Selfhood, identity and madness in the works of Milan Kundera and Peter Carey
- Authors: Graven, Ashley Holm
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3904 , vital:20554
- Description: Despite all the critical attention Milan Kundera’s and Peter Carey’s fiction has received, relatively little has been said about the way in which these authors problematise selfhood. In this study, I argue that these two writers share a preoccupation with the strictures placed on the individual by his/her location in language and discourse. I show that they deconstruct subjectivity with a view to intimating the possibility of momentarily transcending discursive control, and thereby inhabiting authentic selfhood. In addition, I demonstrate that both authors draw attention to the nature of language through their thematisation of madness, and I then trace the implications of this nexus between language and madness for the reader, who of course is a subject in language. My contention in this regard is that Carey and Kundera seek to instil in the reader a self-reflexive awareness of the ways in which his/her location in language shapes his/her perception of others. In turn, this awareness charges the reader with the responsibility of questioning his/her judgements, and thereby enables him/her to negotiate a measure of authenticity from his/her position in language.
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- Date Issued: 2016
Shakespeare's early comedies: studies in The comedy of errors, The taming of the shrew and The two gentlemen of Verona
- Authors: Bryant, Peter
- Date: 1970
- Subjects: Shakespeare, William, 1564-1616. Comedy of Errors Shakespeare, William, 1564-1616. Comedies Shakespeare, William, 1564-1616. Two gentlemen of Verona Shakespeare, William, 1564-1616. Taming of the shrew
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2291 , http://hdl.handle.net/10962/d1009964
- Description: This dissertation offers fairly full readings of three early Shakespearean comedies. Because these works are still partly misunderstood, it has seemed reasonable to lay the critical emphasis on explication, though a certain amount of judging has been inevitable. The aim has been to induce recognition of aspects of these plays to which much modern criticism has seemed opaque.
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- Date Issued: 1970
Shylock's origins and evolution : the image of the Jew in English literature from the middle ages to the mid-seventeenth century
- Authors: Durbach, Errol
- Date: 1966
- Subjects: Shakespeare, William, 1564-1616 -- Characters -- Shylock , Judaism and literature , English literature -- Early modern, 1500-1700 , English literature -- Middle English, 1100-1500
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2322 , http://hdl.handle.net/10962/d1014821
- Description: [From Preface]. Any study centred in the exploratlon and analysis of the medieval and Elizabethen images of the Jew might, with some justification. seem redundant and impertinent to a modern reader; for the third quarter of this century has witnessed the almost total obviatlon of a great many such time-honoured images and symbols. The immemorial figure of the Wandering Jew, to cite a sIngle instance, has for the past two decades, attained his country and place of destination - history no longer condemning him to tarry until the Second Coming of the Messiah. Even the deicide Jew has been granted complete absolution, by an offlcial decree from the Vatican, for his complicity in the killing of Christ. It would seem, moreover, that the atrocities perpetrated against the Jews during the course of the Second World War have resulted in an alteration of the Jewish image radically transforming It from one of contempt into one of compassion a living symbol of "man's inhumanlty to man"; and the modern European dramatist has revived the Jewlsh figure on the stage as an instance of almost personal atonement or, alternatively, as a means of scourging the state of middle-class mind which abetted the persecution of the Nazi regime, attacking state policies of inactio and deploring the failure of influentlal powers to resist the blatant inhumanlty perpetrated within Its boundaries. Max Frisch's Andorre and Rolf Hochhuth's The Representative embody, each in its own way the 2Oth century's sense of shame and horror at those events with which the century has yet to come to terms. They are both extreme reactions agalnst the image of the Jew whlch the Nazi propogandized in the 1930s. And the image which the Nazis propogandized was curiously consistent wlth the medieval and Elizabethan images of the Jew.
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- Date Issued: 1966
Some aspects of John Clare's pastoral vision as reflected in the The Shepherd's Calendar, sonnets and other selected poems
- Authors: Pyott, Maureen
- Date: 1974
- Subjects: Spenser, Edmund, 1552?-1599 -- Criticism and interpretation , Clare, John, 1793-1864 -- Criticism and interpretation , Pastoral poetry, English , Country life -- England -- Poetry , Nature -- Poetry
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2281 , http://hdl.handle.net/10962/d1007580 , Spenser, Edmund, 1552?-1599 -- Criticism and interpretation , Clare, John, 1793-1864 -- Criticism and interpretation , Pastoral poetry, English , Country life -- England -- Poetry , Nature -- Poetry
- Description: From Preface: In this thesis it is proposed to examine the pastoral vision, symbolized by Eden, which permeates Clare's poetry, as it is reflected in The Shepherd's Calendar, the sonnets (certain of which will be analysed in detail) and a group of lyrics. This pastoral vision, while including time and space, transcends them in such a way that Eternity becomes an important concept in Clare's pastoral poems. The final chapter of this thesis will, therefore, concentrate on this aspect of Clare's pastoral vision, not by attempting to define Clare's understanding of Eternity, but by illustrating it in four of his lyrics. Because of the lack of a full and reliable text of the complete works of John Clare and the inability of the present writer to establish for certain the chronological order of his poems, there will be no attempt in this thesis to show a development in Clare's poetry. Nor will there be an attempt to evaluate in the light of Clare's "madness" those poems known to have been written while he was in a mental asylum - a non-literary study requiring knowledge associated with the discipline of psychology; and the present writer concurs in the opinion that "it is the continuity of Clare's life and ways of thought and feeling which claims one's attention, rather than the disruptions of insanity".
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- Date Issued: 1974
Some observations on Wordsworth's achievement in sonnet
- Authors: Gubb, Linette Reay
- Date: 1982
- Subjects: Wordsworth, William, 1770-1850. Sonnets
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2270 , http://hdl.handle.net/10962/d1006346 , Wordsworth, William, 1770-1850. Sonnets
- Description: From preface: This study seeks to give a perspective on Wordsworth's achievement in sonnet, taking into account all the sonnets he wrote, from the outburst of sonneteering in 1802 to the final decade (1840-1850). My chief concern has been to trace Wordsworth's handling of form and theme throughout his poetic career. A subordinate but related concern has been to try to show that Wordsworth's powers do not diminish after 1815, a date which is sometimes regarded as marking the beginning of the poet's "decline" ~ Wordsworth’s skill in blank verse and in other types of lyric is widely acknowledged; his dexterity in the sonnet form is less well recognized or thought to be limited to fewer poems (usually those of the earlier years) than there actually are. As a result, his performance in sonnet is sometimes underestimated, there being more sonnet concerns and structural patterns than the well-known few reflect. It is possible that Wordsworth's own ambiguous attitude to the genre as expressed in his prose writings, together with his insistence that his sonnets were not amongst the best of his poems, has helped to foster such a view. His practice in sonnet, however, proves that his genius is as evident in some of these poems as it is elsewhere, whether he esteemed them less or not.
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- Date Issued: 1982
South African memoirs in a decade of transition: Athol Fugard's Cousins (1994), J.M. Coetzee's Boyhood (1997), and Breyten Breytenbach's Dog Heart (1999)
- Authors: Roux, Christine Ann
- Date: 2002
- Subjects: Autobiography , Fugard, Athol , Coetzee, J. M., 1940 , Breytenbach, Breyten
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2191 , http://hdl.handle.net/10962/d1002233 , Autobiography , Fugard, Athol , Coetzee, J. M., 1940 , Breytenbach, Breyten
- Description: This thesis examines three South African memoirs using M. M. Bakhtin’s theories of the dialogical relationship in language and literature. By offering an alternative to a postmodern or multicultural interpretation of autobiographies, Bakhtin’s precepts, that define a dialogic, help to reframe a way of discussing memoirs and avoiding dead-ends previously arrived at by essayists in James Olney’s 1980 collection. Bakhtin’s ideas discussed here, which include the “once-occurrent moment”, “architectonic contraposition”, ”emotional-volitional tone”, “alibi”, “non-alibi”, and “centripetal” and “centrifugal” force, help to rebuild a discussion based on temporary and evolving self truth rather than fiction, the postmodern interpretation, or confession, the new-age secular spiritualism based on multicultural and politically correct standards. For this, each author’s memoir had to be examined separately and a conclusion was arrived at through inductive analysis. Rather than try to find similar characteristics, I focused on what made each memoir different and unique. Janet Varner Gunn’s Autobiography: Toward A Poetics of Experience (1982) refocused the debate over autobiography on process. The question, what steps did each author take toward writing about himself, led the discussion to an examination of the priorities each author exemplified. Beginning with Fugard who emphasized spatial, concrete, and sensory detail to help him contain his emotional life, the thesis moves on to an examination of Coetzee’s sense of justice. From the physical and intellectual world follows Breytenbach’s spiritual space-making. In each memoir, control of space is evident on different levels of experience. Articulating space inevitably leads to a discussion of boundaries. Here, Charles Taylor’s emphasis on the modern self’s need to articulate a horizon or a framework is helpful in generalizing the effect of the autobiographical process. The conclusion reached is that autobiography is inherently centrifugal: it moves away from the center of cultural thinking because its “truth” bolsters itself on dialogical process which does not depend on a fixed authority but rather on communicative exchange. As an example of exchange, autobiography’s central truth is that it returns to a “unique point of origin”, namely the self, only to reconnect to the other in a potentially eternal exchange of responsiveness moving away from the center.
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- Date Issued: 2002
South African panorama: the novels of Daphne Rooke
- Authors: Coetzee, Paulette June
- Date: 1998
- Subjects: Rooke, Daphne, 1914- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2222 , http://hdl.handle.net/10962/d1002265 , Rooke, Daphne, 1914- -- Criticism and interpretation
- Description: This thesis covers Daphne Rooke's eight published "South African" novels: A Grove of Fever Trees, Mittee, Ratoons, Wizards' Country, A Lover for Estelle, The Greyling, Diamond Jo, and Margaretha de la Porte. It supports the recent revival of critical interest in Rooke, and argues for the continuing relevance of her work in post-apartheid South Africa. This study also broadens the scope of recent Rooke research by including lesser known works like The Greyling and Margaretha de la Porte in its analysis. Recent criticism has focused on Rooke's unusual blend of romance and realism. The first three chapters concentrate more on "realism", emphasising the depth and extent of Rooke's engagement with serious social issues. The novels are examined in terms of their handling of the themes of class (chapter one), race (chapter two) and gender (chapter three). The concluding chapter shifts in focus to "romance" and examines the question of generic_identity -- touching on Rooke's gothic, magical realist and "popular" qualities -within a consideration of the particular "South African-ness" of her work.
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- Date Issued: 1998
South African women's literature and the ecofeminist perspective
- Authors: Ewing, Maureen Colleen
- Date: 2013-05-24
- Subjects: Ecofeminism in literature Ecology in literature Nature in literature South African fiction -- History and criticism Smith, Pauline, 1883-1959 Schreiner, Olive, 1855-1920 Matthee, Dalene, 1938-2005 Poland, Marguerite
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2287 , http://hdl.handle.net/10962/d1007808
- Description: A social-constructionist ecofeminist perspective argues that patriarchal society separates the human (or culture) from nature, which causes a false assumption that humanity possesses the right, as a superior species, to dominate nature. This perspective integrates the domination of nature with social conflicts, including but not limited to racial discrimination, gender oppression, and class hierarchies. Understanding how these various forms of oppression interrelate forms the main goal of an ecofeminist perspective. Since the nature-culture, female-male, and whitenonwhite conflicts resonate and interlock throughout South Africa's history, socialconstructionist ecofeminism is an indispensable perspective for analysing South African literature. This thesis takes a social-constructionist ecofeminist approach and applies it to four women authors that write about South African society between the years 1860-1900. This thesis includes the following authors and their works: Olive Schreiner (1855-1920) and two of her novels, The Story of an African Farm (1883) and From Man to Man (published posthumously in 1927); Pauline Smith (1882-1959) and her novel The Beadle (1926); Dalene Matthee (1938- ) and three of her novels, Circles in a Forest (1984), Fiela's Child (1986), and The Mulberry Forest (1987); and Marguerite Poland (1950- ) and one of her novels, Shades (1993). This thesis investigates two women from the time period (Schreiner and Smith) and two women from a late twentieth century perspective (Matthee and Poland) and compares how they depict the natural environment, how they construct gender, and how they interpret class and race power struggles. This thesis concludes that the social-constructionist perspective offers unique insights into these four authors. Schreiner's novels reveal her concerns about gender and racial conflicts in South Africa and her understanding of the nature-culture dichotomy as sustained by Social Darwinism. Smith offers insights into the complex power structures in a rural Afrikaans society that keep women and nonwhite races silent. Matthee writes nature as an active participant in her novels; the social and ecological conflicts emphasise the transformation of the Knysna area. Poland explores the racial tensions, gender conflicts, and environmental concerns that preceded the South African War. Schreiner, Smith, Matthee, and Poland make up a small cross-section of South African literature, but they provide a basis for further discussing the ecofeminist perspective within a South African context. , KMBT_363 , Adobe Acrobat 9.54 Paper Capture Plug-in
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Spenser's Colin Clout : an introductory study
- Authors: Brown, Molly Anne
- Date: 1985
- Subjects: Spenser, Edmund, 1552?-1599 -- Criticism and interpretation , Faerie Queene , English poetry , Epic , Criticism , Interpretation , Clout, Colin (Fictitious character)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2180 , http://hdl.handle.net/10962/d1001831
- Description: From introduction: In the sixth book of The Faerie Qveene, the reader is presented with a vision of the Graces and their attendants dancing on Mount Acidale to the piping of a simple shepherd. Spenser identifies this favoured musician as Colin Clout and then goes on to pose a seemingly inconsequential rhetorical question. "Who knowes not Colin Cloute?” he asks. The note of confident pride which can be discerned in the query clearly reveals Spenser's peculiar interest in one of his most intriguing creations. It is almost impossible to read a representative selection of Spenser's poetical works without noticing the hauntingly frequent appearances of his "Southerne shepheardes boye". Colin appears or is named in no fewer than six of Spenser's poems.
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- Date Issued: 1985
Spirituality in the fiction of Henry Rider Haggard
- Authors: Senior, John
- Date: 2004
- Subjects: Haggard, H. Rider (Henry Rider), 1856-1925 -- Religion Haggard, H. Rider (Henry Rider), 1856-1925 -- Criticism and interpretation Religion in literature Spirituality in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2209 , http://hdl.handle.net/10962/d1002252
- Description: Neither an unquestioning support for British imperialism nor a personal pre-Jungian philosophy were the driving forces behind Rider Haggard’s beliefs or his literature. These two concerns were secondary to the author’s fascination with the supernatural, a theme prominent in his era, but less so in our own. A declining faith in European religion provided the dominant focal point in Haggard’s work. Although there are important overtones of imperial concern and indeed points of Jungian significance in the texts, these are generally subservient to an intensive wide-ranging spiritual discourse. The place of Haggard’s work in history and its literary merit are thus misunderstood when his spiritualism is not taken into account. No analysis of the author’s work can be complete without first coming to terms with his spiritual ideas and then with their impact on other topics of significance to both the author and audiences of his day. The spiritual or religious aspect of his writing has been largely ignored because of its subtle nature and its relative unfashionability throughout most of the twentieth century in the critical and intellectual climate of the Western world. However, in the Victorian era, under the materialist impact of Darwin, Marx and industrialization, Europe's Christian God was pushed from centre stage, creating widespread spiritual hunger and anguish. In the resulting religious vacuum Haggard's overtures were of particular significance to his audience. In fact, when considered in terms of his immense contemporary popularity, the pervasive presence of spirituality throughout Haggard's works and in his personal writing gives some indication of the subject's enormous importance not only to the author, but to late Victorian society as a whole. In light of this Victorian significance, the spiritual element rises, by its constant presence and persistent foregrounding, to subvert not only the imperial and the Jungian, but even Haggard's overt adventure text by dealing directly with the underlying metaphysical crisis in Western society.
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- Date Issued: 2004
Sylvia Plath images of life in a poet of death
- Authors: Mather, Mary Lynn
- Date: 1992
- Subjects: Plath, Sylvia , Plath, Sylvia -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2245 , http://hdl.handle.net/10962/d1002288 , Plath, Sylvia , Plath, Sylvia -- Criticism and interpretation
- Description: On a creative and a personal level, Sylvia Plath seems to have been fascinated by the relationship between life and death. Her work reflects an ongoing preoccupation with duality and a sense of tension between two opposing forces suffuses virtually every poem she wrote in the period from 1956 to early 1963. Because her attitude to both life and death is deeply ambivalent, Plath's poetry rests on a strong awareness of conflict and her art is characterized by a continual pull between extremes. This thesis is an examination of how she uses images of life in poems that ostensibly deal with death.While Plath draws on the events of her own life for her poetic material, she also converts her personal experiences into a universal myth. She was familiar with Robert Graves's eclectic study of the pagan nature deity, The White Goddess, and she seems to have incorporated part of his symbolism into her own code of images. In particular, she adopts Graves's triple goddess of nature as one of the dominant figures in her created world, for the White Goddess is associated with life and death alike.Plath's dichotomy of life and death works on different planes. Firstly, she frequently envisages the self as divided and the opposition between life and death takes on the dimensions of an internal psychological war. Secondly, she extends the battle between life and death to the creative sphere. Thirdly, she explores the idea of life as a journey from birth to death. The White Goddess is linked with the three natural realms of earth, sky and underworld. And Plath relies largely on seasonal, lunar and chthonic images in her poetry. Furthermore, the three colours of the goddess - white , red and black - are the dominant hues of her poetry.
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- Date Issued: 1992
Technologies of the self in the writings of William S Burroughs
- Authors: Williams, Michael John
- Date: 1996
- Subjects: Burroughs, William S., 1914- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2225 , http://hdl.handle.net/10962/d1002268 , Burroughs, William S., 1914- -- Criticism and interpretation
- Description: William Burroughs's profane life has been an affront to conventional morality, and his transgressive works have strained against the thematic and formal boundaries of literature. Although he has remained a problematic figure, he is gradually gaining recognition as a literary innovator. This thesis argues that his writings may be understood as technologies of the self, that is, the texts are tools that the writer Oses to transform himself. The Introduction outlines the problems that his writings pose for criticism; provides an overview of critical responses to his work; and demonstrates the appropriateness of Michel Foucault's theory of the technologies of the self as an approach to his texts. Furthermore, it makes a comparison between Burroughs's concerns and similar concerns evident in Foucault. The most prominent of these is a fear of control, and a desire to escape from control. It is argued that this similarity arises from the writers' shared experience of homosexuality in the twentieth century. This experience provokes them to undertake a·work of homographesis, in which they attempt to undermine the construction of identity in text, whilst simultaneously reinscribing identity in problematized autobiographical writing. Chapter One provides a corrective to the critical neglect of Burroughs's homosexuality and focuses on his sexual problematic as a key factor in the development of his literary style. It argues that the writer has an abject imagination that was precipitated by three principal traumatic experiences: his homosexuality, his addiction to opiates, and the accidental shooting of his wife. The chapter examines the way that the writer develops his unique literary style, the routine, in an attempt to express his psychic disintegration. The routine becomes the basic building block of Naked Lunch, serving both as a cathartic release of psychic anguish and as an attempt to subvert repressive social and linguistic structures. The metaphor of the anal aesthetic is introduced to describe the intersection of linguistic, psychic and political strategies in the texts. Chapter Two addresses the period,subsequent to Naked Lunch, in which Burroughs experimented extensively with the cut-up technique to develop a form of aleatory collage. The chapter argues that the writer hoped that the technique would enable him to transform himself and to~discover a new way of thinking, but suggests that its extreme nature both isolated him from his audience and intensified his psychic abjection. Chapter Three follows on from this to argue that the writer responds to the limitations of the cut-up in The Wild Boys by returning to a more intelligible form of writing. This return corresponds with an attempt to inscribe homosexual themes into his work directly. However, the combination of a homosexual agenda and the writer's defence against the identity loss of abjection leads him to assert a radical masculine identity that causes him to perceive women as the chief perpetrators of control. As a result, he rejects women from his mythological system. Chapter Four suggests that in Cities of the Red Night and The Place of Dead Roads the writer moves away from the radical queer agenda of The Wild Boys in the hope of discovering a form of ethics that avoids the traps of universalized humanism and the harsh "othering" of the queer agenda. The chapter draws a parallel between Burroughs's individualized ethics and Foucault's idea of an ethics grounded in aesthetic self-fashioning. Chapter Five examines The Western Lands, in which the writer confronts death in order to discover the nature of individual value in a normalized culture. Like Foucault, Burroughs believes that the most important task in a limited existence is the dandyistic creation of the self.
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- Date Issued: 1996
The ambivalent engagement with Christianity in the writing of nineteenth- and early twentieth-century Africans in the Eastern Cape
- Authors: Nxasana, Thulani Litha
- Date: 2009
- Subjects: Authors, African -- South Africa -- Eastern Cape Authors, South African -- 19th century -- Criticism and interpretation Authors, South African -- 20th century -- Criticism and interpretation Soga, Tiyo, 1829-1871 -- Criticism and interpretation Mqhayi, S. E. K. -- Criticism and interpretation Mgqwetho, Nontsizi -- Criticism and interpretation South African literature -- 19th century -- History and criticism South African literature -- 20th century -- History and criticism Christianity and literature Ambivalence in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2195 , http://hdl.handle.net/10962/d1002237
- Description: Until recently much of the literature recording the nineteenth and early twentieth centuries in the Eastern Cape focused purely on frontier conflict and missionary activity, ignoring the evolving culture of the colonized people. But as Somande Fikeni declares, “[i]t is important when celebrating the country’s heritage to look beyond battle sites, monuments and wars and to pay attention to South Africa’s intellectuals and knowledge producers” (quoted in Hollands 4). This is indeed the central purpose of my research. This thesis seeks to examine the influence of Christianity on early South African writing by Africans and the ambivalence with which Christianity is often treated in their work. In South Africa, as elsewhere in Africa, Christianity played a central role in the development of African literature through the influence of mission schools and printing presses. Thus from the outset the development of written literature was inseparable from the spread of Christianity. Nineteenth- and early twentieth-century writing by Africans reflects this: Christian idioms, biblical stories and images colour their work and yet are not employed unthinkingly. Each of the writers whom I will explore has a complex and at times ambivalent relationship with Christianity, and they use religious discourse for a variety of ends, some of them clearly at odds with their origins in the “civilizing mission” of Europe. According to Yunus Momoniat, “Their works . . . are the beginnings of an engagement not only with the world of words on a page, but also with the politics of literacy itself” (1). The subject of this research is three Xhosa writers from the Eastern Cape: the Reverend Tiyo Soga (1829-1871), the renowned novelist and “National Poet” S. E. K. Mqhayi (1875-1945), and the little-known poet Nontsizi Mgqwetho (Dates uknown, writings 1920-1929), who is described by Mbeki as “the most prolific woman Xhosa poet of the twentieth century” (6). The reason for focusing on the Eastern Cape is because the Xhosa “were the first Bantu people to be exposed to Christian proselytising and to receive a literate education” (Gerard 24). As a result much of the early literature in isiXhosa consisted of translations of the Bible and other Christian tracts, and such “improving” texts as Pilgrim’s Progress. In other words, it is in this work that the first roots of the influence of Christianity in southern Africa can be traced.
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- Date Issued: 2009
The archetypal fable : an inquiry into the function of traditional symbolism in the poetry of Edwin Muir
- Authors: Gillmer, J E
- Date: 1970
- Subjects: Muir, Edwin, 1887-1959 -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2297 , http://hdl.handle.net/10962/d1011975
- Description: Edwin Muir's poetic vision is bound up with that belief in a twofold structure of reality that in European culture has been called Platonist but which is so ancient and widespread that no one can determine its origins. Though no longer fashionable in a time when materialist philosophies flourish and even Christian clerics are busy "de-mythologizing" their faith, it has been the potent source of our greatest poetry and perhaps, as Kathleen Raine believes, of all true poetry. Those who hold this conviction regard the sensible world as the reflection of an "intelligible" or spiritual world which gives meaning and purpose to life, and they see the objects of nature as images that evoke the ideal forms of a divine reality. For poets, as for traditional men, this belief is less a metaphysic than an intuitive way of apprehending and ordering experience, a "learning of the imagination" inherited from ancient and mysterious sources. To Muir it came directly and spontaneously in the symbolic images of dreams, and the fact that he entitled the first version of his autobiography The Story and the Fable testifies to the importance, both for his life and his poetry, of his belief in two corresponding orders of experience. Intro., p. 1-2.
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- Date Issued: 1970
The archival turn: rereading the Guy Butler Collection in the National English Literary Museum
- Authors: Wyrill, Beth
- Date: 2020
- Subjects: National English Literary Museum (South Africa) , Butler, Guy, 1918-2001 , Archives -- South Africa , Archives -- Philosophy , Memory (Philosophy)
- Language: English
- Type: Thesis , Doctoral , PHD
- Identifier: http://hdl.handle.net/10962/145746 , vital:38463
- Description: This thesis takes as its theoretical springboard the ‘archival turn’ in South African historical studies, a moment that arguably reached its culmination in 2002 with the publication of Refiguring the Archive. The archival turn posits that, rather than using it as an unproblematic source of original material, scholars might begin to investigate the archive itself, including its processes of construction and organisation. This theoretical model also proposes that the archive might reflect the cultural beliefs and epistemologies common to the era in which it was set up. It seems that the time is ripe for a reconsideration of the insights gleaned from this academic moment in South Africa, given the recent contestation over the meanings of history and our cultural markers of heritage in the public domain, largely grouped under the term ‘Fallism.’ As such, a fresh look at South African museums, which in this country are often rooted in colonial practices of knowledge production, seems apt. This work uses the case of Guy Butler, founder of many South African English cultural institutes and arts bodies, as a conduit and lens for thinking through these problematics. One of Butler’s institutional ‘offspring,’ born from his overarching work on behalf of the English cultural and literary cause in South Africa in the twentieth century, is the National English Literary Museum (NELM). Investigating the founding context and practices of NELM is a useful way of exploring the impact of Butler’s life’s work on literary heritage in South Africa. Issues such as the way in which NELM and Grahamstown continue to signify as loci of thought and practice in the contemporary South African literary landscape will be addressed. The study draws extensively on the Butler collection at NELM, and spends much time investigating Butler’s positioning in a South African literary historical context in the twentieth century, to better understand the forces at work during the time of NELM’s coming-into-being. Derrida’s seminal work on the function of archives, in Archive Fever, is mined for a theoretical basis for the study, as is Deleuze and Guattari’s thought on how bodies (taking the NELM institution here to represent a ‘body’) form, change, and interact, explicated in the work A Thousand Plateaus. The study offers some insights into how the NELM archive was formed, and which forces continue to shape its work in the South African spheres of English literature and heritage.
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- Date Issued: 2020
The black and its double : the crisis of self-representation in protest and ‘post’-protest black South African fiction
- Authors: Kenqu, Amanda Yolisa
- Date: 2015
- Subjects: Serote, Mongane Wally, 1944- -- Criticism and interpretation , Duiker, K. Sello -- Criticism and interpretation , Matlwa, Kopano -- Criticism and interpretation , Black people in literature , Race in literature , Protest literature, African (English) , Mimesis in literature , Black people -- Race identity -- South Africa , Serote, Mongane Wally, 1944- -- To every birth Its blood , Duiker, K. Sello -- Thirteen cents , Matlwa, Kopano -- Coconut
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2331 , http://hdl.handle.net/10962/d1020835
- Description: This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.
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- Date Issued: 2015
The dramatic theory of William Hazlitt : "Imagination in criticism"
- Authors: De Villiers, André
- Date: 1964
- Subjects: Hazlitt, William, 1778-1830 , Drama -- History and criticism -- 19th century , English drama -- History and criticism -- 19th century
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2320 , http://hdl.handle.net/10962/d1013383
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- Date Issued: 1964
The environmental imagination in Arthur Nortje’s poetry
- Authors: Kaze, Douglas Eric
- Date: 2018
- Subjects: Nortje, Arthur, 1942-1970 -- Criticism and interpretation , Ecology in literature , Race awareness in literature , South African poetry (English) -- History and criticism , Nature in literature , Transversal postcolonial environmental criticism
- Language: English
- Type: text , Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/58024 , vital:27033
- Description: This thesis seeks to contribute to the conversations in the humanities about the treatment of the physical environment in the context of a global ecological fragility and increased scholarly interest in the poetry of Arthur Nortje, a South African poet who wrote in the 1960s. While previous studies on Nortje concentrate on the political, psychic and technical aspects of his poetry, this study particularly explores the representations of the environment in Nortje’s poetic imagination. Writing in the dark period of apartheid in South Africa’s history, Nortje’s poetry articulates a strong interest in the physical environment against the backdrop of official racialization of space and his personal nomadic life and exile. The poetry abounds with constant intersections of nature and culture (industrialism, urbanity and the quotidian), a sense of place and a deep sense of dislocation. The poems, therefore, present a platform from which to reevaluate conventional ecocritical ideas about nature, place-attachment and environmental consciousness. Drawing mainly on Felix Guattari’s ideas of three ecologies and transversality along with other theories, I conduct the study through what I call a transversal postcolonial environmental criticism, which considers the ecological value of the kind of assemblages that Nortje’s works represent. The first chapter focuses on conceptualizing a postcolonial approach to the environment based on Guattari’s concept of transversality to lay the theoretical foundation for the whole work. The second chapter analyses Nortje’s poetic imagination of place and displacement through his treatment of the private-public tension and the motif of exile. While the third chapter examines Nortje’s depiction of nature as both an everyday and urban phenomenon, the fourth chapter turns to his direct treatment of environmental crises handled through his imagination of the Canadian urban spaces, exile memory of apartheid geography, war and ecocide and the human body as a subject of environmental degradation. The fifth chapter, which is the conclusion, takes a brief look at the implication of Nortje’s complex treatment of the environment on postcolonial environmentalism.
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- Date Issued: 2018
The family in Shakespeare's plays: a study of South African revisions
- Authors: Hjul, Lauren Martha
- Date: 2013
- Subjects: Parents , Parental bonds , Family , Shakespeare, William, 1564-1616 -- In literature -- Research , Coetzee, J M, 1940-. Disgrace , Gordimer, Nadine. My son's story , Peteni, R L, 1915-. Hill of fools , English drama -- 17th century -- History and criticism , Families in literature , English literature -- History and criticism
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2181 , http://hdl.handle.net/10962/d1001832
- Description: This thesis provides a detailed consideration of the family in Shakespeare’s canon and the engagement therewith in three South African novels: Hill of Fools (1976) by R. L. Peteni, My Son’s Story (1990) by Nadine Gordimer, and Disgrace (1999) by J. M. Coetzee. The study is divided into an introduction, three chapters each addressing one of the South African novels and its relationship with a Shakespeare text or texts, and a conclusion. The introductory chapter provides an analysis of the two strands of criticism in which the thesis is situated – studies of the family in Shakespeare and studies of appropriations of Shakespeare – and discusses the ways in which these two strands may be combined through a detailed discussion of the presence of power dynamics in the relationship between parent and child in all of the texts considered. The three chapters each contextualise the South African text and provide detailed discussions of the family dynamics within the relevant texts, with particular reference to questions of authority and autonomy. The focus in each chapter is determined by the nature of the intertextual relationship between the South African novel and the Shakespearean text being discussed. Thus, the first chapter, “The Dissolution of Familial Structures in Hill of Fools” considers power dynamics in the family as an inherent part of the Romeo and Juliet genre, of which William Shakespeare’s Romeo and Juliet is but a part. Similarly, the impact of a socio-political identity, and the secrecy it necessitates, is the focus of the second chapter, “Fathers, Sons and Legacy in My Son’s Story” as is the role of Shakespeare and literature within South Africa. These concerns are connected to the novel’s use of Shakespeare’s Sonnets, King Lear, and Hamlet. In the third chapter, “Reclaiming Agency through the Daughter in Disgrace and The Tempest”, I expand on Laurence Wright’s argument that Disgrace is an engagement with The Tempest and consider ways in which the altered power dynamic between father and daughter results in the reconciliation of the father figure with society. The thesis thus addresses the tension between parental bonds and parental bondage
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- Date Issued: 2013
The frontier in South African English verse : 1820-1927
- Authors: Taylor, Avis Elizabeth
- Date: 1960
- Subjects: South African poetry (English) -- 19th century , South African literature (English) -- History and criticism , South Africa -- In literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2318 , http://hdl.handle.net/10962/d1013347
- Description: The concept of a distinctively South African poetry in English has been, and still is, derided as a "pipe dream" as part of the fallacy which stems from the desire for a "national" literature. In 1955, for instance, C.J. Harvey (in an article containing much common sense as well as sound literary judgment) denounced the self-conscious hunting for "Local Colour" which engrosses so many South African writers. Harvey claimed: "Our civilization is not "South African", except in trivial details, it is Western European, and more specifically as far as poetry written in English is concerned, English ... ". There is a serious error of emphasis here. It would be more accurate to say that our ancestors brought Western European civilization to this continent. To imagine that this civilisation has not undergone and is not still constantly suffering a subtle but far-reaching metamorphosis in Africa would be to fly in the face of reality. White South Africans do not only carry the same identity-card but they can be distinguished from Frenchmen, Englishmen or Irishmen by more than "trivial details". This thesis is an examination of some af the earliest English written in southern Africa, particularly of the verse produced by our poetasters and near-poets. It attempts, during the course of this examination, to call attention to a few of the more significant changes which have arisen as the result of the importation of Western civilsation to an African frontier. Further I hope to show some at the varying ways in which these differences affected the white pioneer and how this has been reflected in our verse since pioneering times. In this sense the Frontier may be thought of as the background against which South African English writers developed certain characteristic traits. Intro., p. 1-2.
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- Date Issued: 1960