"A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy
- Authors: Glover, Jayne Ashleigh
- Date: 2008
- Subjects: Atwood, Margaret Eleanor, 1939- -- Criticism and interpretation Le Guin, Ursula K., 1929- -- Criticism and interpretation Lessing, Doris May, 1919- -- Criticism and interpretation Piercy, Marge Piercy, Marge -- Criticism and interpretation Utopias in literature Dystopias in literature Science fiction, English -- History and criticism Fantasy fiction -- History and criticism Fantasy literature -- History and criticism Women authors -- 20th Century Women authors -- 21st Century English fiction -- 20th Century English fiction -- 21st Century
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2199 , http://hdl.handle.net/10962/d1002241
- Description: This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.
- Full Text:
- Date Issued: 2008
- Authors: Glover, Jayne Ashleigh
- Date: 2008
- Subjects: Atwood, Margaret Eleanor, 1939- -- Criticism and interpretation Le Guin, Ursula K., 1929- -- Criticism and interpretation Lessing, Doris May, 1919- -- Criticism and interpretation Piercy, Marge Piercy, Marge -- Criticism and interpretation Utopias in literature Dystopias in literature Science fiction, English -- History and criticism Fantasy fiction -- History and criticism Fantasy literature -- History and criticism Women authors -- 20th Century Women authors -- 21st Century English fiction -- 20th Century English fiction -- 21st Century
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2199 , http://hdl.handle.net/10962/d1002241
- Description: This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.
- Full Text:
- Date Issued: 2008
"Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White
- Authors: Grogan, Bridget Meredith
- Date: 2013
- Subjects: White, Patrick, 1912-1990 -- Criticism and interpretation Human body in literature Dualism in literature Human body -- Social aspects Body image -- Social aspects Australian fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2166 , http://hdl.handle.net/10962/d1001554
- Description: Thesis embargoed for an indefinite period - full text not available
- Full Text: false
- Date Issued: 2013
- Authors: Grogan, Bridget Meredith
- Date: 2013
- Subjects: White, Patrick, 1912-1990 -- Criticism and interpretation Human body in literature Dualism in literature Human body -- Social aspects Body image -- Social aspects Australian fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2166 , http://hdl.handle.net/10962/d1001554
- Description: Thesis embargoed for an indefinite period - full text not available
- Full Text: false
- Date Issued: 2013
"The struggle of memory against forgetting" contemporary fictions and rewriting of histories
- Authors: Patchay, Sheenadevi
- Date: 2008
- Subjects: Morrison, Toni. Beloved Dangarembga, Tsitsi. Nevous conditions Høeg, Peter, 1957- Frøken Smillas fornemmelse for sne Nahai, Gina Barkhordar. Moonlight on the avenue of faith Roy, Arundhati. God of small things Fiction -- History and criticism History in literature Contemporary, The, in literature Postcolonialism in literature Psychic trauma in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2210 , http://hdl.handle.net/10962/d1002253
- Description: This thesis argues that a prominent concern among contemporary writers of fiction is the recuperation of lost or occluded histories. Increasingly, contemporary writers, especially postcolonial writers, are using the medium of fiction to explore those areas of political and cultural history that have been written over or unwritten by the dominant narrative of “official” History. The act of excavating these past histories is simultaneously both traumatic and liberating – which is not to suggest that liberation itself is without pain and trauma. The retelling of traumatic pasts can lead, as is portrayed in The God of Small Things (1997), to further trauma and pain. Postcolonial writers (and much of the world today can be construed as postcolonial in one way or another) are seeking to bring to the fore stories of the past which break down the rigid binaries upon which colonialism built its various empires, literal and ideological. Such writing has in a sense been enabled by the collapse, in postcolonial and postmodernist discourse, of the Grand Narrative of History, and its fragmentation into a plurality of competing discourses and histories. The associated collapse of the boundary between history and fiction is recognized in the useful generic marker “historiographic metafiction,” coined by Linda Hutcheon. The texts examined in this study are all variants of this emerging contemporary genre. What they also have in common is a concern with the consequences of exile or diaspora. This study thus explores some of the representations of how the exilic experience impinges on the development of identity in the postcolonial world. The identities of “displaced” people must undergo constant change in order to adjust to the new spaces into which they move, both literal and metaphorical, and yet critical to this adjustment is the cultural continuity provided by psychologically satisfying stories about the past. The study shows that what the chosen texts share at bottom is their mutual need to retell the lost pasts of their characters, the trauma that such retelling evokes and the new histories to which they give birth. These texts generate new histories which subvert, enrich, and pre-empt formal closure for the narratives of history which determine the identities of nations.
- Full Text:
- Date Issued: 2008
- Authors: Patchay, Sheenadevi
- Date: 2008
- Subjects: Morrison, Toni. Beloved Dangarembga, Tsitsi. Nevous conditions Høeg, Peter, 1957- Frøken Smillas fornemmelse for sne Nahai, Gina Barkhordar. Moonlight on the avenue of faith Roy, Arundhati. God of small things Fiction -- History and criticism History in literature Contemporary, The, in literature Postcolonialism in literature Psychic trauma in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2210 , http://hdl.handle.net/10962/d1002253
- Description: This thesis argues that a prominent concern among contemporary writers of fiction is the recuperation of lost or occluded histories. Increasingly, contemporary writers, especially postcolonial writers, are using the medium of fiction to explore those areas of political and cultural history that have been written over or unwritten by the dominant narrative of “official” History. The act of excavating these past histories is simultaneously both traumatic and liberating – which is not to suggest that liberation itself is without pain and trauma. The retelling of traumatic pasts can lead, as is portrayed in The God of Small Things (1997), to further trauma and pain. Postcolonial writers (and much of the world today can be construed as postcolonial in one way or another) are seeking to bring to the fore stories of the past which break down the rigid binaries upon which colonialism built its various empires, literal and ideological. Such writing has in a sense been enabled by the collapse, in postcolonial and postmodernist discourse, of the Grand Narrative of History, and its fragmentation into a plurality of competing discourses and histories. The associated collapse of the boundary between history and fiction is recognized in the useful generic marker “historiographic metafiction,” coined by Linda Hutcheon. The texts examined in this study are all variants of this emerging contemporary genre. What they also have in common is a concern with the consequences of exile or diaspora. This study thus explores some of the representations of how the exilic experience impinges on the development of identity in the postcolonial world. The identities of “displaced” people must undergo constant change in order to adjust to the new spaces into which they move, both literal and metaphorical, and yet critical to this adjustment is the cultural continuity provided by psychologically satisfying stories about the past. The study shows that what the chosen texts share at bottom is their mutual need to retell the lost pasts of their characters, the trauma that such retelling evokes and the new histories to which they give birth. These texts generate new histories which subvert, enrich, and pre-empt formal closure for the narratives of history which determine the identities of nations.
- Full Text:
- Date Issued: 2008
(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles.
- Authors: Marais, Susan Jacqueline
- Date: 2014
- Subjects: South African fiction (English) -- History and criticism , Matlou, Joël -- Criticism and interpretation , Magona, Sindiwe -- Criticism and interpretation , Vladislavić, Ivan, 1957- -- Criticism and interpretation , Wicomb, Zoë -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2326 , http://hdl.handle.net/10962/d1016357
- Description: In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
- Full Text:
- Date Issued: 2014
- Authors: Marais, Susan Jacqueline
- Date: 2014
- Subjects: South African fiction (English) -- History and criticism , Matlou, Joël -- Criticism and interpretation , Magona, Sindiwe -- Criticism and interpretation , Vladislavić, Ivan, 1957- -- Criticism and interpretation , Wicomb, Zoë -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2326 , http://hdl.handle.net/10962/d1016357
- Description: In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
- Full Text:
- Date Issued: 2014
A literary study of paranormal experience in Tennyson's poetry
- Louw, Denise Elizabeth Laurence
- Authors: Louw, Denise Elizabeth Laurence
- Date: 1991
- Subjects: Tennyson, Alfred Tennyson, Baron, 1809-1892 -- Criticism and interpretation Parapsychology in literature -- Research Romanticism -- 19th century -- Research English poetry -- 19th century
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2249 , http://hdl.handle.net/10962/d1002292
- Description: My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
- Full Text:
- Date Issued: 1991
- Authors: Louw, Denise Elizabeth Laurence
- Date: 1991
- Subjects: Tennyson, Alfred Tennyson, Baron, 1809-1892 -- Criticism and interpretation Parapsychology in literature -- Research Romanticism -- 19th century -- Research English poetry -- 19th century
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2249 , http://hdl.handle.net/10962/d1002292
- Description: My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
- Full Text:
- Date Issued: 1991
A study of Ngugi wa Thiong'o's later novels to assess his adaptation of dramatic techniques and Gikuyu oral traditions to the requirements of fiction
- Authors: Erapu, Laban Omella
- Date: 1992
- Subjects: Ngũgĩ wa Thiongʼo, 1938- Folk literature, Kikuyu Oral tradition -- Kenya
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2235 , http://hdl.handle.net/10962/d1002278
- Description: This thesis examines Ngugi wa Thiong'o's later writings in order to establish the nature of his quest for a people's literature. It illustrates how the author attempts to break the barriers between traditional oral forms and the relatively new written forms in addressing a basically "illiterate" audience. The research begins with an exploration of Gikuyu oral literature as an essential background to Ngugi's later dramatic and fictional writings as distinct from his earlier literary works in which he initiates the dominant quest for a more just society. Ngugi's return to these roots constitutes the central "homecoming" that characterizes his search for new forms. The analysis is conducted through three significant chronological stages representing Ngugi's writings over a period of about a decade from the mid-1970s to the early 1980s. Each stage starts with a play and performance followed by a parallel novel, the first pair written in English and the subsequent ones in Gikuyu. The three stages - designated Transition, Homecoming and Realization - mark Ngugi's involvement in the promotion of Gikuyu culture and orature, both as a source of inspiration and as a cause to which he fully dedicates himself. The transitional stage depicts the convergence between conventional and traditional oral literary forms with which Ngugi begins to experiment. The second stage introduces significant departures as Ngugi begins to use the Gikuyu language as his primary medium of creative expression. The final stage demonstrates his ultimate assertion of the primacy of orality over the written word as a dynamic agent of transmission. The thesis concludes that Ngugi wa Thiong'o in these later works - while leaving the possibilities of his vision of a "New Earth" unfulfilled pioneers the African writers' climb down from an "ivory tower" to deal with the realities of the experience of the predominantly non-reading African masses, acknowledged as both recipients of and active participants in the relatively new written literature which purports to speak for their experiences and their times.
- Full Text:
- Date Issued: 1992
- Authors: Erapu, Laban Omella
- Date: 1992
- Subjects: Ngũgĩ wa Thiongʼo, 1938- Folk literature, Kikuyu Oral tradition -- Kenya
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2235 , http://hdl.handle.net/10962/d1002278
- Description: This thesis examines Ngugi wa Thiong'o's later writings in order to establish the nature of his quest for a people's literature. It illustrates how the author attempts to break the barriers between traditional oral forms and the relatively new written forms in addressing a basically "illiterate" audience. The research begins with an exploration of Gikuyu oral literature as an essential background to Ngugi's later dramatic and fictional writings as distinct from his earlier literary works in which he initiates the dominant quest for a more just society. Ngugi's return to these roots constitutes the central "homecoming" that characterizes his search for new forms. The analysis is conducted through three significant chronological stages representing Ngugi's writings over a period of about a decade from the mid-1970s to the early 1980s. Each stage starts with a play and performance followed by a parallel novel, the first pair written in English and the subsequent ones in Gikuyu. The three stages - designated Transition, Homecoming and Realization - mark Ngugi's involvement in the promotion of Gikuyu culture and orature, both as a source of inspiration and as a cause to which he fully dedicates himself. The transitional stage depicts the convergence between conventional and traditional oral literary forms with which Ngugi begins to experiment. The second stage introduces significant departures as Ngugi begins to use the Gikuyu language as his primary medium of creative expression. The final stage demonstrates his ultimate assertion of the primacy of orality over the written word as a dynamic agent of transmission. The thesis concludes that Ngugi wa Thiong'o in these later works - while leaving the possibilities of his vision of a "New Earth" unfulfilled pioneers the African writers' climb down from an "ivory tower" to deal with the realities of the experience of the predominantly non-reading African masses, acknowledged as both recipients of and active participants in the relatively new written literature which purports to speak for their experiences and their times.
- Full Text:
- Date Issued: 1992
Alternative mythical structures in the fiction of Patrick White
- Authors: Bosman, Brenda Evadne
- Date: 1990
- Subjects: White, Patrick, 1912-1990 , White, Patrick, 1912-1990 -- Criticism and interpretation , Myth in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2170 , http://hdl.handle.net/10962/d1001821
- Description: The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction
- Full Text:
- Date Issued: 1990
- Authors: Bosman, Brenda Evadne
- Date: 1990
- Subjects: White, Patrick, 1912-1990 , White, Patrick, 1912-1990 -- Criticism and interpretation , Myth in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2170 , http://hdl.handle.net/10962/d1001821
- Description: The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction
- Full Text:
- Date Issued: 1990
Ambiguous contagion the discourse of race in South African English writing, 1890-1930
- Cornwell, David Gareth Napier
- Authors: Cornwell, David Gareth Napier
- Date: 1996
- Subjects: South African literature -- History and criticism Race in literature Race relations in literature Social classes in literature Ethnicity in literature Sex role in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2226 , http://hdl.handle.net/10962/d1002269
- Description: This study explores representations of race and racial difference in the writing of white South Africans in English, between the years, approximately, of 1890 and 1930. The first chapter essays a theoretical and historical investigation of the concept of race and offers a narrative of the rise of Western racialism. Its conclusion, that race has functioned as a vehicle of displacement for other forms of difference in the competition for advantage among social groups, is qualified in Chapter Two by the postulate of an anthropologial absolute, the "ethnic imperative", to help account for the strategic emergence of racialism in specific historical circumstances. The role of the ethnic imperative in the moral economy of colonial South Africa in the years 1890-1930 is examined through the analysis of three representative texts. In Chapter Three, a wide range of primary material is canvassed for prevailing views on the "Native Question", the perceived social threat posed by the half-caste, and the "Black Peril", culminating in the detailed examination of a fictional text. A particular concern in both Chapters Two and Three is the imagery of disease and contagion in terms of which racial contact is typically represented. The following chapter situates the literary works discussed in the study in the context of the South African literary tradition, then uses the example of selected short stories to indicate some narratological problems encountered by the writer with a racialist agenda within the medium of realist fiction. Chapters Five and Six investigate, through the close reading of selected novels, thematic concerns rooted in the intersection of the discourse of race with those of gender and social class. The final chapter reveals how William Plomer's novel, Turbott Wolfe, represents a volatile synthesis of a standard discourse on social class, an acknowledgement of the ethnic imperative, the imagery of contagion, and a principled repudiation of racialism, in a multi-faceted, modernist, and partially self-aware fashion. The more salient conclusions reached by this study concern the inadequacy of purely materialist analysis to account for the phenomenon of racialism, the historically determined link between racial attitudes and sexuality, and the manifest incompatibility of racial ideology with the liberal humanism inscribed in the formal requirements of the realist work of fiction.
- Full Text:
- Date Issued: 1996
- Authors: Cornwell, David Gareth Napier
- Date: 1996
- Subjects: South African literature -- History and criticism Race in literature Race relations in literature Social classes in literature Ethnicity in literature Sex role in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2226 , http://hdl.handle.net/10962/d1002269
- Description: This study explores representations of race and racial difference in the writing of white South Africans in English, between the years, approximately, of 1890 and 1930. The first chapter essays a theoretical and historical investigation of the concept of race and offers a narrative of the rise of Western racialism. Its conclusion, that race has functioned as a vehicle of displacement for other forms of difference in the competition for advantage among social groups, is qualified in Chapter Two by the postulate of an anthropologial absolute, the "ethnic imperative", to help account for the strategic emergence of racialism in specific historical circumstances. The role of the ethnic imperative in the moral economy of colonial South Africa in the years 1890-1930 is examined through the analysis of three representative texts. In Chapter Three, a wide range of primary material is canvassed for prevailing views on the "Native Question", the perceived social threat posed by the half-caste, and the "Black Peril", culminating in the detailed examination of a fictional text. A particular concern in both Chapters Two and Three is the imagery of disease and contagion in terms of which racial contact is typically represented. The following chapter situates the literary works discussed in the study in the context of the South African literary tradition, then uses the example of selected short stories to indicate some narratological problems encountered by the writer with a racialist agenda within the medium of realist fiction. Chapters Five and Six investigate, through the close reading of selected novels, thematic concerns rooted in the intersection of the discourse of race with those of gender and social class. The final chapter reveals how William Plomer's novel, Turbott Wolfe, represents a volatile synthesis of a standard discourse on social class, an acknowledgement of the ethnic imperative, the imagery of contagion, and a principled repudiation of racialism, in a multi-faceted, modernist, and partially self-aware fashion. The more salient conclusions reached by this study concern the inadequacy of purely materialist analysis to account for the phenomenon of racialism, the historically determined link between racial attitudes and sexuality, and the manifest incompatibility of racial ideology with the liberal humanism inscribed in the formal requirements of the realist work of fiction.
- Full Text:
- Date Issued: 1996
An experimental investigation of three developmental reading programmes
- Pienaar, P T (Peter Thomas), 1932-
- Authors: Pienaar, P T (Peter Thomas), 1932-
- Date: 1970
- Subjects: Reading (Adult education) Reading comprehension Reading (Elementary)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2283 , http://hdl.handle.net/10962/d1007614
- Description: From Chapter one - 1.1 Genesis: My interest in increasing the efficiency of children's silent reading began in 1958 when I was teaching a Standard 5A of 24 boys and 15 girls in a two-stream Primary School in Rhodesia. the majority of children were able readers and the mean Word Reading Age was 12.7 which, in relation to an average chronological age of 12.3, yeilded an above average Reading Quotient of 103. These children needed lots of reading practice, and in addition to the usual Reading periods I resolved to set aside at least one period a week for Comprehension, as reading for meaning was then called.
- Full Text:
- Date Issued: 1970
- Authors: Pienaar, P T (Peter Thomas), 1932-
- Date: 1970
- Subjects: Reading (Adult education) Reading comprehension Reading (Elementary)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2283 , http://hdl.handle.net/10962/d1007614
- Description: From Chapter one - 1.1 Genesis: My interest in increasing the efficiency of children's silent reading began in 1958 when I was teaching a Standard 5A of 24 boys and 15 girls in a two-stream Primary School in Rhodesia. the majority of children were able readers and the mean Word Reading Age was 12.7 which, in relation to an average chronological age of 12.3, yeilded an above average Reading Quotient of 103. These children needed lots of reading practice, and in addition to the usual Reading periods I resolved to set aside at least one period a week for Comprehension, as reading for meaning was then called.
- Full Text:
- Date Issued: 1970
Between nationalism and transnationalism: entanglements of history, individual narrative, and memory in diaspora spaces in selected transnational fiction
- Authors: Bosman, Sean James
- Date: 2020
- Subjects: Literature and transnationalism , Gurnah, Abdulrazak, 1948- , Gurnah, Abdulrazak, 1948- -- By the sea , Gurnah, Abdulrazak, 1948- -- Gravel heart , Nguyen, Viet Thanh, 1971- , Nguyen, Viet Thanh, 1971- -- The sympathizer , Nguyen, Viet Thanh, 1971- -- The refugees , Urrea, Luis Alberto , Urrea, Luis Alberto -- The house of broken angels , Urrea, Luis Alberto -- The water museum
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/140932 , vital:37930
- Description: This thesis offers close readings and a comparative analysis of selected works by Abdulrazak Gurnah, Viet Thanh Nguyen, and Luis Alberto Urrea. The selected primary texts used are Gurnah’s By the Sea (2000) and Gravel Heart (2017), Nguyen’s The Sympathizer (2015) and The Refugees (2017), and Urrea’s The Water Museum (2015) and The House of Broken Angels (2018). Analyses are informed by a conceptual framework that draws on critical works by Avtar Brah, J. U. Jacobs, Sarah Nuttall, Homi K. Bhabha, Judith Butler, Stuart Hall, Paul Ricoeur, Viet Thanh Nguyen, and Christopher B. Patterson. These theories are deployed to analyse how the selected works engage with the entanglements of history, individual narratives, and memory in the diaspora spaces they articulate. The thesis argues that the selected works indicate an emerging subgenre within the broader category of transnational literature. This subgenre rejects disempowering interpolations of transnational identities. Instead, it prioritises ethical forms of memory. These acknowledge that transnational subjects share at least partial accountability for the precarity they experience in diaspora spaces. The selected literature limns how this may be accomplished by rejecting the label of victim. In so doing, the selected literature also suggests that the elevation of transnationals to full ethical agency would enable them to exercise power in their diaspora spaces. All three authorial projects studied here also give rise to uncomfortable juxtapositions that suggest a mounting fear that, as nationalisms become more pronounced in the UK and the USA, transnationals may have to re-experience conditions from which they have already fled. The thesis concludes by identifying four additional areas of confluence amongst the selected literature worthy of future study.
- Full Text:
- Date Issued: 2020
- Authors: Bosman, Sean James
- Date: 2020
- Subjects: Literature and transnationalism , Gurnah, Abdulrazak, 1948- , Gurnah, Abdulrazak, 1948- -- By the sea , Gurnah, Abdulrazak, 1948- -- Gravel heart , Nguyen, Viet Thanh, 1971- , Nguyen, Viet Thanh, 1971- -- The sympathizer , Nguyen, Viet Thanh, 1971- -- The refugees , Urrea, Luis Alberto , Urrea, Luis Alberto -- The house of broken angels , Urrea, Luis Alberto -- The water museum
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/140932 , vital:37930
- Description: This thesis offers close readings and a comparative analysis of selected works by Abdulrazak Gurnah, Viet Thanh Nguyen, and Luis Alberto Urrea. The selected primary texts used are Gurnah’s By the Sea (2000) and Gravel Heart (2017), Nguyen’s The Sympathizer (2015) and The Refugees (2017), and Urrea’s The Water Museum (2015) and The House of Broken Angels (2018). Analyses are informed by a conceptual framework that draws on critical works by Avtar Brah, J. U. Jacobs, Sarah Nuttall, Homi K. Bhabha, Judith Butler, Stuart Hall, Paul Ricoeur, Viet Thanh Nguyen, and Christopher B. Patterson. These theories are deployed to analyse how the selected works engage with the entanglements of history, individual narratives, and memory in the diaspora spaces they articulate. The thesis argues that the selected works indicate an emerging subgenre within the broader category of transnational literature. This subgenre rejects disempowering interpolations of transnational identities. Instead, it prioritises ethical forms of memory. These acknowledge that transnational subjects share at least partial accountability for the precarity they experience in diaspora spaces. The selected literature limns how this may be accomplished by rejecting the label of victim. In so doing, the selected literature also suggests that the elevation of transnationals to full ethical agency would enable them to exercise power in their diaspora spaces. All three authorial projects studied here also give rise to uncomfortable juxtapositions that suggest a mounting fear that, as nationalisms become more pronounced in the UK and the USA, transnationals may have to re-experience conditions from which they have already fled. The thesis concludes by identifying four additional areas of confluence amongst the selected literature worthy of future study.
- Full Text:
- Date Issued: 2020
Beyond all words : a psychoanalytic approach to the phenomenon of mysticism in literature
- Authors: Bunyan, David Christopher
- Date: 1991
- Subjects: Mysticism in literature Mysticism -- Psychological aspects
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2242 , http://hdl.handle.net/10962/d1002285
- Description: The principal claim of this thesis is that the mystical experience is a wide-ranging influence upon literature. It is a recurrent thematic concern of poets, novelists and playwrights; but even when mysticism is not an overt element in a text, analysis of its symbols can reveal references to emotions and experiences of a mystical character - as is frequently the case with fantasy. In a more essential way, certain widely-used techniques of poetry effectively reproduce the character of mystical events for the reader. Some theory does indeed imply that the mystical bearing is quite fundamental, at a certain level, to all creative literature. This thesis explores the link between mysticism and literature through widely differing examples, to show how it continues to be found in otherwise divergent texts and contexts. Indeed, no attempt is made to provide an exhaustive overview; rather, certain special areas of interest are represented by selected cases. Mystical elements in Modernism, for example (especially in T.S. Eliot and Virginia Woolf), are contrasted with Romantic attitudes to mysticism, which Wordsworth and Coleridge are taken to represent. A further goal is to analyse the character of literary mysticism, and to account for the connection between mysticism and literary practice. The view is adopted that the circumstances in which the infant first acquires language is of crucial importance in this regard, and that literary language often draws upon submerged recollections of these early circumstances. Literature, it is argued, can employ signs and patterns of symbolisation in ways that actually attempt to 'undo' many of the everyday functions of words. The ultimate ideal of such literary techniques is to 'reverse' the process by which language was acquired and to 'return' the reader to a state resembling pre-linguistic experience, a goal which has much in common with the ambitions of mystics. Jacques Lacan's theoretical writings touch at many points upon the early development of the child and the significance of its acquisition of language. This thesis consequently has recourse to Lacan's work and, where relevant, to related psychoanalytic writings by Sigmund Freud and Julia Kristeva. After an investigation of the main characteristics of mystical experience as such, the Introduction broadly outlines Lacan's theoretical position. Chapter 1 is concerned more specifically with Lacan's discussions of mysticism. Part Two (Chapters 2-4) deals principally with the links between mystical yearnings and the Romantic ideal of the 'sublime'. In Part Three (Chapters 5-7) the relation between mysticism and Modernist developments affecting both theme and artistic technique is examined in works by three writers: T.S. Eliot, Virginia Woolf, and Fernando Pessoa. Part Four discusses particular literary presentations of 'evil' and of 'good' as embodiments of mystical perceptions. Late nineteenth- and early twentieth-century 'supernatural' fiction is selected to represent the first case, and certain New Testament and early Christian texts the second.
- Full Text:
- Date Issued: 1991
- Authors: Bunyan, David Christopher
- Date: 1991
- Subjects: Mysticism in literature Mysticism -- Psychological aspects
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2242 , http://hdl.handle.net/10962/d1002285
- Description: The principal claim of this thesis is that the mystical experience is a wide-ranging influence upon literature. It is a recurrent thematic concern of poets, novelists and playwrights; but even when mysticism is not an overt element in a text, analysis of its symbols can reveal references to emotions and experiences of a mystical character - as is frequently the case with fantasy. In a more essential way, certain widely-used techniques of poetry effectively reproduce the character of mystical events for the reader. Some theory does indeed imply that the mystical bearing is quite fundamental, at a certain level, to all creative literature. This thesis explores the link between mysticism and literature through widely differing examples, to show how it continues to be found in otherwise divergent texts and contexts. Indeed, no attempt is made to provide an exhaustive overview; rather, certain special areas of interest are represented by selected cases. Mystical elements in Modernism, for example (especially in T.S. Eliot and Virginia Woolf), are contrasted with Romantic attitudes to mysticism, which Wordsworth and Coleridge are taken to represent. A further goal is to analyse the character of literary mysticism, and to account for the connection between mysticism and literary practice. The view is adopted that the circumstances in which the infant first acquires language is of crucial importance in this regard, and that literary language often draws upon submerged recollections of these early circumstances. Literature, it is argued, can employ signs and patterns of symbolisation in ways that actually attempt to 'undo' many of the everyday functions of words. The ultimate ideal of such literary techniques is to 'reverse' the process by which language was acquired and to 'return' the reader to a state resembling pre-linguistic experience, a goal which has much in common with the ambitions of mystics. Jacques Lacan's theoretical writings touch at many points upon the early development of the child and the significance of its acquisition of language. This thesis consequently has recourse to Lacan's work and, where relevant, to related psychoanalytic writings by Sigmund Freud and Julia Kristeva. After an investigation of the main characteristics of mystical experience as such, the Introduction broadly outlines Lacan's theoretical position. Chapter 1 is concerned more specifically with Lacan's discussions of mysticism. Part Two (Chapters 2-4) deals principally with the links between mystical yearnings and the Romantic ideal of the 'sublime'. In Part Three (Chapters 5-7) the relation between mysticism and Modernist developments affecting both theme and artistic technique is examined in works by three writers: T.S. Eliot, Virginia Woolf, and Fernando Pessoa. Part Four discusses particular literary presentations of 'evil' and of 'good' as embodiments of mystical perceptions. Late nineteenth- and early twentieth-century 'supernatural' fiction is selected to represent the first case, and certain New Testament and early Christian texts the second.
- Full Text:
- Date Issued: 1991
Conrad's impressionism : the treatment of space and atmosphere in selected works
- Authors: De Lange, Adriaan Michiel
- Date: 1996
- Subjects: Conrad, Joseph, 1857-1924 -- Criticism and interpretation Conrad, Joseph, 1857-1924 -- Heart of darkness Conrad, Joseph, 1857-1924 -- Nigger of the Narcissus Conrad, Joseph, 1857-1924 -- Nostromo Conrad, Joseph, 1857-1924 -- Lord Jim
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2229 , http://hdl.handle.net/10962/d1002272
- Description: This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
- Full Text:
- Date Issued: 1996
- Authors: De Lange, Adriaan Michiel
- Date: 1996
- Subjects: Conrad, Joseph, 1857-1924 -- Criticism and interpretation Conrad, Joseph, 1857-1924 -- Heart of darkness Conrad, Joseph, 1857-1924 -- Nigger of the Narcissus Conrad, Joseph, 1857-1924 -- Nostromo Conrad, Joseph, 1857-1924 -- Lord Jim
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2229 , http://hdl.handle.net/10962/d1002272
- Description: This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
- Full Text:
- Date Issued: 1996
Contesting masculinities: a study of selected texts of resistance to conscription into the South African Defence Force (SADF) in the 1980s
- Authors: Mason, Paul
- Date: 2016
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2332 , http://hdl.handle.net/10962/d1020842
- Description: The theoretical framework for this thesis and analysis of primary texts revolves around the problem of conscription into the South African Defence Force (SADF) in the 1980s. The ideology of masculinity that underpinned and sustained the practice of conscription is referred to throughout as the hegemonic version. This term is interchangeable with others, namely masculinism and ‗the real man.‘ The aim is to interpret the selected texts for strains of resistance to the practice of conscription and its assumptions as to what to what constitutes the natural or real man. In the Introduction to this thesis I begin by explaining the personal dimension of my role as researcher, after which I motivate my research project and explain its theoretical and methodological orientation, focusing on the concepts that play a significant role in analysis of the primary texts. The Introduction concludes with an outline of the content of Chapters 1–5. Chapter 1 begins with a brief discussion, on the general level, of the practice of conscription and resistance to it, and proceeds to a concern with conscription in 1980s South Africa. Attention is paid to prevailing attitudes towards gender and sexuality within both the SADF and the End Conscription Campaign (ECC). Discussion of gender and sexuality as constructs of identity proceeds to a focus on the conceptual tools for textual analysis provided by theories of masculinity. The final section of this chapter pays attention to specific post-structuralist notions of identity that serve analysis of the primary texts, that is, the notions of the subject, agency and the author. Having engaged mainly with secondary texts in Chapter 1, Chapter 2 presents the first sustained critical engagement with primary texts in which resistance was expressed against the institution of conscription and the hegemonic version of masculinity that underpinned it. These expressions of resistance occurred within a rock music counter-culture of the period, known as the Voëlvry movement. Attention is given to overlaps or links between this counter-culture and that of America in the 1960s, as well echoes between the Vietnam and Border Wars. Analysis of these links is applied to a memoir selected for its appropriateness. Threaded through the chapter is a concern with expressions of masculine identity within the Voëlvry counter-culture, the SADF and the ECC. Chapter 3 focuses on three novels and one collection of short stories, each narrated in the first person and written by gay authors who performed their National Service. Attention is paid to the protagonists‘ perceptions of themselves, their troubled relationships with their fathers, and the struggle to come out within a context that prohibited them from doing so. Chapter 4 concerns three wartime memoirs and two written by men who refused to perform their National Service. Underlying concerns in this chapter are the question of fact versus fiction in the genre of the memoir, authors‘ perceptions of and relationships with women, and expressions of vulnerability. Chapter 5 concentrates on the interviews that comprise the Appendix. The chapter establishes its theoretical ground by focusing on principles of narrative structure and the relation of personal to narrative identity. The chapter pays attention to the displays of power and the vulnerabilities of both veteran soldiers and resisters. Theory deployed in analysis of the primary texts serves the principal concerns articulated in the title to the thesis.
- Full Text:
- Date Issued: 2016
- Authors: Mason, Paul
- Date: 2016
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2332 , http://hdl.handle.net/10962/d1020842
- Description: The theoretical framework for this thesis and analysis of primary texts revolves around the problem of conscription into the South African Defence Force (SADF) in the 1980s. The ideology of masculinity that underpinned and sustained the practice of conscription is referred to throughout as the hegemonic version. This term is interchangeable with others, namely masculinism and ‗the real man.‘ The aim is to interpret the selected texts for strains of resistance to the practice of conscription and its assumptions as to what to what constitutes the natural or real man. In the Introduction to this thesis I begin by explaining the personal dimension of my role as researcher, after which I motivate my research project and explain its theoretical and methodological orientation, focusing on the concepts that play a significant role in analysis of the primary texts. The Introduction concludes with an outline of the content of Chapters 1–5. Chapter 1 begins with a brief discussion, on the general level, of the practice of conscription and resistance to it, and proceeds to a concern with conscription in 1980s South Africa. Attention is paid to prevailing attitudes towards gender and sexuality within both the SADF and the End Conscription Campaign (ECC). Discussion of gender and sexuality as constructs of identity proceeds to a focus on the conceptual tools for textual analysis provided by theories of masculinity. The final section of this chapter pays attention to specific post-structuralist notions of identity that serve analysis of the primary texts, that is, the notions of the subject, agency and the author. Having engaged mainly with secondary texts in Chapter 1, Chapter 2 presents the first sustained critical engagement with primary texts in which resistance was expressed against the institution of conscription and the hegemonic version of masculinity that underpinned it. These expressions of resistance occurred within a rock music counter-culture of the period, known as the Voëlvry movement. Attention is given to overlaps or links between this counter-culture and that of America in the 1960s, as well echoes between the Vietnam and Border Wars. Analysis of these links is applied to a memoir selected for its appropriateness. Threaded through the chapter is a concern with expressions of masculine identity within the Voëlvry counter-culture, the SADF and the ECC. Chapter 3 focuses on three novels and one collection of short stories, each narrated in the first person and written by gay authors who performed their National Service. Attention is paid to the protagonists‘ perceptions of themselves, their troubled relationships with their fathers, and the struggle to come out within a context that prohibited them from doing so. Chapter 4 concerns three wartime memoirs and two written by men who refused to perform their National Service. Underlying concerns in this chapter are the question of fact versus fiction in the genre of the memoir, authors‘ perceptions of and relationships with women, and expressions of vulnerability. Chapter 5 concentrates on the interviews that comprise the Appendix. The chapter establishes its theoretical ground by focusing on principles of narrative structure and the relation of personal to narrative identity. The chapter pays attention to the displays of power and the vulnerabilities of both veteran soldiers and resisters. Theory deployed in analysis of the primary texts serves the principal concerns articulated in the title to the thesis.
- Full Text:
- Date Issued: 2016
Death situations in the short story : a study in structure
- Authors: Ruthrof, Horst
- Date: 1968
- Subjects: Short story , Death in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2313 , http://hdl.handle.net/10962/d1013108
- Description: In an article on Ernst Cassirer, Konstantin Reichardt says, Since form is the only rational factor of every art, and the form of each art manifests a specific order, 'the order and form of the arts are to be investigated, if we want to examine the artist's imagination at work and the architecture of the world of art. It is the aim of this thesis to cast some light on a small, yet beautiful building within the complex architecture of this world of art, the genre of the short story. To isolate its structural and generic characteristics in general, however, would entail an analytical investigation into a huge number of short stcries, a task too great to be tackled in a thesis. Intro., p. 8.
- Full Text:
- Date Issued: 1968
- Authors: Ruthrof, Horst
- Date: 1968
- Subjects: Short story , Death in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2313 , http://hdl.handle.net/10962/d1013108
- Description: In an article on Ernst Cassirer, Konstantin Reichardt says, Since form is the only rational factor of every art, and the form of each art manifests a specific order, 'the order and form of the arts are to be investigated, if we want to examine the artist's imagination at work and the architecture of the world of art. It is the aim of this thesis to cast some light on a small, yet beautiful building within the complex architecture of this world of art, the genre of the short story. To isolate its structural and generic characteristics in general, however, would entail an analytical investigation into a huge number of short stcries, a task too great to be tackled in a thesis. Intro., p. 8.
- Full Text:
- Date Issued: 1968
Deliberately withheld meaning : aspects of narrative technique in four novels by William Faulkner
- Authors: Walters, Paul S
- Date: 1970
- Subjects: Faulkner, William, 1897-1962 -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2167 , http://hdl.handle.net/10962/d1001746
- Full Text:
- Date Issued: 1970
- Authors: Walters, Paul S
- Date: 1970
- Subjects: Faulkner, William, 1897-1962 -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2167 , http://hdl.handle.net/10962/d1001746
- Full Text:
- Date Issued: 1970
Drummer Hodge : the poetry of the Anglo-Boer War (1899-1902)
- Authors: Van Wyk Smith, Malvern
- Date: 1976
- Subjects: War poetry -- History and criticism South African War, 1899-1902 -- Literature and the war South African War, 1899-1902 -- Art and the war
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2252 , http://hdl.handle.net/10962/d1003919
- Description: From Preface: This is not a history of the Boer War; nor is it an exclusively literary study of the poetry of that war. If the work that follows has to be defined generically at all, it may be called an exercise in cultural history. It attempts to assess the impact of a particular war on the literary culture, especially the poetry, of both the participants and the observers, whether in South Africa, in Britain and the rest of the English-speaking world, or in Europe. An assumption made throughout this study is that war poetry is not only verse written by men who are or have been under fire. Just as 'War poetry is not to be confused with political, polemical, or patriotic verse, although it can contain elements of all of these, so it is also the work of observers at home as much as that of soldiers at the front. It follows that I have not allowed myself the academic luxury of selecting, on the basis of literary merit only, a handful of outstanding war poems for rigorous analysis and discussion. "Doggerel can express the heart" wrote one of these late-Victorian soldierly versifiers, and I have roamed widely in the attempt to assemble the material which, I believe, records the full range of the impact that the Boer War made not only on Briton and Boer, but on the worId at large. A major thesis of this study is that the Boer War marked the clear emergence of the kind of war poetry which we have come to associate almost exclusively with the First World War. Poems in the style and spirit of "The Charge of the Light Brigade" were written in profusion, but the work which serves as this study's masthead, Hardy's "Drummer Hodge," clearly has --like many of its contemporaries-- more in common with Owen's verse than with Tennyson's. The reasons for the appearance of such poetry are discussed in Chapter 1; the rest of the book provides the evidence of it.
- Full Text:
- Date Issued: 1976
- Authors: Van Wyk Smith, Malvern
- Date: 1976
- Subjects: War poetry -- History and criticism South African War, 1899-1902 -- Literature and the war South African War, 1899-1902 -- Art and the war
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2252 , http://hdl.handle.net/10962/d1003919
- Description: From Preface: This is not a history of the Boer War; nor is it an exclusively literary study of the poetry of that war. If the work that follows has to be defined generically at all, it may be called an exercise in cultural history. It attempts to assess the impact of a particular war on the literary culture, especially the poetry, of both the participants and the observers, whether in South Africa, in Britain and the rest of the English-speaking world, or in Europe. An assumption made throughout this study is that war poetry is not only verse written by men who are or have been under fire. Just as 'War poetry is not to be confused with political, polemical, or patriotic verse, although it can contain elements of all of these, so it is also the work of observers at home as much as that of soldiers at the front. It follows that I have not allowed myself the academic luxury of selecting, on the basis of literary merit only, a handful of outstanding war poems for rigorous analysis and discussion. "Doggerel can express the heart" wrote one of these late-Victorian soldierly versifiers, and I have roamed widely in the attempt to assemble the material which, I believe, records the full range of the impact that the Boer War made not only on Briton and Boer, but on the worId at large. A major thesis of this study is that the Boer War marked the clear emergence of the kind of war poetry which we have come to associate almost exclusively with the First World War. Poems in the style and spirit of "The Charge of the Light Brigade" were written in profusion, but the work which serves as this study's masthead, Hardy's "Drummer Hodge," clearly has --like many of its contemporaries-- more in common with Owen's verse than with Tennyson's. The reasons for the appearance of such poetry are discussed in Chapter 1; the rest of the book provides the evidence of it.
- Full Text:
- Date Issued: 1976
For love and money: Beatrice Grimshaw's Passage to Papua
- Authors: Gardner, Susan Jane
- Date: 1986
- Subjects: Grimshaw, Beatrice, 1871-1953 -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2259 , http://hdl.handle.net/10962/d1004509
- Full Text:
- Date Issued: 1986
- Authors: Gardner, Susan Jane
- Date: 1986
- Subjects: Grimshaw, Beatrice, 1871-1953 -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2259 , http://hdl.handle.net/10962/d1004509
- Full Text:
- Date Issued: 1986
From myth to allegory: a study of the poetry of W.H. Auden, with special reference to the poet's intention
- Authors: Bell, I M
- Date: 1968
- Subjects: Auden, W. H., (Wystan Hugh), 1907-1973 -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2290 , http://hdl.handle.net/10962/d1009514 , Auden, W. H., (Wystan Hugh), 1907-1973 -- Criticism and interpretation
- Description: The more attentively Auden's poetry is studied, the more one critical problem emerges. How can the poet of the "twenties and ' thirties be reconciled with the poet of the last three decades? "We've all got to come to terms with the later Auden" writes Professor Richard Hoggart, but he does not explain how. The man who wrote the pungent early poetry with its constant reiteration of warnings to a sick society that what was needed was " … death, death of the grain, our death, Death of the old gang … " before it could achieve "new styles of architecture, a change of heart", seems an entirely different person from the man who is on the side of Authority to-day; that is to say in so far as Auden can ever be said to be definitely on one side or another. Intro. p. 1.
- Full Text:
- Date Issued: 1968
- Authors: Bell, I M
- Date: 1968
- Subjects: Auden, W. H., (Wystan Hugh), 1907-1973 -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2290 , http://hdl.handle.net/10962/d1009514 , Auden, W. H., (Wystan Hugh), 1907-1973 -- Criticism and interpretation
- Description: The more attentively Auden's poetry is studied, the more one critical problem emerges. How can the poet of the "twenties and ' thirties be reconciled with the poet of the last three decades? "We've all got to come to terms with the later Auden" writes Professor Richard Hoggart, but he does not explain how. The man who wrote the pungent early poetry with its constant reiteration of warnings to a sick society that what was needed was " … death, death of the grain, our death, Death of the old gang … " before it could achieve "new styles of architecture, a change of heart", seems an entirely different person from the man who is on the side of Authority to-day; that is to say in so far as Auden can ever be said to be definitely on one side or another. Intro. p. 1.
- Full Text:
- Date Issued: 1968
Identity, belonging and ecological crisis in South African speculative fiction
- Authors: Steenkamp, Elzette Lorna
- Date: 2011
- Subjects: South African fiction -- History and criticism Identity (Philosophical concept) in literature Group identity in literature Ecology in literature Science fiction, South African -- History and criticism Fantasy fiction, South African -- History and criticism Ecofiction -- History and criticism Ecocriticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2219 , http://hdl.handle.net/10962/d1002262
- Description: This study examines a range of South African speculative novels which situate their narratives in futuristic or ‘alternative’ milieus, exploring how these narratives not only address identity formation in a deeply divided and rapidly changing society, but also the ways in which human beings place themselves in relation to Nature and form notions of ‘ecological’ belonging. It offers close readings of these speculative narratives in order to investigate the ways in which they evince concerns which are rooted in the natural, social and political landscapes which inform them. Specific attention is paid to the texts’ treatment of the intertwined issues of identity, belonging and ecological crisis. This dissertation draws on the fields of Ecocriticism, Postcolonial Studies and Science Fiction Studies, and assumes a culturally specific approach to primary texts while investigating possible cross-cultural commonalities between Afrikaans and English speculative narratives, as well as the cross-fertilisation of global SF/speculative features. It is suggested that South African speculative fiction presents a socio-historically situated, rhizomatic approach to ecology – one that is attuned to the tension between humanistic- and ecological concerns.
- Full Text:
- Date Issued: 2011
- Authors: Steenkamp, Elzette Lorna
- Date: 2011
- Subjects: South African fiction -- History and criticism Identity (Philosophical concept) in literature Group identity in literature Ecology in literature Science fiction, South African -- History and criticism Fantasy fiction, South African -- History and criticism Ecofiction -- History and criticism Ecocriticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2219 , http://hdl.handle.net/10962/d1002262
- Description: This study examines a range of South African speculative novels which situate their narratives in futuristic or ‘alternative’ milieus, exploring how these narratives not only address identity formation in a deeply divided and rapidly changing society, but also the ways in which human beings place themselves in relation to Nature and form notions of ‘ecological’ belonging. It offers close readings of these speculative narratives in order to investigate the ways in which they evince concerns which are rooted in the natural, social and political landscapes which inform them. Specific attention is paid to the texts’ treatment of the intertwined issues of identity, belonging and ecological crisis. This dissertation draws on the fields of Ecocriticism, Postcolonial Studies and Science Fiction Studies, and assumes a culturally specific approach to primary texts while investigating possible cross-cultural commonalities between Afrikaans and English speculative narratives, as well as the cross-fertilisation of global SF/speculative features. It is suggested that South African speculative fiction presents a socio-historically situated, rhizomatic approach to ecology – one that is attuned to the tension between humanistic- and ecological concerns.
- Full Text:
- Date Issued: 2011
Localising the global: the use of a postmodernist aesthetic in the fiction of Alain Mabanckou
- Authors: Ngulube, Innocent Akilimale
- Date: 2020
- Subjects: Mabanckou, Alain, 1966- , Mabanckou, Alain, 1966- -- Blue, white, red , Mabanckou, Alain, 1966- -- African psycho , Mabanckou, Alain, 1966- -- Broken glass , Mabanckou, Alain, 1966- -- Memoirs of a porcupine , Mabanckou, Alain, 1966- -- The Lights of Pointe-Noire , Mabanckou, Alain, 1966- -- Tomorrow I'll be twenty , Mabanckou, Alain, 1966- Black bazaar , Postcolonialism in literature , African fiction (French) -- History and criticism , Postmodernism (Literature)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/167153 , vital:41442
- Description: This thesis explores the use of a postmodernist aesth etic in Alain Mabanckou’s oeuvre, namely Blue White Red, African Psycho, Broken Glass, Memoirs of a Porcupine, Black Bazaar, Tomorrow I’ll Be Twenty, The Lights of Pointe-Noire, and Black Moses. In particular, I show how and why this Afrodiasporic author localises strategies associated with Western postmodernist writing in an African postcolonial context. My central argument is that if postmodernism is a critique of modernity in the West, then it must also be a respon se to enforced modernity in the African postcolonial context. In mounting this argument, I conduct a close reading of Mabanckou’s novels from within the theoretical frameworks of postmodernism and postcolonialism. I demonstrate that Mabanckou’s writing adu mbrates the possibility of a postcolonial postmodernism. Since he is a French-Congolese citizen, his writing evinces aesthetic glocalisation. That is, as a postcolonial writer, he conceives of, and inflects, postmodernism differently from a Western writer, for his experiences of and responses to modernity differ from the latter’s. Far from replicating a politics of disillusionment and despair that informs, even characterises, Western postmodernist fiction, Mabanckou invests hi s African postcolonial writing with a politics of decolonis ation which problematises the effects of enforced modernity. Postmodernism, in other words, accords Mabanckou an ambivalent position from which he interrogates both Western modernity and its African version. Significantly, in this regard, Mabanckou’s writing presents both an extension of and a departure from the pioneering influence of the first generation of African writers such as Chinua Achebe, Ngugi wa Thiong’o, and Wole Soyinka.
- Full Text:
- Date Issued: 2020
- Authors: Ngulube, Innocent Akilimale
- Date: 2020
- Subjects: Mabanckou, Alain, 1966- , Mabanckou, Alain, 1966- -- Blue, white, red , Mabanckou, Alain, 1966- -- African psycho , Mabanckou, Alain, 1966- -- Broken glass , Mabanckou, Alain, 1966- -- Memoirs of a porcupine , Mabanckou, Alain, 1966- -- The Lights of Pointe-Noire , Mabanckou, Alain, 1966- -- Tomorrow I'll be twenty , Mabanckou, Alain, 1966- Black bazaar , Postcolonialism in literature , African fiction (French) -- History and criticism , Postmodernism (Literature)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/167153 , vital:41442
- Description: This thesis explores the use of a postmodernist aesth etic in Alain Mabanckou’s oeuvre, namely Blue White Red, African Psycho, Broken Glass, Memoirs of a Porcupine, Black Bazaar, Tomorrow I’ll Be Twenty, The Lights of Pointe-Noire, and Black Moses. In particular, I show how and why this Afrodiasporic author localises strategies associated with Western postmodernist writing in an African postcolonial context. My central argument is that if postmodernism is a critique of modernity in the West, then it must also be a respon se to enforced modernity in the African postcolonial context. In mounting this argument, I conduct a close reading of Mabanckou’s novels from within the theoretical frameworks of postmodernism and postcolonialism. I demonstrate that Mabanckou’s writing adu mbrates the possibility of a postcolonial postmodernism. Since he is a French-Congolese citizen, his writing evinces aesthetic glocalisation. That is, as a postcolonial writer, he conceives of, and inflects, postmodernism differently from a Western writer, for his experiences of and responses to modernity differ from the latter’s. Far from replicating a politics of disillusionment and despair that informs, even characterises, Western postmodernist fiction, Mabanckou invests hi s African postcolonial writing with a politics of decolonis ation which problematises the effects of enforced modernity. Postmodernism, in other words, accords Mabanckou an ambivalent position from which he interrogates both Western modernity and its African version. Significantly, in this regard, Mabanckou’s writing presents both an extension of and a departure from the pioneering influence of the first generation of African writers such as Chinua Achebe, Ngugi wa Thiong’o, and Wole Soyinka.
- Full Text:
- Date Issued: 2020