No other world: the poetry of Don Maclennan
- Authors: Robinson, Brendon Kimbale
- Date: 2008
- Subjects: Maclennan, Don Maclennan, Don -- Criticism and interpretation South African poetry (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2221 , http://hdl.handle.net/10962/d1002264
- Description: This is a study of the poetry of Don Maclennan in four chapters. Chapter One explores the poetry's deep involvement with the immediate world, and with the being that encounters it. Chapter Two examines the corpus's mistrust of abstract thought, and its suggestions for alternative ways of intepreting (or at least approaching an interpretation of) our existential situation. Chapter Three deals with Maclennan's writing on the subject of death, while the final chapter looks at the response of the poetry to the fact of death: put simply, this is to learn to love the situation we are in, and to record our thoughts for future generations, thus reaching beyond death to share with others the necessarily unique experience of our one and only life.
- Full Text:
- Date Issued: 2008
- Authors: Robinson, Brendon Kimbale
- Date: 2008
- Subjects: Maclennan, Don Maclennan, Don -- Criticism and interpretation South African poetry (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2221 , http://hdl.handle.net/10962/d1002264
- Description: This is a study of the poetry of Don Maclennan in four chapters. Chapter One explores the poetry's deep involvement with the immediate world, and with the being that encounters it. Chapter Two examines the corpus's mistrust of abstract thought, and its suggestions for alternative ways of intepreting (or at least approaching an interpretation of) our existential situation. Chapter Three deals with Maclennan's writing on the subject of death, while the final chapter looks at the response of the poetry to the fact of death: put simply, this is to learn to love the situation we are in, and to record our thoughts for future generations, thus reaching beyond death to share with others the necessarily unique experience of our one and only life.
- Full Text:
- Date Issued: 2008
Observing and describing textual "reality": a critique of the claims to objective reality and authentication in new critical and structuralist literary theory, seen against a background of Feyerabend's ideas concerning paradigms, dominance and ideology
- Authors: Masters, Kenneth Andrew
- Date: 1992
- Subjects: Feyerabend, Paul, 1924-1994 , Criticism , Structuralism (Literary analysis) , Science and the arts , Reality , Objectivity
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2247 , http://hdl.handle.net/10962/d1002290 , Feyerabend, Paul, 1924-1994 , Criticism , Structuralism (Literary analysis) , Science and the arts , Reality , Objectivity
- Description: This thesis sets out to examine the claims to objective reality and authentication in New critical and Structuralist literary theories, concentrating on their claims to "objectivity" and "scientific validity." It examines the nature of these claims in the light of the original ideas proposed by some of the major New critics and structuralists in the development of their respective "sciences" of literary theory. Taking direction from the nature of reality and objectivity shown by the theorists, the thesis then attempts an assessment of the validity of some of the original perceptions and presuppositions concerning scientific objectivity and reality. It proposes that inconsistencies within the literary theories resulted from the theorists' inability to grasp the complexity and fluctuating nature of the borrowed terminology and principles that they were using. It does so by taking a closer look at the development of some of the more influential physical theories and the philosophical ideas raised by these developments. It then uses Feyerabend's work on paradigms, dominance and ideology to attempt an assessment of the reasons for the literary theorists' perceptions and presuppositions regarding objectivity and reality. This amounts to accounting for the specific scientific models chosen as bases, and also to accounting for the desire for the "scientific approach" at all. Its conclusions give an indication of the extent to which these original errors contributed to the theories' necessary adaptations of perspective and eventual loss of influence, and emphasises the need for the total understanding of concepts in one field by researchers in other fields, especially if those concepts are to be used by the researchers with any degree of precision.
- Full Text:
- Date Issued: 1992
- Authors: Masters, Kenneth Andrew
- Date: 1992
- Subjects: Feyerabend, Paul, 1924-1994 , Criticism , Structuralism (Literary analysis) , Science and the arts , Reality , Objectivity
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2247 , http://hdl.handle.net/10962/d1002290 , Feyerabend, Paul, 1924-1994 , Criticism , Structuralism (Literary analysis) , Science and the arts , Reality , Objectivity
- Description: This thesis sets out to examine the claims to objective reality and authentication in New critical and Structuralist literary theories, concentrating on their claims to "objectivity" and "scientific validity." It examines the nature of these claims in the light of the original ideas proposed by some of the major New critics and structuralists in the development of their respective "sciences" of literary theory. Taking direction from the nature of reality and objectivity shown by the theorists, the thesis then attempts an assessment of the validity of some of the original perceptions and presuppositions concerning scientific objectivity and reality. It proposes that inconsistencies within the literary theories resulted from the theorists' inability to grasp the complexity and fluctuating nature of the borrowed terminology and principles that they were using. It does so by taking a closer look at the development of some of the more influential physical theories and the philosophical ideas raised by these developments. It then uses Feyerabend's work on paradigms, dominance and ideology to attempt an assessment of the reasons for the literary theorists' perceptions and presuppositions regarding objectivity and reality. This amounts to accounting for the specific scientific models chosen as bases, and also to accounting for the desire for the "scientific approach" at all. Its conclusions give an indication of the extent to which these original errors contributed to the theories' necessary adaptations of perspective and eventual loss of influence, and emphasises the need for the total understanding of concepts in one field by researchers in other fields, especially if those concepts are to be used by the researchers with any degree of precision.
- Full Text:
- Date Issued: 1992
Paranoid metaphors: an examination of the discursive, theoretical and sometimes personal, interaction between the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne
- Authors: De Klerk, Eugene
- Date: 2003
- Subjects: Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2192 , http://hdl.handle.net/10962/d1002234 , Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Description: This thesis examines the historical interaction of the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne. It traces the discursive, and sometimes personal, relationship between these figures which led to a psychoanalytic-based conception of paranoia that impacted on both surrealism and the surrealist-inspired poetry and theory of David Gascoyne. Furthermore it seeks to identify the potential ramifications of this conception of paranoia, and the artistic practice it engendered, for literary, Marxist and psychoanalytic theory.
- Full Text:
- Date Issued: 2003
- Authors: De Klerk, Eugene
- Date: 2003
- Subjects: Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2192 , http://hdl.handle.net/10962/d1002234 , Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Description: This thesis examines the historical interaction of the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne. It traces the discursive, and sometimes personal, relationship between these figures which led to a psychoanalytic-based conception of paranoia that impacted on both surrealism and the surrealist-inspired poetry and theory of David Gascoyne. Furthermore it seeks to identify the potential ramifications of this conception of paranoia, and the artistic practice it engendered, for literary, Marxist and psychoanalytic theory.
- Full Text:
- Date Issued: 2003
Pastoralism and the function of the pastoral in late sixteenth century english literature
- Authors: Beard, Margaret Mary
- Date: 1978
- Subjects: English literature -- Early modern, 1500-1700 -- History and criticism , Pastoral literature, English -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2282 , http://hdl.handle.net/10962/d1007609 , English literature -- Early modern, 1500-1700 -- History and criticism , Pastoral literature, English -- History and criticism
- Description: In this thesis I have made a study of certain aspects of pastoralism and the pastoral genre in late Elizabethan literature. I have done this because I felt that Elizabethan pastoral writing was, at its best, far more than just a literary exercise undertaken, as was much Continental pastoral writing, to furnish the vernacular with a genre approved by Classical precedent. The strength of Elizabethan pastoral derived from the combination of certain indigenous factors present during Elizabeth's reign, with the current interest in imitating the Classics and introducing a famous genre into the vernacular. There had always been in English literature a strong response to the natural world and this response revealed itself in pastoral writing in which the traditional naturalistic details derived from Classical sources were infused with the grace and strength of direct observation. More importantly, Elizabethan England had a monarch who was not only ideally suited through her sex and celibacy to play the leading role in a pastoral world, but who also actively encouraged and enjoyed the eulogistic sentiments native to the Renaissance pastoral. In the English attempt to imitate a favourite Renaissance version of the pastoral - the use of a pastoral framework to comment on ecclesiastical or political affairs - there was, in Tudor Protestantism, with all its internal conflicts and its vital struggle against the political and spiritual forces of the Roman church, an ideal source of material for eclogues in the style of Mantuan. Such factors ensured that Elizabethan pastoral had a significance and relevance largely lacking in the more academic products of Continental pastoralists. Preface, p. i
- Full Text:
- Date Issued: 1978
- Authors: Beard, Margaret Mary
- Date: 1978
- Subjects: English literature -- Early modern, 1500-1700 -- History and criticism , Pastoral literature, English -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2282 , http://hdl.handle.net/10962/d1007609 , English literature -- Early modern, 1500-1700 -- History and criticism , Pastoral literature, English -- History and criticism
- Description: In this thesis I have made a study of certain aspects of pastoralism and the pastoral genre in late Elizabethan literature. I have done this because I felt that Elizabethan pastoral writing was, at its best, far more than just a literary exercise undertaken, as was much Continental pastoral writing, to furnish the vernacular with a genre approved by Classical precedent. The strength of Elizabethan pastoral derived from the combination of certain indigenous factors present during Elizabeth's reign, with the current interest in imitating the Classics and introducing a famous genre into the vernacular. There had always been in English literature a strong response to the natural world and this response revealed itself in pastoral writing in which the traditional naturalistic details derived from Classical sources were infused with the grace and strength of direct observation. More importantly, Elizabethan England had a monarch who was not only ideally suited through her sex and celibacy to play the leading role in a pastoral world, but who also actively encouraged and enjoyed the eulogistic sentiments native to the Renaissance pastoral. In the English attempt to imitate a favourite Renaissance version of the pastoral - the use of a pastoral framework to comment on ecclesiastical or political affairs - there was, in Tudor Protestantism, with all its internal conflicts and its vital struggle against the political and spiritual forces of the Roman church, an ideal source of material for eclogues in the style of Mantuan. Such factors ensured that Elizabethan pastoral had a significance and relevance largely lacking in the more academic products of Continental pastoralists. Preface, p. i
- Full Text:
- Date Issued: 1978
Pauline Smith : between worlds
- Authors: Driver, Dorothy
- Date: 1987
- Subjects: Smith, Pauline, 1883-1959
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2266 , http://hdl.handle.net/10962/d1004792
- Full Text:
- Date Issued: 1987
- Authors: Driver, Dorothy
- Date: 1987
- Subjects: Smith, Pauline, 1883-1959
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2266 , http://hdl.handle.net/10962/d1004792
- Full Text:
- Date Issued: 1987
Performing whiteness; representing otherness : Hugh Tracey and African music
- Authors: Coetzee, Paulette June
- Date: 2015
- Subjects: Tracey, Hugh , Music -- Africa , International Library of African Music , Ethnomusicology -- Africa , Ethnomusicologists -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2327 , http://hdl.handle.net/10962/d1016502
- Description: This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.
- Full Text:
- Date Issued: 2015
- Authors: Coetzee, Paulette June
- Date: 2015
- Subjects: Tracey, Hugh , Music -- Africa , International Library of African Music , Ethnomusicology -- Africa , Ethnomusicologists -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2327 , http://hdl.handle.net/10962/d1016502
- Description: This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.
- Full Text:
- Date Issued: 2015
Perspectives on isolation: the relation of narrative technique to theme in selected works by Joseph Conrad
- Authors: Gaylard, Robin Peter
- Date: 2013-02-13
- Subjects: Conrad, Joseph, 1857-1924
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2182 , http://hdl.handle.net/10962/d1001833 , Conrad, Joseph, 1857-1924
- Description: " ... the central concern of this thesis, which is to investigate the ways in which Conrad uses a particular technique (that of the first-person narrator ) to focus our attention, to secure our involvement, and to direct our sympathies. At the same time I wish to examine the extent to which the central themes or concerns of each work derive from the interaction between the narrator and the man whose experience he confronts, from "the challenging interplay of two frames of reference, two schemes of values, two sets of attitudes" that the use of a dramatized narrator makes possible." (Introd., p. 5) , Adobe Acrobat 9.53 Paper Capture Plug-in
- Full Text:
- Authors: Gaylard, Robin Peter
- Date: 2013-02-13
- Subjects: Conrad, Joseph, 1857-1924
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2182 , http://hdl.handle.net/10962/d1001833 , Conrad, Joseph, 1857-1924
- Description: " ... the central concern of this thesis, which is to investigate the ways in which Conrad uses a particular technique (that of the first-person narrator ) to focus our attention, to secure our involvement, and to direct our sympathies. At the same time I wish to examine the extent to which the central themes or concerns of each work derive from the interaction between the narrator and the man whose experience he confronts, from "the challenging interplay of two frames of reference, two schemes of values, two sets of attitudes" that the use of a dramatized narrator makes possible." (Introd., p. 5) , Adobe Acrobat 9.53 Paper Capture Plug-in
- Full Text:
Perversity on paper taboo, abjection and literature: Iain Banks' The wasp factory, Ian McEwan's The cement garden, and Irvine Welsh's Marabou stork nightmares
- Authors: De Coning, Alexis
- Date: 2011
- Subjects: Banks, Iain, 1954-, The wasp factory Banks, Iain, 1954-, Criticism and interpretation McEwan, Ian -- The cement garden McEwan, Ian -- Criticism and interpretation Welsh, Irvine -- Marabou stork nightmares Welsh, Irvine -- Criticism and interpretation English literature -- 20th century -- History and criticism Taboo in literature Abjection in literature Kristeva, Julia, 1941-, Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2205 , http://hdl.handle.net/10962/d1002247
- Description: This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟.
- Full Text:
- Date Issued: 2011
- Authors: De Coning, Alexis
- Date: 2011
- Subjects: Banks, Iain, 1954-, The wasp factory Banks, Iain, 1954-, Criticism and interpretation McEwan, Ian -- The cement garden McEwan, Ian -- Criticism and interpretation Welsh, Irvine -- Marabou stork nightmares Welsh, Irvine -- Criticism and interpretation English literature -- 20th century -- History and criticism Taboo in literature Abjection in literature Kristeva, Julia, 1941-, Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2205 , http://hdl.handle.net/10962/d1002247
- Description: This thesis explores the notion of perversity in literature, specifically with regard to representations of taboo and abjection in Iain Banks‟ The Wasp Factory, Ian McEwan‟s The Cement Garden, and Irvine Welsh‟s Marabou Stork Nightmares. Julia Kristeva‟s Powers of Horror: An Essay on Abjection, as well as her notion of revolt, constitute the central theoretical framework for my analysis. However, I also draw upon the concepts of monstrosity, grotesqueness and the uncanny in order to explicate the affect of abject fiction on the reader. I posit, then, that to engage with literary works that confront one with perversity, abjection and taboo entails exposing oneself to an ambiguous or liminal space in which culturally established values are both disrupted and affirmed. The subversive and revolutionary potential of the aforementioned novels is discussed with reference to the notion of the perverted Bildungsroman since, in their respective transgressions of taboos, the narrators of these novels disrupt social order, and their narratives end on a note of indeterminacy or the absolute finality of death, rather than self-actualisation. Moreover, in exposing the binaries of sex and gender as arbitrary and fluctuating, these narrators‟ perverse sexual and gender performativities gesture towards alternative modes of being (beyond social sanction), and invoke Kristeva‟s notion of individual revolt as a „condition necessary for the life of the mind and society‟.
- Full Text:
- Date Issued: 2011
Plaatje's African romance: the translation of tragedy in Mhudi and other writings
- Authors: Walter, Brian Ernest
- Date: 2001
- Subjects: Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932. Mhudi Race in literature Politics in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2188 , http://hdl.handle.net/10962/d1002230
- Description: This study brings together Plaatje’s politicaland literary visions, arguing that the one informs the other. Plaatje’s literary work is used as a starting point for the discussion, and the first chapter explores the relationship of his political and artistic visions. Mhudi is his definitive romance text, and it is argued that Plaatje’s romance visionin this text is reflected in his political thinking, and in turn reflected by it. His romance work was part of a literary romance tradition which Plaatje both drew upon and transformed, and thus the basic features of romance are explored in Chapter Two. Plaatje’s work is situated between two influential romance models, therefore Chapter Two also discusses the romances of Shakespeare, whomPlaatje read as reflectinga non-racial humanism that was translatable into the African context, in terms of political vision and of literary text. His other models were the colonial romances of Haggard. It is argued that, while Plaatje could glean many elements fromHaggardthat suited his purposes as an African, specifically a SouthAfrican, writer, he nevertheless—despite his own pro-British leanings, qualified though they might have been by the complexities of his colonial context—would not have represented Africa and Africans in terms of the exotic other in the way Haggard clearly did. Thus Plaatje, in terms of his romance vision, may have usedmanyofthe themesand techniques of Haggardianromance, but consistently qualified these colonial works by using the more classically shaped Shakespearean romance structure at the deep level of his work. The third chapter examines Haggard’s romance, but differentiates between two Haggardian types, the completed or resolved romance, whichis more classical in its form, and evokes an image of a completed quest, as well as the necessity of the quester entering the world again. Haggard’s “completed” African romance, it is argued, is resolved only in terms of a colonial vision. Chapter Four, by contrast, examines examples of his unresolved African romance, in which African ideals implode, and show themselves to be inneed of foreign intervention. It is argued that Haggard’s image of Africa was based on the unresolved or incomplete romance. His vision of Africa was such that it could not in itself provide the materialfor completed romance. This vision saw intervention as the only option for South Africa. While Plaatje uses elements of Haggard’s “incomplete” romance models when writing Mhudi, he handles both his narrative and politicalcommentaryin this text in terms of his own politicalthought. This non-racial politicalvisionis guided by his belief that virtue and vice are not the monopoly of any colour, a non-racialism he associates with Shakespeare. However, within the context of the South Africa of his fictionand of his life, this non-racial ideal is constantly under threat. It is partly threatened by political forces, but also challenged by moral changes within individuals and societies. In Chapter Five the examination of Plaatje’s work begins withhis Boer War Diary, inwhicha romance structure is sought beneath his diurnal observations and political optimismduring a time of warfare and siege. The discussion of this text is followed by a reading of Native Life in South Africa in which it is argued that Plaatje looks, in the midst of personal and social suffering, for that which can translate a tragic situation into romance resolution. “Translation” is used in a broad sense, echoing Plaatje’s view of the importance of translation for cross-cultural understanding and harmony. The arguments of Chapter Five are extended into Chapter Six, where a reading of Mhudi places emphasis on the possibilities of change implied in romance. Plaatje’s non-racial humanism recognizes the great potential for injustice and human suffering within the context of South African racism, but constantly seeks to translate such suffering into the triumph of romance. While the narrative of Mhudi concludes on a romance peak, tensions between the tragic and romance possibilities alert the reader to the sense that, despite its romance resolution, something has been lost in the translation of the potential tragedy into romance.
- Full Text:
- Date Issued: 2001
- Authors: Walter, Brian Ernest
- Date: 2001
- Subjects: Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932. Mhudi Race in literature Politics in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2188 , http://hdl.handle.net/10962/d1002230
- Description: This study brings together Plaatje’s politicaland literary visions, arguing that the one informs the other. Plaatje’s literary work is used as a starting point for the discussion, and the first chapter explores the relationship of his political and artistic visions. Mhudi is his definitive romance text, and it is argued that Plaatje’s romance visionin this text is reflected in his political thinking, and in turn reflected by it. His romance work was part of a literary romance tradition which Plaatje both drew upon and transformed, and thus the basic features of romance are explored in Chapter Two. Plaatje’s work is situated between two influential romance models, therefore Chapter Two also discusses the romances of Shakespeare, whomPlaatje read as reflectinga non-racial humanism that was translatable into the African context, in terms of political vision and of literary text. His other models were the colonial romances of Haggard. It is argued that, while Plaatje could glean many elements fromHaggardthat suited his purposes as an African, specifically a SouthAfrican, writer, he nevertheless—despite his own pro-British leanings, qualified though they might have been by the complexities of his colonial context—would not have represented Africa and Africans in terms of the exotic other in the way Haggard clearly did. Thus Plaatje, in terms of his romance vision, may have usedmanyofthe themesand techniques of Haggardianromance, but consistently qualified these colonial works by using the more classically shaped Shakespearean romance structure at the deep level of his work. The third chapter examines Haggard’s romance, but differentiates between two Haggardian types, the completed or resolved romance, whichis more classical in its form, and evokes an image of a completed quest, as well as the necessity of the quester entering the world again. Haggard’s “completed” African romance, it is argued, is resolved only in terms of a colonial vision. Chapter Four, by contrast, examines examples of his unresolved African romance, in which African ideals implode, and show themselves to be inneed of foreign intervention. It is argued that Haggard’s image of Africa was based on the unresolved or incomplete romance. His vision of Africa was such that it could not in itself provide the materialfor completed romance. This vision saw intervention as the only option for South Africa. While Plaatje uses elements of Haggard’s “incomplete” romance models when writing Mhudi, he handles both his narrative and politicalcommentaryin this text in terms of his own politicalthought. This non-racial politicalvisionis guided by his belief that virtue and vice are not the monopoly of any colour, a non-racialism he associates with Shakespeare. However, within the context of the South Africa of his fictionand of his life, this non-racial ideal is constantly under threat. It is partly threatened by political forces, but also challenged by moral changes within individuals and societies. In Chapter Five the examination of Plaatje’s work begins withhis Boer War Diary, inwhicha romance structure is sought beneath his diurnal observations and political optimismduring a time of warfare and siege. The discussion of this text is followed by a reading of Native Life in South Africa in which it is argued that Plaatje looks, in the midst of personal and social suffering, for that which can translate a tragic situation into romance resolution. “Translation” is used in a broad sense, echoing Plaatje’s view of the importance of translation for cross-cultural understanding and harmony. The arguments of Chapter Five are extended into Chapter Six, where a reading of Mhudi places emphasis on the possibilities of change implied in romance. Plaatje’s non-racial humanism recognizes the great potential for injustice and human suffering within the context of South African racism, but constantly seeks to translate such suffering into the triumph of romance. While the narrative of Mhudi concludes on a romance peak, tensions between the tragic and romance possibilities alert the reader to the sense that, despite its romance resolution, something has been lost in the translation of the potential tragedy into romance.
- Full Text:
- Date Issued: 2001
Poetic situation in the poetry of John Crowe Ransom
- Authors: Driver, Dorothy
- Date: 1975
- Subjects: Ransom, John Crowe,1888-1974 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2292 , http://hdl.handle.net/10962/d1011459 , Ransom, John Crowe,1888-1974 -- Criticism and interpretation
- Full Text:
- Date Issued: 1975
- Authors: Driver, Dorothy
- Date: 1975
- Subjects: Ransom, John Crowe,1888-1974 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2292 , http://hdl.handle.net/10962/d1011459 , Ransom, John Crowe,1888-1974 -- Criticism and interpretation
- Full Text:
- Date Issued: 1975
Power in Africa: a comparison of selected South African and Nigerian dystopian fiction
- Authors: Simelane, Smangaliso
- Date: 2020
- Subjects: Dystopias in literature , Africa -- In literature , South African fiction (English) -- History and criticism , Nigerian fiction (English) -- History and criticism , Beukes, Lauren -- Moxyland , Herne, Lily -- Deadlands , Bandele-Thomas, Biyi, 1967- The Sympathetic Undertaker and Other Dreams , Bandele-Thomas, Biyi, 1967- The Man Who Came in from the Back of Beyond
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/148171 , vital:38716
- Description: Dystopias have frequently been explored in literature to better understand the present and imagine the effects of certain elements of society if taken to a logical extreme. In this way, dystopian fiction can act as both cautionary tales and a form of social commentary. This can be explored within the context of African dystopian fiction where power is a recurring theme, highlighting the anxiety and turbulent history several countries on the continent continue to face. To demonstrate this, I compare selected South African and Nigerian Dystopian texts. With regards to South Africa, I analyse novels by South African science fiction authors Lauren Beukes and Lily Herne, namely Moxyland (2008) and Deadlands (2011) respectively, to investigate how South Africa’s past under Apartheid shapes the segregated societies presented. Nigerian dystopian texts by Biyi Bandele-Thomas, namely The Sympathetic Undertaker And Other Dreams (1993) and The Man Who Came in from the Back of Beyond (1992), are discussed with regards to the way Nigeria’s colonial past and several military juntas have contributed to the kinds of corruption that are depicted. I argue that all four texts warn of the dangers of power, albeit in ways that pertain specifically to their countries of origin. With regards to the South African texts, readers are shown the ways in which those in power can manipulate the desire to survive to keep those they subjugate dependent and, consequently, obedient through what Judith Butler terms ‘passionate attachments’. In the case of the Nigerian dystopias, I argue that Bandele-Thomas’s texts warn of tyranny and effects of the corruption that result from misused power strategies. While the dire settings of dystopian fiction may be grim enough, on their own, to motivate change in the real world, this may not be enough to prevent the texts from becoming pessimistic and fatalistic outlooks. Hence, I seek to understand how the selected novels maintain hope and, consequently, convince readers that the depicted dystopias are ones that can be avoided. Typically, dystopian literature fosters hope by setting the narratives in the future, giving readers hope that they may take steps today to protect their societies from becoming like the damned worlds described by dystopian authors. However, the selected texts are not set in the future. Hence, I explore three literary techniques that might foster hope within the selected African dystopian texts in lieu of temporal distancing. They are, namely: identification with the protagonist, defamiliarization and cognitive estrangement.
- Full Text:
- Date Issued: 2020
- Authors: Simelane, Smangaliso
- Date: 2020
- Subjects: Dystopias in literature , Africa -- In literature , South African fiction (English) -- History and criticism , Nigerian fiction (English) -- History and criticism , Beukes, Lauren -- Moxyland , Herne, Lily -- Deadlands , Bandele-Thomas, Biyi, 1967- The Sympathetic Undertaker and Other Dreams , Bandele-Thomas, Biyi, 1967- The Man Who Came in from the Back of Beyond
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/148171 , vital:38716
- Description: Dystopias have frequently been explored in literature to better understand the present and imagine the effects of certain elements of society if taken to a logical extreme. In this way, dystopian fiction can act as both cautionary tales and a form of social commentary. This can be explored within the context of African dystopian fiction where power is a recurring theme, highlighting the anxiety and turbulent history several countries on the continent continue to face. To demonstrate this, I compare selected South African and Nigerian Dystopian texts. With regards to South Africa, I analyse novels by South African science fiction authors Lauren Beukes and Lily Herne, namely Moxyland (2008) and Deadlands (2011) respectively, to investigate how South Africa’s past under Apartheid shapes the segregated societies presented. Nigerian dystopian texts by Biyi Bandele-Thomas, namely The Sympathetic Undertaker And Other Dreams (1993) and The Man Who Came in from the Back of Beyond (1992), are discussed with regards to the way Nigeria’s colonial past and several military juntas have contributed to the kinds of corruption that are depicted. I argue that all four texts warn of the dangers of power, albeit in ways that pertain specifically to their countries of origin. With regards to the South African texts, readers are shown the ways in which those in power can manipulate the desire to survive to keep those they subjugate dependent and, consequently, obedient through what Judith Butler terms ‘passionate attachments’. In the case of the Nigerian dystopias, I argue that Bandele-Thomas’s texts warn of tyranny and effects of the corruption that result from misused power strategies. While the dire settings of dystopian fiction may be grim enough, on their own, to motivate change in the real world, this may not be enough to prevent the texts from becoming pessimistic and fatalistic outlooks. Hence, I seek to understand how the selected novels maintain hope and, consequently, convince readers that the depicted dystopias are ones that can be avoided. Typically, dystopian literature fosters hope by setting the narratives in the future, giving readers hope that they may take steps today to protect their societies from becoming like the damned worlds described by dystopian authors. However, the selected texts are not set in the future. Hence, I explore three literary techniques that might foster hope within the selected African dystopian texts in lieu of temporal distancing. They are, namely: identification with the protagonist, defamiliarization and cognitive estrangement.
- Full Text:
- Date Issued: 2020
Protest in fiction : an approach to Alex la Guma
- Cornwell, David Gareth Napier
- Authors: Cornwell, David Gareth Napier
- Date: 1979
- Subjects: La Guma, Alex , South African literature (English) -- Black authors -- History and criticism , Protest literature, South African (English) -- History and criticism
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2169 , http://hdl.handle.net/10962/d1001820
- Description: From Introduction: Thus for the black South African, the act of creative writing is inescapably a form of political action, and unless he turns his back on the reality which confronts him and retreats into a private imaginary world, it is also a form of social action, Yet Ezekiel Mphahlele has rightly cautioned that "creating an imaginary world" can never be an effective substitute for social act ion . Composing fictions about social and political problems is an indubitably oblique way of seeking a solution to them, and even the tendentious recreation of reality is only a metaphor for its actual transformation. Protest writing in South Africa is paradoxically a form of social action which is also only a parasitical imitation of social action, and therefore its avoidance . The freedom of literary creation described above is ambiguously not only a freedom to express reality, but also a freedom from the constraints of reality. And this suggests why the outlaw was such an important symbol to an earlier generation of rather more self-conscious writers.
- Full Text:
- Date Issued: 1979
- Authors: Cornwell, David Gareth Napier
- Date: 1979
- Subjects: La Guma, Alex , South African literature (English) -- Black authors -- History and criticism , Protest literature, South African (English) -- History and criticism
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2169 , http://hdl.handle.net/10962/d1001820
- Description: From Introduction: Thus for the black South African, the act of creative writing is inescapably a form of political action, and unless he turns his back on the reality which confronts him and retreats into a private imaginary world, it is also a form of social action, Yet Ezekiel Mphahlele has rightly cautioned that "creating an imaginary world" can never be an effective substitute for social act ion . Composing fictions about social and political problems is an indubitably oblique way of seeking a solution to them, and even the tendentious recreation of reality is only a metaphor for its actual transformation. Protest writing in South Africa is paradoxically a form of social action which is also only a parasitical imitation of social action, and therefore its avoidance . The freedom of literary creation described above is ambiguously not only a freedom to express reality, but also a freedom from the constraints of reality. And this suggests why the outlaw was such an important symbol to an earlier generation of rather more self-conscious writers.
- Full Text:
- Date Issued: 1979
Pushing out towards the limits, and finding the centre: the mystical vision in the work of Ursula K. Le Guin
- Authors: Hoyle, Gisela Beate
- Date: 1992
- Subjects: Le Guin, Ursula K., 1929- Criticism and interpretation , Mysticism in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2243 , http://hdl.handle.net/10962/d1002286 , Le Guin, Ursula K., 1929- Criticism and interpretation , Mysticism in literature
- Description: This thesis explores the major novels of science fiction and fantasy writer, Ursula K. Le Guin: it follows her journey from her first imaginary country, Orsinia, through the inner lands of Earthsea and the outer spaces of the Hainish Ekumen to her Yin utopia in a future California and an Earthsea revisited. In each of these worlds she moves towards an experience of an inner, unified truth which is comparable to the ecstatic experience of the religious mystics and that of which T.S Eliot writes in his Four Quartets. Through her reading of the Taoist sages and the discovery of their perception of Life as a constant and ongoing process rather than as a series of isolated events or states, whether mystical or mundane, these worlds and planets become symbols of a way of life instead of static objects. In her medium, narrative, this way is embodied in the story: the movement towards that moment of enlightenment, which is revealed as the heart, the life-giving centre of each world. It is the home to which each journey returns. "True voyage is return' (The Dispossessed). Owing to this perception of the immanent (w)holiness of life, of the many, different realities, she moves from a serene Taoist equilibrium to an angry feminist rejection of the masculine, dualist, Western civilisation, in which Man has largely been perceived as a creature apart; apart from nature, a guest on this planet, belonging to another world. In her anarchist and feminist utopias she seeks a new spititual home, a less alienated identity for humankind. Despite this apparent "development", at the heart of aU her books there is that same joy in this, mortal life, the search for which she sees as the most essential of aU human pursuits. That, ultimately, is both source and subject of Le Guin's work; and each new world explored is a different manifestation of the joyful Tao, a celebration of life.
- Full Text:
- Date Issued: 1992
- Authors: Hoyle, Gisela Beate
- Date: 1992
- Subjects: Le Guin, Ursula K., 1929- Criticism and interpretation , Mysticism in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2243 , http://hdl.handle.net/10962/d1002286 , Le Guin, Ursula K., 1929- Criticism and interpretation , Mysticism in literature
- Description: This thesis explores the major novels of science fiction and fantasy writer, Ursula K. Le Guin: it follows her journey from her first imaginary country, Orsinia, through the inner lands of Earthsea and the outer spaces of the Hainish Ekumen to her Yin utopia in a future California and an Earthsea revisited. In each of these worlds she moves towards an experience of an inner, unified truth which is comparable to the ecstatic experience of the religious mystics and that of which T.S Eliot writes in his Four Quartets. Through her reading of the Taoist sages and the discovery of their perception of Life as a constant and ongoing process rather than as a series of isolated events or states, whether mystical or mundane, these worlds and planets become symbols of a way of life instead of static objects. In her medium, narrative, this way is embodied in the story: the movement towards that moment of enlightenment, which is revealed as the heart, the life-giving centre of each world. It is the home to which each journey returns. "True voyage is return' (The Dispossessed). Owing to this perception of the immanent (w)holiness of life, of the many, different realities, she moves from a serene Taoist equilibrium to an angry feminist rejection of the masculine, dualist, Western civilisation, in which Man has largely been perceived as a creature apart; apart from nature, a guest on this planet, belonging to another world. In her anarchist and feminist utopias she seeks a new spititual home, a less alienated identity for humankind. Despite this apparent "development", at the heart of aU her books there is that same joy in this, mortal life, the search for which she sees as the most essential of aU human pursuits. That, ultimately, is both source and subject of Le Guin's work; and each new world explored is a different manifestation of the joyful Tao, a celebration of life.
- Full Text:
- Date Issued: 1992
Reading nonsense : a journey through the writing of Edward Lear
- Authors: Pendlebury, Kathleen Sarah
- Date: 2008
- Subjects: Lear, Edward, 1812-1888 Lear, Edward, 1812-1888 Criticism and interpretation English poetry -- 19th century -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2206 , http://hdl.handle.net/10962/d1002249
- Description: In this thesis I have addressed some of the problems that have arisen in critical approaches to the nonsense works of Edward Lear from the late nineteenth century. I have entitled it “Reading Nonsense” because my central concern is with how best to apprehend the paradoxes inherent in literary nonsense, which inevitably raises interpretative questions. Because nonsense is a “basic type of communication” whose essence is “unresolved tension between [the] presence and absence of meaning” (Tigges, Anatomy 51), we are called upon either to “make sense of” that which claims to offer up no meaning or to surrender ourselves to meaninglessness. Broadly, critical approaches to nonsense fall into two classes: those that maintain that nonsense is not, in fact, “not sense”, but rather a kind of symbolic language that can be reconciled into meaning; and those which uphold the nonsensicality of nonsense, maintaining that certain ambiguities and paradoxes cannot be accounted for, and it is inappropriate to try to do so. In addition, Lear’s texts are situated in various traditions of writing for children and adults and in the distinctive setting of the Victorian era; and these cultural and literary influences play an important role in the interpretation and misinterpretation of nonsense. My first chapter comprises a mise en scène of the genre of literary nonsense; while in Chapter 2 I turn to the cultural backdrop of Lear’s nonsense in particular, and examine one of the claims frequently made in nonsense criticism: that Lear’s literary nonsense is distinctively “Victorian”. Chapter 3, “How to Read a Learian Limerick”, rests on the exegesis of nonsense that appears in Chapter 1, for here I propose a technique for reading Lear’s limericks that preserves both their “sensical” and nonsensical elements in contrast to critical analyses that attempt to reconcile the nonsense into a code. In Chapter 4 I examine Lear’s songs from the critical perspectives of nonsense and of romanticism. Finally, in conclusion, I consider the role and significance of humour in nonsense, and gesture towards further possible explorations, including in the appendix my essay on the nonsense poetry of South African writer Philip de Vos.
- Full Text:
- Date Issued: 2008
- Authors: Pendlebury, Kathleen Sarah
- Date: 2008
- Subjects: Lear, Edward, 1812-1888 Lear, Edward, 1812-1888 Criticism and interpretation English poetry -- 19th century -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2206 , http://hdl.handle.net/10962/d1002249
- Description: In this thesis I have addressed some of the problems that have arisen in critical approaches to the nonsense works of Edward Lear from the late nineteenth century. I have entitled it “Reading Nonsense” because my central concern is with how best to apprehend the paradoxes inherent in literary nonsense, which inevitably raises interpretative questions. Because nonsense is a “basic type of communication” whose essence is “unresolved tension between [the] presence and absence of meaning” (Tigges, Anatomy 51), we are called upon either to “make sense of” that which claims to offer up no meaning or to surrender ourselves to meaninglessness. Broadly, critical approaches to nonsense fall into two classes: those that maintain that nonsense is not, in fact, “not sense”, but rather a kind of symbolic language that can be reconciled into meaning; and those which uphold the nonsensicality of nonsense, maintaining that certain ambiguities and paradoxes cannot be accounted for, and it is inappropriate to try to do so. In addition, Lear’s texts are situated in various traditions of writing for children and adults and in the distinctive setting of the Victorian era; and these cultural and literary influences play an important role in the interpretation and misinterpretation of nonsense. My first chapter comprises a mise en scène of the genre of literary nonsense; while in Chapter 2 I turn to the cultural backdrop of Lear’s nonsense in particular, and examine one of the claims frequently made in nonsense criticism: that Lear’s literary nonsense is distinctively “Victorian”. Chapter 3, “How to Read a Learian Limerick”, rests on the exegesis of nonsense that appears in Chapter 1, for here I propose a technique for reading Lear’s limericks that preserves both their “sensical” and nonsensical elements in contrast to critical analyses that attempt to reconcile the nonsense into a code. In Chapter 4 I examine Lear’s songs from the critical perspectives of nonsense and of romanticism. Finally, in conclusion, I consider the role and significance of humour in nonsense, and gesture towards further possible explorations, including in the appendix my essay on the nonsense poetry of South African writer Philip de Vos.
- Full Text:
- Date Issued: 2008
Reading William Blake and T.S. Eliot: contrary poets, progressive vision
- Authors: Rayneard, Max James Anthony
- Date: 2002
- Subjects: Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2279 , http://hdl.handle.net/10962/d1007545 , Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Description: Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
- Full Text:
- Date Issued: 2002
- Authors: Rayneard, Max James Anthony
- Date: 2002
- Subjects: Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2279 , http://hdl.handle.net/10962/d1007545 , Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Description: Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
- Full Text:
- Date Issued: 2002
Riding into myth: Manifest Destiny, Nietzschean ethics and the creation of a new western frontier mythology in Cormac McCarthy’s Blood Meridian
- Authors: Edley, Christopher
- Date: 2017
- Subjects: McCarthy, Cormac, 1933-. Blood meridian , Nietzsche, Friedrich Wilhelm, 1844-1900 -- Influence , Mythology in literature , American fiction -- 20th century -- History and criticism , West (U.S.) -- In literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7334 , vital:21243
- Description: Cormac McCarthy’s Blood Meridian or the Evening Redness in the West is a provocative evocation of the American West that has attracted a wide range of critical responses. This study has three foci: the novel as epic myth, McCarthy’s critique of Manifest destiny, and the influence of Nietzschean philosophy on the judge and McCarthy’s portrayal of the human condition. These concerns conduce to an alternative reading of the conclusion of the novel. Blood Meridian is a unique textual enterprise as it both conforms to and subverts mythic conventions associated with both Classical epic and the American West. Recognition of the resonances between Blood Meridian and these mythologies helps the reader to engage with McCarthy’s ambitious creation of a powerful literary allegory in the tradition of Twain and Faulkner. Having situated McCarthy’s enterprise within these co-ordinates, the study then moves on to examine the novel’s stunning critique of Manifest Destiny, in the context of the implications that such thinking has had on American foreign policy over the past two centuries, and that continue to inspire American involvement in military conflicts well into the twenty-first century. The final area of focus is the influence of Friedrich Nietzsche’s philosophy on the character of the judge and the weltanschauung that the novel presents. McCarthy’s ultimate objective is to demonstrate that humankind’s most basic condition is an inherently violent one. The more critically accepted reading of the novel is challenged by postulating the kid’s triumph over the judge as not only in keeping with the literary tradition of Melville and others but also a logical outcome of the novel’s allegory of American military involvement in Vietnam. The study concludes that whilst McCarthy has gone on to receive critical acclaim and public praise for works published after Blood Meridian, this work remains both his artistic masterpiece and his most far-reaching engagement with issues of eschatological and political importance. It is argued that, given the contemporary escalation in geo-political tensions, Blood Meridian may well continue to provide insight into the nature of American domestic and foreign policy for decades to come.
- Full Text:
- Date Issued: 2017
- Authors: Edley, Christopher
- Date: 2017
- Subjects: McCarthy, Cormac, 1933-. Blood meridian , Nietzsche, Friedrich Wilhelm, 1844-1900 -- Influence , Mythology in literature , American fiction -- 20th century -- History and criticism , West (U.S.) -- In literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7334 , vital:21243
- Description: Cormac McCarthy’s Blood Meridian or the Evening Redness in the West is a provocative evocation of the American West that has attracted a wide range of critical responses. This study has three foci: the novel as epic myth, McCarthy’s critique of Manifest destiny, and the influence of Nietzschean philosophy on the judge and McCarthy’s portrayal of the human condition. These concerns conduce to an alternative reading of the conclusion of the novel. Blood Meridian is a unique textual enterprise as it both conforms to and subverts mythic conventions associated with both Classical epic and the American West. Recognition of the resonances between Blood Meridian and these mythologies helps the reader to engage with McCarthy’s ambitious creation of a powerful literary allegory in the tradition of Twain and Faulkner. Having situated McCarthy’s enterprise within these co-ordinates, the study then moves on to examine the novel’s stunning critique of Manifest Destiny, in the context of the implications that such thinking has had on American foreign policy over the past two centuries, and that continue to inspire American involvement in military conflicts well into the twenty-first century. The final area of focus is the influence of Friedrich Nietzsche’s philosophy on the character of the judge and the weltanschauung that the novel presents. McCarthy’s ultimate objective is to demonstrate that humankind’s most basic condition is an inherently violent one. The more critically accepted reading of the novel is challenged by postulating the kid’s triumph over the judge as not only in keeping with the literary tradition of Melville and others but also a logical outcome of the novel’s allegory of American military involvement in Vietnam. The study concludes that whilst McCarthy has gone on to receive critical acclaim and public praise for works published after Blood Meridian, this work remains both his artistic masterpiece and his most far-reaching engagement with issues of eschatological and political importance. It is argued that, given the contemporary escalation in geo-political tensions, Blood Meridian may well continue to provide insight into the nature of American domestic and foreign policy for decades to come.
- Full Text:
- Date Issued: 2017
Robert Herrick's self-presentation in Hesperides and his Noble numbers
- Authors: Faull, Lionel Peter
- Date: 2010
- Subjects: Herrick, Robert, 1591-1674 Criticism and interpretation Herrick, Robert, 1591-1674. Hesperides Herrick, Robert, 1591-1674. Noble numbers English poetry -- Early modern, 1500-1700 -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2207 , http://hdl.handle.net/10962/d1002250
- Description: Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. This thesis is an attempt to re-moor a work of literature to its authorial origins; particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. Although there is a significant overlap between the real-life Herrick and the Hesperidean Herrick, the two figures cannot be regarded as identical. Instead, Herrick‘s deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances provide him with a semi-fictionalised way of declaring who he understands himself to be and how he wants himself to be understood. At the same time, the rich classical mythological associations of Herrick‘s title, Hesperides, declare his status as an inheritor of the classical literary tradition, whose hallmark during the Renaissance was the melding of classical, Christian and secular associations into new and complexly polyvalent literary works. For example, Herrick‘s appropriation of the classical mythological figure of Hercules provides him with both a narrative way and an allegorical way of reconciling the so-called secular, or profane poetry of Hesperides with the so-called religious, or divine poetry of Noble Numbers. In Noble Numbers, Herrick reveals new facets of his self-presentation to the reader, whilst also making explicit the theological congruencies between the two works. Herrick‘s religious self-presentation demonstrates his expansive scholarly interests, as well his instinct to include, rather than to exclude, the religious beliefs of others within his syncretistic sense-of-self. Finally, the placement of Noble Numbers after Hesperides is not a signal that Herrick privileged the former, or took his religion less seriously than he did his love for classical poetry, but rather that in Herrick‘s understanding of his world, man‘s fleeting glimpses of God in the secular sphere give way to a fuller comprehension of Him in the divine sphere.
- Full Text:
- Date Issued: 2010
- Authors: Faull, Lionel Peter
- Date: 2010
- Subjects: Herrick, Robert, 1591-1674 Criticism and interpretation Herrick, Robert, 1591-1674. Hesperides Herrick, Robert, 1591-1674. Noble numbers English poetry -- Early modern, 1500-1700 -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2207 , http://hdl.handle.net/10962/d1002250
- Description: Literature has tended to be cut from the moorings of its authorial origins under the influential literary criticism of the past forty years. This thesis is an attempt to re-moor a work of literature to its authorial origins; particularly a work of literature in which the author-poet‘s self-referential markers are so overtly and persistently present as is the case in Hesperides and His Noble Numbers. Although there is a significant overlap between the real-life Herrick and the Hesperidean Herrick, the two figures cannot be regarded as identical. Instead, Herrick‘s deployment of specific genres and not of others, his chosen conventions for ordering a collection of miscellaneous poems, and his adoption of certain conventional poetic stances provide him with a semi-fictionalised way of declaring who he understands himself to be and how he wants himself to be understood. At the same time, the rich classical mythological associations of Herrick‘s title, Hesperides, declare his status as an inheritor of the classical literary tradition, whose hallmark during the Renaissance was the melding of classical, Christian and secular associations into new and complexly polyvalent literary works. For example, Herrick‘s appropriation of the classical mythological figure of Hercules provides him with both a narrative way and an allegorical way of reconciling the so-called secular, or profane poetry of Hesperides with the so-called religious, or divine poetry of Noble Numbers. In Noble Numbers, Herrick reveals new facets of his self-presentation to the reader, whilst also making explicit the theological congruencies between the two works. Herrick‘s religious self-presentation demonstrates his expansive scholarly interests, as well his instinct to include, rather than to exclude, the religious beliefs of others within his syncretistic sense-of-self. Finally, the placement of Noble Numbers after Hesperides is not a signal that Herrick privileged the former, or took his religion less seriously than he did his love for classical poetry, but rather that in Herrick‘s understanding of his world, man‘s fleeting glimpses of God in the secular sphere give way to a fuller comprehension of Him in the divine sphere.
- Full Text:
- Date Issued: 2010
Satan and Lucifer: a comparison of their metamorphoses from Angel to Devil in Milton's Paradise lost and Vondel's Lucifer and Adam in Ballingschap
- Authors: Paterson, Lynette
- Date: 1979
- Subjects: Milton, John, 1608-1674 Vondel, Joost van den, 1587-1679
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2184 , http://hdl.handle.net/10962/d1001837
- Description: The aim of this thesis is to compare the poetic delineation of the character of Satan in Paradise Lost with that of Lucifer in Lucifer and Adam in Ballingschap, and to consider the influence of the genre in each case , not in order to prove similarities or differences , but rather to allow the characters to illuminate each other. Both Satan and Lucifer develop progressively from angel to devil in the course of the poem or play. However, this process is more than just a physical metamorphosis, or even a moral degeneration. It is in each case a process of identity change, intensely and consciously experienced by the character. The fall is a movement from God to Self. The unfallen creature's integrity consists in his submergence in the Being and Will of God; for the fallen creature integrity means a separate, independent self-hood. In rebelling against their role and duty as Archangel, Satan and Lucifer rebel against submergence in the Being of God and thus against their very nature and the order of things. Consequently they experience personal and psychological disintegration. From this condition of imbalance and uncertainty they both develop to a new state of personal reintegration and unequivocal identity, now as Arch-fiend. In neither case is the process instant or entirely concurrent with the physical fall into Hell. Rather, it is protracted, hence the division of this thesis into sections that focus on the different stages in the development: Archangel, Arch-rebel and Arch- fiend (introduction, p. ii-iii).
- Full Text:
- Date Issued: 1979
- Authors: Paterson, Lynette
- Date: 1979
- Subjects: Milton, John, 1608-1674 Vondel, Joost van den, 1587-1679
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2184 , http://hdl.handle.net/10962/d1001837
- Description: The aim of this thesis is to compare the poetic delineation of the character of Satan in Paradise Lost with that of Lucifer in Lucifer and Adam in Ballingschap, and to consider the influence of the genre in each case , not in order to prove similarities or differences , but rather to allow the characters to illuminate each other. Both Satan and Lucifer develop progressively from angel to devil in the course of the poem or play. However, this process is more than just a physical metamorphosis, or even a moral degeneration. It is in each case a process of identity change, intensely and consciously experienced by the character. The fall is a movement from God to Self. The unfallen creature's integrity consists in his submergence in the Being and Will of God; for the fallen creature integrity means a separate, independent self-hood. In rebelling against their role and duty as Archangel, Satan and Lucifer rebel against submergence in the Being of God and thus against their very nature and the order of things. Consequently they experience personal and psychological disintegration. From this condition of imbalance and uncertainty they both develop to a new state of personal reintegration and unequivocal identity, now as Arch-fiend. In neither case is the process instant or entirely concurrent with the physical fall into Hell. Rather, it is protracted, hence the division of this thesis into sections that focus on the different stages in the development: Archangel, Arch-rebel and Arch- fiend (introduction, p. ii-iii).
- Full Text:
- Date Issued: 1979
Self, family and society in Nadine Gordimer's Burger's Daughter, Rachel Zadok's Gem Squash Tokoloshe, and Doris Lessings's The Grass is Singing
- Authors: O'Brien, Lauren Leigh
- Date: 2013 , 2013-09-08
- Subjects: Gordimer, Nadine. Burger's daughter -- Criticism and interpretation Zadok, Rachel. Gem Squash Tokoloshe -- Criticism and interpretation Lessing, Doris May, 1919-- The grass is singing -- Criticism and interpretation South African fiction (English) -- 20th century -- History and criticism South African fiction (English) -- 21st century -- History and criticism South Africa -- In literature South Africa -- Social life and customs Identification (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2271 , http://hdl.handle.net/10962/d1006771
- Description: This dissertation examines Nadine Gordimer’s Burger’s Daughter, Rachel Zadok’s Gem Squash Tokoloshe, and Doris Lessing’s The Grass is Singing. It focuses on the development of each of the protagonists’ identities in three realms: the individual, the familial and the societal. Additionally, it is concerned with the specific socio-political contexts in which the novels are set. It employs psychoanalytic and historical materialist frameworks in order to engage with the disparate areas of identity with which it is concerned. The introduction establishes the analytical perspective of the dissertation and explores the network of theoretical frames on which the dissertation relies. Additionally, it contextualises each of the novels, within their historical contexts, as well as in relation to the theory. The first chapter examines Nadine Gordimer’s Burger’s Daughter. It focuses on the protagonist’s assertion of an identity independent of her father’s role as a political activist, and her eventual acceptance of the universal difficulty in negotiating a life which is both private and political. The second chapter, on Rachel Zadok’s Gem Squash Tokoloshe, examines the relationship between the protagonist’s traumatic experiences as a child and her inability to assert an identity as an adult. The similarities between the protagonist’s attempts to address her traumas and thereby create herself anew and South Africa’s employment of the Truth and Reconciliation Commission as a means to acknowledge and engage with its traumatic history is of import. The third chapter which deals with Doris Lessing’s The Grass is Singing traces the life of its protagonist, whose identifications remain childish as a result of having witnessed her parents’ difficult relationship. Her understanding of the world is informed by a rigid, binary understanding, which is ultimately disrupted by her relationship with a black employee. She is incapable of readjusting her frame of reference, however, and ultimately goes mad. I conclude that, while my focus has been on personal, familial and social identifications, the standard terms in which identity is examined, namely, race, class, and gender, are present in each of the three tiers of identity with which I have been concerned.
- Full Text:
- Date Issued: 2013
- Authors: O'Brien, Lauren Leigh
- Date: 2013 , 2013-09-08
- Subjects: Gordimer, Nadine. Burger's daughter -- Criticism and interpretation Zadok, Rachel. Gem Squash Tokoloshe -- Criticism and interpretation Lessing, Doris May, 1919-- The grass is singing -- Criticism and interpretation South African fiction (English) -- 20th century -- History and criticism South African fiction (English) -- 21st century -- History and criticism South Africa -- In literature South Africa -- Social life and customs Identification (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2271 , http://hdl.handle.net/10962/d1006771
- Description: This dissertation examines Nadine Gordimer’s Burger’s Daughter, Rachel Zadok’s Gem Squash Tokoloshe, and Doris Lessing’s The Grass is Singing. It focuses on the development of each of the protagonists’ identities in three realms: the individual, the familial and the societal. Additionally, it is concerned with the specific socio-political contexts in which the novels are set. It employs psychoanalytic and historical materialist frameworks in order to engage with the disparate areas of identity with which it is concerned. The introduction establishes the analytical perspective of the dissertation and explores the network of theoretical frames on which the dissertation relies. Additionally, it contextualises each of the novels, within their historical contexts, as well as in relation to the theory. The first chapter examines Nadine Gordimer’s Burger’s Daughter. It focuses on the protagonist’s assertion of an identity independent of her father’s role as a political activist, and her eventual acceptance of the universal difficulty in negotiating a life which is both private and political. The second chapter, on Rachel Zadok’s Gem Squash Tokoloshe, examines the relationship between the protagonist’s traumatic experiences as a child and her inability to assert an identity as an adult. The similarities between the protagonist’s attempts to address her traumas and thereby create herself anew and South Africa’s employment of the Truth and Reconciliation Commission as a means to acknowledge and engage with its traumatic history is of import. The third chapter which deals with Doris Lessing’s The Grass is Singing traces the life of its protagonist, whose identifications remain childish as a result of having witnessed her parents’ difficult relationship. Her understanding of the world is informed by a rigid, binary understanding, which is ultimately disrupted by her relationship with a black employee. She is incapable of readjusting her frame of reference, however, and ultimately goes mad. I conclude that, while my focus has been on personal, familial and social identifications, the standard terms in which identity is examined, namely, race, class, and gender, are present in each of the three tiers of identity with which I have been concerned.
- Full Text:
- Date Issued: 2013
Self-reliant transcendentalism in five modern American nonfiction texts
- Authors: Brits, Jason
- Date: 2017
- Subjects: Transcendentalism in literature , Self-reliance in literature , Creative nonfiction, American -- History and criticism , Abbey, Edward, 1927-1989 -- Desert solitaire , Krakauer, Jon -- Into the wild , Gilbert, Elizabeth, 1969- -- The last American man , Harlan, Will -- Untamed: the wildest woman in America and the fight for Cumberland Island , Emerson, Ralph Waldo, 1803-1882 , Thoreau, Henry David, 1817-1862
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7312 , vital:21241
- Description: This thesis is concerned with the persistence of Self-Reliant Transcendentalist thought in modern American nonfiction. It traces the ideas of Ralph Waldo Emerson and Henry David Thoreau (as progenitors of the Self-Reliant strand of the Transcendentalist movement in America) in the patterns of thought and endeavours of individuals as documented in five notable nonfiction texts published between 1968 and 2013. The texts are Edward Abbey’s Desert Solitaire, Annie Dillard’s Pilgrim at Tinker Creek, Jon Krakauer’s Into the Wild, Elizabeth Gilbert’s The Last American Man, and Will Harlan’s Untamed: The Wildest Woman in America and the Fight for Cumberland Island. Each of the seemingly Romantic individuals portrayed in these texts not only seeks to live a life similar to that of Thoreau during his famous sojourn at Walden Pond, but also seems to embody some of Emerson’s and Thoreau’s key Transcendentalist ideas. These modern and contemporary individuals, and the way in which they are portrayed in texts that fall under the general rubric of “creative nonfiction,” are testament to the continuing relevance of Transcendentalist thought in the United States - and in Western society more generally, as it seeks to negotiate a new relationship with Nature in the shadow of massive impending ecological disaster.
- Full Text:
- Date Issued: 2017
- Authors: Brits, Jason
- Date: 2017
- Subjects: Transcendentalism in literature , Self-reliance in literature , Creative nonfiction, American -- History and criticism , Abbey, Edward, 1927-1989 -- Desert solitaire , Krakauer, Jon -- Into the wild , Gilbert, Elizabeth, 1969- -- The last American man , Harlan, Will -- Untamed: the wildest woman in America and the fight for Cumberland Island , Emerson, Ralph Waldo, 1803-1882 , Thoreau, Henry David, 1817-1862
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7312 , vital:21241
- Description: This thesis is concerned with the persistence of Self-Reliant Transcendentalist thought in modern American nonfiction. It traces the ideas of Ralph Waldo Emerson and Henry David Thoreau (as progenitors of the Self-Reliant strand of the Transcendentalist movement in America) in the patterns of thought and endeavours of individuals as documented in five notable nonfiction texts published between 1968 and 2013. The texts are Edward Abbey’s Desert Solitaire, Annie Dillard’s Pilgrim at Tinker Creek, Jon Krakauer’s Into the Wild, Elizabeth Gilbert’s The Last American Man, and Will Harlan’s Untamed: The Wildest Woman in America and the Fight for Cumberland Island. Each of the seemingly Romantic individuals portrayed in these texts not only seeks to live a life similar to that of Thoreau during his famous sojourn at Walden Pond, but also seems to embody some of Emerson’s and Thoreau’s key Transcendentalist ideas. These modern and contemporary individuals, and the way in which they are portrayed in texts that fall under the general rubric of “creative nonfiction,” are testament to the continuing relevance of Transcendentalist thought in the United States - and in Western society more generally, as it seeks to negotiate a new relationship with Nature in the shadow of massive impending ecological disaster.
- Full Text:
- Date Issued: 2017