Dissertations / Theses on the topic 'Persian Authors'

This thesis examines the first collections of modern Persian literature written by Iranian female authors in the context of a process of gender modernization during the Mohammad Reza Shah Pahlavi’s reign (1941-1979). This thesis argues that women’s literature written during the period of transition from tradition to modernity is clearly influenced by the state’s gender policy and illustrates the changing position of women’s status in private and public life. Indeed, an examination of the collections of short stories and poems that were produced in this period demonstrates that female authors were concerned with the unveiling policy, arranged marriage and polygamy, women’s education, women’s social participation, women’s domestic obligations, women’s political awakening, and female sexuality. Furthermore, central themes covered by female authors changed significantly based on the transformations of gender politics the society experienced from the 1940s and 1950s to the 1960s and 1970s.

This paper sets out to investigate and discuss what a translator may do when the source text for some reasons needs to be improved. The analysis is based on examples from a source text in need of quite extensive editing. This editing is called for to be able to present a translation that is satisfactory as well for the target reader as for the translator. To achieve this, the translator has to deal with a series of crucial decisions. One important determinant of any decision on part of the translator is, of course, the quality of the source text, which may vary a great deal. Originals sometimes exhibit flaws of various kinds. In such cases, what is the translator supposed to do? Is (s)he supposed to deliver a translation that contains the same mistakes as the ST, or is (s)he supposed to rewrite a poor text? The main focus of the present study is to discuss possible strategies for changes and to find support for the translator to work with improving editing in a text that needs to be improved. More specifically, focus is on looking at the strategies that are available when it comes to three specific problem areas, viz person perspective, author visibility and repetition. The study initiates a further discussion of the translator's mission – should it include making a brilliant version of a poor source text? It was found that the translator should not transfer language flaws that might appear in a source text with no stylistic pretentions, but instead produce an improved target text, even if that entails rather extensive editing.

Thesis (MA)--Stellenbosch University. 2015<br>ENGLISH ABSTRACT: Seeking to explore modes of self-representation in women’s life writing and the ways in which these subjects manipulate the autobiographical ‘I’ to write about gender, the body, race and ethnic related issues, this thesis interrogates the autobiographies of three renegade women whose works were birthed out of the de/colonial South African context between 1854-1948. The chosen texts are: Marina King’s Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke’s Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), and two memoirs by Petronella van Heerden, Kerssnuitsels (1962) and Die 16de Koppie (1965). My analysis is underpinned by relevant life writing and feminist criticism, such as the notion of female autobiographical “embodiment” (239) and the ‘I’s reliance on “relationality” (248) as discussed in the work of Sidonie Smith and Julia Watson (Reading Autobiography). I further draw on Judith Butler’s concept of “performativity” (Bodies that Matter 234) in my analysis in order to suggest that there is a performative aspect to the female ‘I’ in these texts. The aim of this thesis is to illustrate how these self-representations of women can be read as counter-conventional, speaking out against stereotypical perceptions and conventions of their time and in literatures (fiction and criticism) which cast women as tractable, compliant pertaining to patriarchal oversight, as narrow-minded and apathetic regarding achieving notoriety and prominence beyond their ascribed position in their separate societies. I argue that these works are representative of alternative female subjectivities and are examples of South African women’s life writing which lie ‘dusty’ and forgotten in archives; voices that are worthy of further scholarly research which would draw the stories of women’s lives back into the literary consciousness.<br>AFRIKAANSE OPSOMMING: In ‘n poging om metodes van self-uitbeelding te bespreek en die manier waarop die ‘ek’ van vroulike ego-tekste manipuleer om sodoende te skryf oor geslagsrolle, die liggaam, ras en ander etniese kwessies, ondersoek hierdie verhandeling die outbiografieë van drie onkonvensionele vrouens se werk, gebore vanuit die de/koloniale konteks in Suid-Afrika tussen 1854-1948. Die ego-tekste wat in hierdie navorsingstuk ondersoek word, sluit in: Marina King se Sunrise to Evening Star: My Seventy Years in South Africa (1935), Melina Rorke se Melina Rorke: Her Amazing Experiences in the Stormy Nineties of South-African History (1938), en twee memoirs geskryf deur Petronella van Heerden, Kerssnuitsels (1962) en Die 16de Koppie (1965). My analise word ondersteun deur relevante kritici van feministiese en outobiografiese velde. Ek bespreek onder andere die idee dat die vroulike ‘ek’ liggaamlik “vergestalt” (239) is in outobiografie, asook die ‘ek’ se afhanklikheid van “relasionaliteit” (248) soos uiteengesit in die werk van Sidonie Smith en Julia Watson (Reading Autobiography). Verder stel ek voor, met verwysing na Judith Butler, dat daar ‘n “performative” (Bodies that Matter 234) aspek na vore kom in die vroulike ‘ek’ van Suid- Afrikaanse outobiografie. Die doel van hierdie tesis is om uit te lig dat hierdie selfvoorstellings van vroue gelees kan word as kontra-konvensioneel; dat die stereotipiese uitbeelding van vroue as skroomhartig, nougeset, gedweë ten opsigte van patriargale oorsig, en willoos om meer te vermag as wat hul onderskeie gemeenskappe vir hul voorskryf, weerspreek word deur hierdie ego-tekste. Die doel is om sodanige outobiografiese vertellings en -uitbeeldings te vergelyk en sodoende uiteenlopende vroulike subjektiwiteite gedurende die periode 1854-1948 te belig. Ek verwys deurlopend na voorbeelde van ander gemarginaliseerde Suid-Afrikaanse vroulike ego-tekse om aan te dui dat daar weliswaar ‘n magdom ‘vergete’ en ‘stof-bedekte’ vrouetekste geskryf is in die afgebakende periode. Ek voor aan dat die ‘stem’ van die vroulike ‘ek’ allermins stagneer het, en dat verdere bestudering waarskynlik nodig is.

Made available in DSpace on 2016-04-28T19:58:36Z (GMT). No. of bitstreams: 1 Gilmara Alonso Tacito.pdf: 562905 bytes, checksum: ce9b87075600c330f6eba4efd4bee78b (MD5) Previous issue date: 2010-09-29<br>The objective of this dissertation is to investigate the presence of the Author Creator entity interacting with characters in narratives "São Marcos" and "Sarapalha" (1946), Sagarana (1946), written by João Guimarães Rosa (1908- 1967). Concerning to the assumptions of the aesthetic material of Mikhail Bakhtin, it is understood that there is no linkage between work and life of the author, whereas popular culture connects the study of the literary work to the writer's life, only to listen to his voice, pointed to confidences. For the author, all aesthetic analysis should not be targeted directly to the work, but about what the work represents for the aesthetic activity of the artist and the reader. Our object here is delineated as the stuffing of this aesthetic activity focused on the literary work: the aesthetic object. This is the dual-perspective, here, applied to the reading of Rosa's narrative: reading the aesthetic object in its singularity and artistic structure called aesthetic architectonic object, design that allows to the Author Person (ethical-social element) unfolded in Author Creator (constitutive element of the artistic form). This compositional unity is realized between the consciousness of the Author Creator and the outside world resulting from an architectonic model of the human psyche, that makes the world (otherness) your utterance, and, in it, his conscience: with this focus we claim to read the "stranger" in Guimarães Rosa. That is, to read the artistic form as an event or achievement. The reading methodology applied in this study is also based on the concept of the aesthetic object, by practicing discrimination and isolation of the analytical material deductive of the usual perception to the unusual artistic literary form of both tales from Sagarana, in their specific critical-interpretation. The theoretical background is Mikhail Bakhtin, and supporting concepts applied to the analysis, and interpretation, pointing to: Tzvetan Todorov; Katerina Clark & Michael Holquist; Roland Barthes; Antonio Candido; Massaud Moises; Carlos Alberto Faraco; Marília Amorim; Renata Coelho Marchezan<br>O objetivo desta dissertação é investigar a presença da entidade Autor-Criador em interação com as personagens nas narrativas São Marcos e Sarapalha , da obra Sagarana (1946), de João Guimarães Rosa (1908-1967). A partir dos pressupostos da estética material de Mikhail Bakhtin (2006), entende-se que não há vinculação entre obra e vida do autor, considerando que a literatura corrente faz a conexão do estudo da obra à vida do escritor, para apenas ouvir a sua voz, a revelar-se em confidências. Para o autor, toda análise estética não deve ser orientada diretamente sobre a obra, mas sobre o que a obra representa para a atividade estética do artista e do leitor. Nosso objeto, aqui, se delineia como o conteúdo dessa atividade estética orientada sobre a obra: o objeto estético. Esta é a dupla perspectiva, aqui, aplicada à leitura das narrativas rosianas: ler o objeto estético na sua singularidade e na estrutura artística chamado objeto estético arquitetônico, concepção que permite ao Autor-Pessoa (elemento ético-social) desdobrar-se em Autor-Criador (elemento constitutivo da forma artística). Dessa forma composicional é concretizada a unidade entre a consciência do Autor- Criador e o mundo exterior resultante de uma Mente arquitetônica, que faz do mundo (outrem) seu enunciado, e, desse, sua consciência: com esse olhar pretendemos ler o estranho em Guimarães Rosa. Em outras palavras, ler a forma artística em acontecimento ou realização. A metodologia de leitura aplicada neste estudo também se fundamenta no conceito de objeto estético, ao praticar a discriminação e isolamento do material analítico-dedutivo da percepção habitual para o insólito da forma artística literária de ambos os textos os contos de Sagarana em suas especificidades crítico-interpretativas. O teórico de nossa referência é Mikhail Bakhtin e os autores de apoio conceitual aplicados à análise e interpretação assim se nomeiam: Tzvetan Todorov; Katerina Clark & Michael Holquist; Roland Barthes; Antonio Cândido; Massaud Moisés; Carlos Alberto Faraco; Marília Amorim; Renata Coelho Marchezan

This literary study examines the formulation of masculinity in Syrian novels authored by women. The thesis covers the period between 1959 and 2000, corresponding to both the development of the female-authored novel in Syria and the creation of the modern Syrian state. This research engages with studies of masculinity in general and literary masculinity studies in particular. Drawing on the seminal work of Raewyn Connell as well as engaging with studies on masculinity and feminine narratology in Swedish, English and Arabic, the thesis analyses the formulation of literary masculinity through the fictional societies’ ideal masculinity on the one hand, and the female characters’ views and reactions to masculinity on the other. From a general survey of the field, 34 novels undertaking the formulation of gendered relations were identified and chosen for this study. From this selection, five themes emerged, forming the foundation of this thesis’ main chapters. The five themes explore, in turn, how stereotypes are utilised to critique gender roles, ways in which male and female characters collaborate to formulate gender norms, how female characters capitalise on patriarchy in order to enhance their lives, male characters as symbols for social and political change and finally, the difficulties included in the performance of masculinity. Each theme is exemplified through one novel, which is analysed in detail. Throughout the five chapters, the main novel chosen for analysis is put into conversation with other novels with similar themes but from different decades. This allows for an examination of changing ideals of masculinity in addition to the theme itself. The first theme, how stereotypes are utilised to critique gender roles, is studied through a close reading of al-Ẓahr al-‘ārī (The Naked back) by Hanrīyit ‘Abbūdī. The analysis illustrates how the expected normative behaviour of men and women is utilised in order to comment on the formulation of gender roles. The chapter further demonstrates ways in which what is seen as gender specific behaviour can be appropriated by the opposite gender. This is further developed through the examination of female writers taking over the male voice through a first person male narrator. The second theme, ways in which male and female characters collaborate to formulate gender norms, is discussed through a close reading of the novel Khaṭawāt fī al-ḍabāb (Steps in the fog) by Malāḥa al-Khānī. This chapter illustrates the similar expectations that both male and female characters have on their sons and fellow male characters. This includes taking on the role of provider and protector, even in the cases where the female characters are able to look after themselves. The third theme, how female characters capitalise on patriarchy in order to enhance their lives, is elaborated through a close reading of Ayyām ma‘ahu (Days with him) by Kūlīt Khūrī. This theme demonstrates how the female character constructs herself and her world around the idea of a perfect male, whom she thinks will save her. The analysis examines what is seen as ideal traits in a man. It further discusses the change of the female character and how her initial utilisation of patriarchal structure transforms into a critique of the same structure. The fourth theme, male characters as symbols for social and political change, is seen through a close reading of Dimashq yā basmat al-ḥuzn (Damascus, o smile of sadness) by Ulfat al-Idlibī. The chapter connects between changing social ideals and ideal masculinity. Through Bayrūt 75 (Beirut 75) by Ghāda al-Sammān, the fifth theme, the difficulties included in the performance of masculinity, is studied. The problematic masculinity presented is then put in contrast with what appears to be a suggestion that a performance of femininity could be an alternative to unsuccessful masculinity. Whereas the novels differ in their presentation of masculinity and the utilisation of ideal masculinity, they agree on a set of core traits summarised in a hegemonic ideal of masculinity as an ability to provide and protect. The ways in which this should be performed is however closely connected to the female characters’ ideas of emancipation and women’s rights. The female writers’ formulation of masculinity can hence be said to mirror the development of the female characters and their awareness of women’s rights. The thesis hopes that its original contribution to knowledge is the identification and examination of constructed masculinities in Syrian female-authored fiction. Moreover, this thesis studies a body of Syrian fiction previously largely unstudied in Western academia, and in a framework of Swedish, English and Arabic secondary sources.

En droit de la responsabilité civile, la contribution de la victime à la production de son dommage ne fait l'objet que d'un nombre relatif d'études. Elle est succinctement appréhendée comme cause étrangère ou plus précisément comme cause d'exonération ou d'atténuation de responsabilité. Pourtant, l'étude de la contribution de la victime à la production de son dommage permet de s'interroger sur ce qu'est une victime. À ce titre, nous nous sommes demandés si la victime qui participe à la survenance de son dommage est l'auteur d'un fait générateur et si elle est civilement responsable. Pour ce faire, nous avons procédé à une analyse croisée de la jurisprudence administrative et des travaux doctrinaux afin de saisir la contribution de la victime et de définir les notions de victime, d'auteur et de responsable. Par ce travail, nous démontrons que la victime qui contribue à la production de son dommage est l'auteur d'un fait générateur spécifique qui n'est pas civilement responsable. Toutefois, la victime supporte les conséquences qui découlent de son fait générateur en raison de la remise en cause de son droit à réparation. Fondée sur une analyse du droit positif et sur une étude théorique du droit de la responsabilité civile extra-contractuelle, notre thèse permet d'identifier précisément la contribution de la victime à la production de son dommage comme cause étrangère et de l'aborder par un prisme nouveau en mettant en évidence ce qu'est une victime en droit de la responsabilité civile extra-contractuelle<br>In liability law, the victim's contribution to her damage has only been the object of a few studies. It's succinctly understood as an extraneous cause or more precisely as an exemption or lightening cause. However, the study of the victim's contribution to the production of her damage makes it possible to ask what a victim is. In this respect, we have asked ourselves whether the victim who participates in the occurrence of her damage is the author of an event giving rise to it and whether she is civilly liable. In order to do this, we have proceeded to a cross analysis of administrative jurisprudence, in order to grasp the victim's contribution and to define the notions of victim, author and liable. Through this work, we show that the victim who contributes to the production of her damage is the author of a specific event which is not civilly liable. However, the victim bears the consequences that result from her event because her right to repation is called into question. Based on an analysis of positive law and on a theoretical study of extra-contractual civil liability law, our PhD allows us to identify precisely the victim's contribution to the production of her damage as an extraneous cause and to approach it through a new prism by highlighting what a victim is in extra-contractual civil liability law

Qu’ils mettent en avant une figure historique ou un personnage fictif, les Mémoires de Courtilz de Sandras, publiés entre 1687 et 1758, marquent l’essor d’une forme romanesque fondée sur le simulacre de l’écriture mémorialiste. Ces romans empruntent l’aspect de mémoires dont les signataires fictifs sont des acteurs du règne de Louis XIII ou des contemporains parfois célèbres de Courtilz ; cependant, loin d’induire en erreur le lectorat, l’origine fictive de ces récits, qui justifie le qualificatif d’apocryphes, n’a pas empêché les critiques des XVIIe et XVIIIe siècles de déceler derrière les auteurs supposés la présence d’un romancier anonyme. Entre illusion et vérité, ces pseudo-mémoires à la première personne, qui mêlent véracité biographique, exactitude historique et invention romanesque, invitent à redéfinir les notions d’authenticité et de fiction, à la lumière du pacte tacite qui s’établit entre l’auteur et le lecteur, unis dans une conscience commune du simulacre. L’examen des rapports complexes que ces textes entretiennent avec les mémoires et l’histoire permet de les situer dans l’évolution des formes romanesques à l’âge classique. Enfin, la fiction de l’écriture mémorialiste autorise un brouillage des voix dont l’analyse révèle la pluralité des discours mis en œuvre par Courtilz : à la voix du mémorialiste fictif se superpose et souvent s’oppose la voix du romancier, qui, à travers les faits du récit, formule en filigrane un discours satirique sur le monde, incompatible avec celui des personnages. Véritable instrument polémique, la rencontre de ces discours contradictoires participe d’un univers romanesque pessimiste où transparaît l’échec existentiel des héros<br>Whether they highlight a historical figure or a fictional character, the Memoirs of Courtilz de Sandras, published between 1687 and 1758, mark the emergence of a type of fiction based upon the pretence of memorialist writing. These novelistic works assume the form of memoirs whose fictitious authors are individuals from the reign of Louis XIII or well-known contemporaries of Courtilz. Far from misleading the readers, the fictional origin of these narratives, which justifies their being called apocryphal, did not prevent the literary critics of the seventeenth and eighteenth centuries from detecting behind the purported authors an anonymous novelist. Between illusion and truth, these so-called memoirs written in the first person, mixing biographical veracity, historical accuracy and fictional invention, urge to redefine the notions of authenticity and fiction, in the light of the tacit pact between the writer and the reader, united in a common awareness of pretence. Studying the complex relationship that these novels share with authentic memoirs and history permits to situate them in the evolution of the works of fiction in the French classical age. The fiction of memorialist writing allows the mixing of the voices, which reveals the plurality of the discourses used by Courtilz: to the voice of the fictitious memorialist, the voice of the novelist is superimposed if not opposed. Through the narrative, the novelist implicitly expresses a satirical speech about the world, irrelevant with the one of the characters. A real instrument of controversy, the interweaving of the two discourses partakes of a pessimistic fictional world which emphasizes the existential failure of the heroes

Since the Islamic Revolution of 1979, a distinct female voice has emerged in Persian fictional literature which has ventured beyond the established feminine stereotype of male literary tradition, and remarkably valorized female identities through focusing on interests and concerns of Iranian women, from feminist issues to social and political problems to cultural and moral dilemmas. This body of literature that has been gradually developed, tries to reflect realistic depictions of female protagonists with emotional, intellectual, and moral complexity. To study this progressive process, this research has focused on characterization of seven female protagonists that have been created by different generations of Iranian female authors in the genre of novel.

The aim of my thesis is to extend the current discussions of ethnography, epistolarity and the ancient persona, to the text of Ovid's Epistulae ex Ponto. It is a particularly appropriate text to extend the ideas of literary and cultural identity and epistolarity as the poems are written as letters by an urban Roman poet who is exiled to the end of the known world. His poems reveal, in the medium he knows best, the varied responses of a sophisticated city-dwelling poet to life in the wilderness on the frontiers of the Roman Empire. I argue that the poet describes his unfamiliar situation by using terms and traditions 'known' or familiar to his readers to illustrate his 'unknown' place of exile. In this thesis, I look at how the poet uses well known ethnographical stereotypes and the letter form, both to illustrate his unfamiliar location in exile in an understandable way, and to blur the distinction between the author as an historical person in a specific geographical location and one who is a literary persona constructed along with poetic geographical and anthropological detail. Although many scholars have written on the subject of Ovid's exile poetry, few have looked at the epistolarity or the letter form of these last poems from exile. I show in this thesis that the Epistulae ex Ponto is a text that repays scrutiny in this light because the poet draws comparisons and writes about his situation in exile using the recognisable literary form of letters. I also show how the poet's increased use of his name, Naso, affects our perception of the persona in the Epistulae ex Ponto. I argue that in these last poems from exile the persona is indistinct as the poet can now only identify himself using letters instead of the spoken word. I show how the poet blends the personal and private sphere of the epistolary genre with the public nature of published elegiac verse, using the names of well known Roman citizens in an attempt to strengthen his appeal for help and support from specific individuals. I conclude that the poems in the Epistulae ex Ponto should be read with the poet's exile firmly in mind. Exile necessitates the use of letters in place of spoken words, so an awareness of literary devices, such as ethnographic stereotypes, epistolarity and emphasis on the author and recipient of these letters rather than on constructed personae, enhances our pleasure and understanding of these poems sent from exile.

Katherine Mansfield (1888-1923), British Modernist writer whose search for authentic selves in the lives of the characters in her short stories, is reflected in her innovative style of writing in which she examines the interior consciousness of their minds. Mansfield questions the inauthentic lives of the characters, revealing that the roles they play are socially imposed forcing them to hide their true selves behind masks. The stories which have been chosen for this study focus on women characters (and men also) who grapple with societal prescriptions for accepted actions, and are rendered mute as a result. The women characters include all age groups and social classes. Some are young and impressionable (The Tiredness of Rosabel, The Little Governess and The Garden Party), others are married and older (Bliss, Prelude and Frau Brechenmacher attends a wedding ), while there are also middle-aged women in Miss Brill and The Life of Ma Parker.<br>English Studies<br>M.A. (English)