tot 'n debat lei wat steeds nie uitgewoed is nie. Hlerdie studie poog om 'n evaluering van die benadering van B. S. Childs te maak. As 'n hipotese word gestel dat die kanoniese benadering van Childs hom nog steeds in die hoofstroom van die historiese kritiek bevind. Childs maak nog steeds van die resultate van die histories-kritiese metode gebruik. Dit word gedoen teenoor aannames dat Childs a-histories werk en sy eie siening dat die kanoniese benadering 'n paradigmaskuif verteenwoordig. Die hipotese word uitgewerk aan die hand van die volgende werkswyse: Na inleidende opmerkings volg 'n bespreking van die plek wat Childs inneem in die navorsing oor die kanon. Dit word gevolg deur 'n gedeelte wat aandag gee aan outobiografiese gegewens oor Childs, sy belangrikste publikasies en die ontwikkeling van sy kanoniese benadering. 'n Uiteensetting van Childs se benadering gegee aan die hand van kernkonsepte volg hierna. Om Childs as 'n kind van sy tyd te sien word daar gekyk na die invloed wat sy mentors op hom gehad het asook ooreenkomste wat hy met ander teoloë en nie-teoloë het. Ten einde Childs in perspektief te sien word reaksie op sy benadering vervolgens aan die orde gestel. Reaksie op die benadering van Childs word geëvalueer in die daaropvolgende deel. Indien Childs nie 'n paradigmaskuif verteenwoordig nie, wat is dan sy relevansie vir die toekomstige debat? Die laaste hoofstuk is 'n konklusie wat die bydrae van Childs evalueer en die moontlike implikasies van die kanoniese benadering vir die toekoms bespreek. Die studie bevestig die feit dat die kanoniese benadering hom nog steeds binne dieselfde kader as die historiese kritiek bevind. Childs is in die implementering van sy benadering afhanklik van die resultate van die histories-kritiese metode. Om hierdie rede kan Childs nie geëtiketteer word dat hy a-histories werk nie. Die aanspraak wat gemaak word dat hy 'n paradigmaskuif bewerksteliig het, gaan ook nie op nie. Dit neem egter niks weg van die feit dat B. S. Childs 'n monumentale bydrae tot die Ou-Testamentiese wetenskap gemaak het nie. English It is more than thirty years ago since Childs (1964) published his important article Interpretation in Faith. This article introduced the start of a new phase in OldTestamentical research. A number of other publications by Childs have since seen the light. His publications have elicited wide reaction. The canonical approach of Childs would lead to a debate that has still not abated. This study attempts to evaluate B.S. Childs' approach. It is hypothesised that the canonical approach by Childs still finds itself in the mainstream of historical criticism. Childs still uses the results of the historical critical method. This is done in contrast to the suppositions that Childs operates a-historically and to his own view that the canonical approach represents a paradigm move. The above hypothesis was developed using the following methodology: Introductory comments followed by a discussion of Childs' place in canonical research. Subsequently, autobiographical data on Childs, his most important publications and the development of his canonical approach are presented. It is followed by a discussion of his approach in view of fundamental concepts. To view Childs as a child of his time, regard must be had to the influence of his mentors on him and the similarities he shared with theologians and non-theologians. To place Childs' approach into perspective, reaction to the approach is discussed and evaluated. If Childs does not represent a paradigm move, what then is his relevance for future debate? The final chapter is a conclusion of the study where Childs' contribution is evaluated and possible implications of the canonical approach for the future are discussed. The study confirms the fact that the canonical approach still finds itself in the same cadre as the historical criticism. Childs depends on the result of the historical critical method for the implementation of his approach. He can therefore not be labelled as a-historical. Furthermore, claims that he accomplished a paradigm move can not be sustained. However, the fact that Childs made a monumental contribution to Old Testamentical scholarship can never be negated.
Thesis (DD)--University of Pretoria, 2008.
Old Testament Studies
unrestricted

Przedmiotem rozprawy jest seria angielskich przekładów prozy Brunona Schulza. Autorka śledzi kolejne etapy sześćdziesięcioletniej historii angielskiego Schulza, odpowiadając na pytania: Kto, kiedy i w jakich okolicznościach tłumaczył, wydawał i promował tę prozę? Kto i jak czytał angielskie przekłady? W rozprawie uwzględniono wszystkie opublikowane angielskie przekłady prozy literackiej Schulza, od najwcześniejszych, ogłoszonych w prasie i antologiach na przełomie lat 50. i 60. XX wieku (Zofii Tarnowskiej-Moss i Williama Stanleya Mossa, Jenny Rodzinskiej, Krystyny Cękalskiej; rozdz. 4), przez najlepiej znany, funkcjonujący na rynku od 1963 roku przekład Celiny Wieniewskiej (rozdz. 5), po nowsze tłumaczenia rozproszone (Louisa Iribarne'a, Waltera Arndta i ictorii Nelson, Wieśka Powagi, Michaela Mikosia; rozdz. 6), internetowy przekład Johna Currana Davisa (rodz. 7) i najnowszą, ogłoszoną drukiem w 2018 roku, wersję Madeline G. Levine (rozdz. 8). Opis historii i recepcji poszczególnych przekładów, z elementami analizy porównawczej, poprzedza wprowadzenie ze skrótowym przedstawieniem historii wydawniczej angielskiego Schulza i przeglądem literatury przedmiotu (rozdz. 1), rozdział teoretyczno-metodologiczny (2) oraz rozdział prezentujący kontekst historyczny, w którym rozpoczęła się ta seria przekładowa, z uwzględnieniem panujących w drugiej połowie XX wieku norm przekładu literackiego na język angielski (3). Do pracy załączono aneks z wykazem 482 wzmianek o Schulzu w anglojęzycznej prasie niespecjalistycznej. Ramy teoretyczno-metodologiczne wyznacza historia przekładu, ze szczególnym uwzględnieniem Translator Studies, badań nad tłumaczami, oraz Retranslation Studies, badań nad seriami przekładowymi w szerokim kontekście społecznym, kulturowym i politycznym. W rozprawie uwzględniono materiały archiwalne, dające wgląd w nieznane fakty dotyczące okoliczności publikacji przekładów prozy Schulza, oraz niebędące dotąd przedmiotem uwagi badaczy świadectwa recepcji. Istotną częścią badań była analiza paratekstów wydawniczych, a także wywiady z pośrednio lub bezpośrednio zaangażowanymi w sprawę osobami: tłumaczami i patronami przekładu. Badania ujawniły rolę wydawców, redaktorów, dysponentów praw autorskich i przedstawicieli instytucji w procesie publikacji przekładów, a także znaczenie czynników pozatekstowych czy pozaliterackich - kwestii prawnych, finansowych, statusu autora i tłumaczy. Pozwoliły też sproblematyzować i skontekstualizować krytykę przekładu, obrazując różnice w podejściu anglojęzycznych czytelników, czyli właściwych adresatów przekładu, i dwujęzycznych znawców twórczości Schulza, dysponujących kapitałem kulturowym. Po nieudanych próbach wprowadzenia twórczości Schulza do angielszczyzny na przełomie lat 50. i 60. XX wieku, opublikowany w 1963 roku przekład Celiny Wieniewskiej odniósł najpierw krytyczny, a następnie, po wznowieniu w serii Philpa Rotha w 1977 roku, również czytelniczy sukces, zdobywając Schulzowi oddanych wielbicieli, szczególnie pośród anglojęzycznych pisarzy i innych artystów. Opublikowany w internecie z naruszeniem praw autorskich przekład Davisa przysporzył polskiemu autorowi nowych czytelników wśród fanów kultury popularnej. Najnowsze tłumaczenie Levine zastąpiło przekład Wieniewskiej w kręgach akademickich, które od początku mu patronowały; wśród zwykłych czytelników budzi zaś pewien opór jako zbyt bezkompromisowa próba oddania zawiłości Schulzowskiej prozy w angielszczyźnie. Współistniejąc dziś w trzech przekładach, Schulz cieszy się w obszarze języka angielskiego niesłabnącą popularnością, choć nie tyle jako autor, którego się studiuje, lecz przede wszystkim jako ten, którego czyta się dla przyjemności obcowania ze wspaniałą literaturą.
The dissertation discusses English translations of the fiction of Bruno Schulz. The author follows the successive stages of the sixty-year history of the English Schulz, seeking to answer the questions: Who, when and under what circumstances translated, published and promoted Schulz in English? Who read these translations and how? The dissertation takes into account all published English translations of Schulz's fiction, from the first ones, published in the press and anthologies at the turn of the 1950s and 1960s (by Zofia Tarnowska-Moss and William Stanley Moss, Jenny Rodzinska, Krystyna Cękalska; Ch. 1), through the best-known translation by Celina Wieniewska, which has functioned the market since 1963 (Ch. 5), and the more recent dispersed translations (by Louis Iribarne, Walter Arndt and Victoria Nelson, Wiesiek Powaga, Michael Mikoś; Ch. 6), to John Curran Davis's online retranslation (Ch. 7) and Madeline G. Levine's latest version, published in 2018 (Ch. 8). The description of the history and reception of individual translations, with elements of comparative analysis, is preceded by an introductory chapter (1), briefly presenting the publishing history of the English Schulz a literature review, as well as a theoretical and methodological discussion (Ch. 2) and a presentation of the historical context in which the series of translations began, including the norms of literary translation into English dominant in the second half of the 20th century (Ch. 3). Attached is an Annex, listing 482 references to Schulz in English-language non-specialised press. The overarching theoretical and methodological framework is translation history, with particular focus on Translator Studies and Retranslation Studies, taking into acount a broad social, cultural and political context. The resear makes use of archive material that provides insight into unknown facts concerning the circumstances of the publication of translations, as well as manifestations of reception that have not been the object of scholarly attention to date. An important part of the research was the analysis of publishing paratexts, as well as interviews with persons directly or indirectly involved in the matter: translators and patrons. The research revealed the role of publishers, editors, copyright holders, representatives of institutions and other stakeholders in the process of translation publication, as well as the importance of extratextual or extra-literary factors, e.g. legal and financial issues, the author's and the translator's status. It also problematised and contextualized the mechanisms of translation criticism, revealing differences in the approach of English-speaking readers, i.e. the default translation addressees, and bilingual experts on Schulz's, work enjoy considerable cultural capital. Following the unsuccessful attempts at introducing Schulz's work into English at the turn of the 1950s and 1960s, Celina Wieniewska's 1963 translation first received critical acclaim, and then, thanks to its new edition in Philp Roth's 1977 series "Writers from the Other Europe", became popular with readers, winning Schulz devoted admirers, especially among anglophone writers and other artists. Davis's online copyright-infringing retranslation brought the Polish author new readers among fans of popular culture. Levine's latest retranslation replaced Wieniewska's version in academic circles, whose patronage it enjoyed even prior to publication, while among ordinary readers it met with some resistance as an all-too-uncompromising attempt at conveying the intricacies of Schulz's prose in the English language. Coexisting in three English versions today, Schulz enjoys unwavering popularity, not so much as an author whom one ought to study, but above all as one who is read for the pleasure of experiencing wonderful literature.

This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances. The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up. This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73.
Art History, Visual Arts & Musicology
M.Mus.

The dissertation is be concerned with the comparison of two Czech translations of novel "The Castle" by Franz Kafka from the linguistic viewpoint. The dissertation compares text translation by Vladimír Kafka of 1969 and Jana Zoubková of 2014. The dissertation focuses on the methodes of translation, demands, that are placed on a literary translations. The dissertation focuses on a lifetime period of translations and their critism and last but not least, some problems of modern text translation. After closer exploration and analyses of problems of translation our dissertation will evaluate the strengths and weakness of both our translations. Key words: Translation, language, interpretation, mistake, method, critism, equivalent, idiom

The objective of this thesis is the analysis of the media reception of chosen works of Italo Calvino in Czech and Italian periodicals. The first chapter discusses the literary criticism. The following chapter introduces the writer's life and moments determining his literary production. The mainstay of this work is divided into four chapters and is dedicated to the period literary crticism of the works chosen which were released in newspapers or literary periodicals both in Italy and the Czech Republic. The most significant reception showed the books The Path of the Spider's Nest, Invisible Cities, If on a Winter's Night a Traveler and Six Memos for the Next Millenium.

The master diploma thesis "Media response of literary work with the prison theme by Jiri Stransky and Karel Pecka" maps the beletric works of Jiri Stransky and Karel Pecka which are influenced by their time in Communist prisons. The work deals with critical reviews of these literary works and it is based on contemporary reviews published in literary and other periodicals. Qualitative and quantitative analysis of reviews is included in a practical part of the master diploma. It is preceded by a theoretical part. In the theoretical part we shortly think about the importance of literary criticism but mostly important we clarify the conditions which led to the creation of Stransky's and Pecka's works. Thanks to the preserved documents from The National Archive and from The Archive of Security Forces we can now read about Stransky's and Pecka's arrest, interrogation and imprisonment in Communist prisons in the 1950s. Jiri Stransky was imprisoned in the years 1951-1960 and Karel Pecka between 1949 and 1959. The preserved documents outline also other repressions of Karel Pecka towards the State security, which occurred after his repase from prison in the sixties. In the theoretical part of master diploma we think about literary critism and we draw from works of Ansgar Nünning, Winfried Schulz, Hans-Gregor...

The thesis presented here with deals with an analysis and genre definition of the Nordic detective story, which is currently very popular in the Czech Republic. It is namely an interpretation of the works done by two contemporary Nordic authors in question, i.e. Stieg Larsson and Jo Nesbø. With the first of the two authors I will be looking into the complete trilogy The Millenium containing volumes of Män som hatar kvinnor (2005), Flickan som lekte med elden (2006) and Luftslottet som sprängdes (2007). As regards in Nesbø's works, I have chosen a series of detective stories with detective Harry Hole as the main character, especially two of them Panserhjerte (2009) and Snømannen (2007) and which appear to be the most successful and the most typical. On the grounds of the analysis of the particular literary categories such as the character of a detective and their investigative techniques, the narrative pattern, the narrator, and the continuum which are compared with the similar categories within individual historical detective schools itemized in the theoretical part of the thesis, and compared as well with other genres, it is to be stated that the Nordic crime fiction might be located somewhere on the border line between the detective story, the critical social novel and the thriller, taking on at...

This graduation thesis with title Interpretations of Josef Švejk in The Contexts of Czech and International Literary Science has an aim doucment and analyze interpretation models of Josef Švejk in the novel The Good Solider Švejk by Jaroslav Hašek. In base the materials gain the figure of Josef Švejk will be assess in context of Czech esthetic and ideal discourse. In graduation thesis will be put big emphasis on sence of language. From this reason is a part of this thesis dedicate to liguistic analysis.

Text in French; abstract in French and English
Observatrice des réalités quotidiennes camerounaises, Calixthe Beyala a publié, en 1987, un roman intitulé C’est le soleil qui m’a brûlée. Dans ce roman, elle montre au lecteur comment la femme, victime de la tradition, utilise, avec l’apport de la modernité, son corps comme moyen pour reconquérir son moi profond, et retrouver sa liberté. En 1994, elle a écrit et publié Assѐze, l’Africaine. Et en 2003, elle a publié Femme nue, femme noire. Après une lecture minutieuse de ces trois livres, le lecteur peut facilement découvrir que Calixthe Beyala place la femme au centre de sa préoccupation littéraire. Et elle examine, dans sa fiction, deux thѐmes: la tradition et la modernité. Qu’entend-elle par tradition et modernité? Comment examine-t-elle ces deux thѐmes dans les ouvrages de notre corpus? Quelles solutions propose-t-elle à la femme, d’une part, pour se libérer du joug de la tradition et de la domination masculine, et d’autre part, pour (re)conquérir son corps, son moi profond et pour son émancipation?
Observer of the daily Cameroonian realities, Calixthe Beyala published, in 1987, a novel entitled C’est le soleil qui m’a brûlée. In this novel, she shows the reader how a woman, victim of tradition, uses her body as means to reconquer herself and to find her freedom. In 1994, she wrote and published Assèze, l’Africane. And in 2003, she published Femme nue, femme noire. After a careful reading of the three novels, the reader can easily discover that Calixthe Beyala places woman in the center of her literary preoccupation. And she examines, in her fiction, two themes, tradition and modernity. What does she mean by tradition and modernity? How does she examine these two themes in the novels of our study? What solutions does she propose to the woman, firstly, to liberate herself from the yoke of tradition and male’s domination, and secondly, to reconquer her body, herself and her emancipation?
Classics and World Languages
M.A. (French)

Text in German with German and English summaries
In times of global crisis, eschatological questions gain relevance. The Old Testament concept of HàWH:J moWJ has primary bearing on Christian eschatological expectations. This study examines the discourse of the Day of Yahweh of Amos and Isaiah in the context of their message. Concept and origin of this discourse are controversial. A review of research shows that the current understandings do not adequately answer questions about the origin of this discourse. Both the definitions of “Day of Yahweh” passages and the certitude that HàWH:J moWJ is a technical term seem problematic. Analysis of Amos 5:18-20 shows that, contrary to commonly accepted understanding, a nontechnical understanding of the phrase HàWH:J moWJ is sufficient for interpreting the passage. Linguistically similar phrases in Isaiah also merely relate Yahweh’s historical intervention, and do not refer to an established concept. Only later did a tradition complex arise from this prophetic proclamation.
In Zeiten globaler Krisen gewinnen eschatologische Fragestellungen an Aktualität. Zentrale Bedeutung für die christliche Zukunftserwartung hat der Tag des Herrn, dessen alttestamentlicher Wurzelgrund der HàWH:J moWJ ist. Die Studie untersucht die Rede vom Tag Jahwes bei den Schriftpropheten Amos und Jesaja im Kontext ihrer Verkündigung. Konzept und Herkunft dieser Rede sind umstritten. Ein Forschungsüberblick zeigt, dass die gängigen Erklärungsmodelle die Frage nach der Herkunft dieser Rede nicht ausreichend beantworten. Als problematisch erscheinen die Definitionen von Tag Jahwes-Belegen und die Sicherheit, mit der man die Wendung HàWH:J moWJ als Terminus technicus bezeichnet. Die Untersuchung zu Am 5,18-20 erweist, dass, entgegen dem Common sense der Forschung, ein formales Verständnis der Wendung HàWH:J moWJ zur Interpretation der Rede ausreicht. Ähnliche sprachliche Wendungen bei Jesaja paraphrasieren ebenfalls nur das geschichtliche Eingreifen Jahwes und verweisen nicht auf eine Auseinandersetzung mit einem bestehenden Konzept. Ein Traditionskomplex namens Tag Jahwes erwuchs erst später aus dieser prophetischen Verkündigung.
Biblical and Ancient Studies
M. Th. (Old Testament)