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Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.
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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.
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Turner, Irene. "Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.
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Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.
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The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make
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Lauzière, Carole. "El monólogo en el teatro español desde los años setenta : un estudio sobre las funciones del lenguaje en un "nuevo" género dramático." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40379.
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The object of this thesis is to study the monologue, a dramatic genre that re-emerged on the Spanish literary scene in the 1970s. Despite the fact that a number of well-known Iberian playwrights have cultivated this genre assiduously over the past three decades, their work has received relatively little critical attention from either academic or theatre circles. What is sought here, therefore, is the means to demonstrate the importance and richness of the monologue as an autonomous dramatic creation. To do this it was necessary to establish a sufficiently large corpus--some eighty long and short monologues--and identify those particular conventions and the structural diversity that would make possible the formulation of a theory of connected language functions in the monologue by adapting existing theoretical principles to the study of this singular genre. The application of this theoretical construct enabled me to determine the nature of the functions of expression, communication and persuasion present in the discourse of a single speaker.Specifically, in considering the function of expression I reflect both upon the coherent discourse that derives from the (exterior) verbalization of (interior) thought and emotion, and upon the objectives and consequences of such expressions of the mental and emotional states of the individual. Secondly, I focus attention on the same verbal discourse inasmuch as it reflects the complex function of communication manifested in both an immanent and in a transcendental form. Such complexity derives from the fact that, if verbal discourse here is enunciated either in isolation or before an interiorized addressee (a fictional being), it is always emitted in the "presence" of an external addressee (the theatre audience/or reader). Finally, my study of the function of persuasion underscores the idea of empowerment: the authority of the word that is wielded by the monologist upon his/her addressee(s), a verbal manipulation that takes place both within the fictional world and beyond.
In short, this thesis seeks to show how the monologue as a fictional dramatic genre questions the viability of interpersonal relationships.
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Scheepers, Adriana Wilhelmina. "Die verhouding tussen autobiografiese feit en fiksie in die kortverhaaloeuvre van Koos Prinsloo." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/22463.
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Bibliography: pages 336-354.Tegniese en tematiese vernuwing, aansien én verguising van sy literêre werk, 'n opsienbare openbare lewe én dood - dit alles het bygedra dat Koos Prinsloo bykans 'n kultusfiguur geword het en dat sy skrywersloopbaan en literêre arbeid 'n uiters interessante, maar komplekse studieterrein is. Verskeie artikels en nagraadse studies oor uiteenlopende aspekte van Prinsloo se verhale is reeds voltooi, maar daar is nog geen sistematiese ondersoek gedoen oor die verhouding tussen feit en fiksie soos dit na vore kom in sy vier bundels nie. Met die skrywer se afsterwe in Maart 1994 is sy oeuvre afgesluit. Dit is dus vir die navorser moontlik om tot bepaalde gevolgtrekkings te kom ten opsigte van 'n volledige korpus tekste. Die werkswyse in hierdie studie is om Prinsloo se verhaalbundels in chronologiese volgorde te ontleed, te bepaal watter verhale outobiografiese merkers vertoon, na te gaan watter tegnieke die skrywer gebruik het om sy tekste te fiksionaliseer/defiksionaliseer, en wat die funksies en konsekwensies is van die byhaal van die "werklikheid" by die fiksionele. Die uitsprake van kritici word by elke bundel gegee, met die navorser se reaksie op die kritiek. As gevolg van die omvang van hierdie studie, word daar nie aandag gegee aan die (meer omvattende) verhouding tussen "feit" en "fiksie" in Prinsloo se oeuvre nie. Sodanige studie sal meebring dat die talryke dokumentêre verwysings in sy werk nagevors en die funksionaliteit daarvan bepaal word. Hierdie studie konsentreer net op die verhouding tussen die outobiografiese feit en fiksie in sy werk, maar verwys, waar nodig, na sommige van hierdie dokumente.
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Botha, Maria Elizabeth. "Die outobiografiese kode in Antjie Krog se poëtiese oeuvre." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1534.
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This study primarily investigates the autobiographical code in Antjie Krog's poetical oeuvre, spanning from 1970 to the present. Krog's poetry collections may be read as offering life writing through poetry, while the prose works mostly present the reader with a mixture of autobiographical fact plus creative reworkings of fact and fiction. Even though her 10 volumes of poetry follow her biological development from young girl to grandmother, uncertainty still exists about about where truth ends and fiction begins in this poet and autobiographer's interwoven tapestry of multiple and varied perspectives. Furthermore, autobiographical (as utilised and adapted in Krog's oeuvre, in combination with the conventioans from other genres), offers a variety of creatively innovative, experimental strategies and possibilities exploited adroitly by Krog. Reading her poetry with the focus on autobiographical markers leads to another, mostly untapped, dimension of interpretation. This literary approach is in stark contrast to the approach prescibed by N.P. van Wyk Louw in "Die 'mens' agter die boek" ["The 'Person' behind the Book] (1956), in which he states clearly that a text should be interpreted as not "about the human behind the text". To a large extent Krog as poet is inviting the reader to consciously break the taboo that Louw placed on the reader intent on "searching the actual person behind the text". My hypothesis is that in Krog's poetry there is a distinct interrelationship between the perceptions, experiences and sensual impressions of the lyrical "I" in the poems and that of the authobiographical "I" writing. It would be irresponsible to declare the poet and the speaker as one and the same, but in instances where the poet purposefully integrates autobiographical elements into her poems, she is implicitly requesting the reader to interpret her work in this way. This fictive and implicit request is referred to by Philippe Lejeune as the autobiographical poet. Krog's poetry can be divided into four categories: "direct autobiographical", "indirect autobiographical", "universal" and "general" poems. The first category involves criteria that are linked to the poet, such as the use of the names, initials and dates. Indirect autobiographical poems can be read against the background of knowledge (previously published information) about the poet. Poetry with no apparent autobiographical element, but with universal themes such as love, loss and transience, fall into the third category of "universal" poetry. If poems do not fit into the mentioned categories, they are deemed "general".
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Viljoen, Louise. "Breyten Breytenbach se (`yk') : 'n semiotiese ondersoek." Thesis, Stellenbosch : Stellenbosch University, 1988. http://hdl.handle.net/10019.1/70129.
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Fritz, Dawn. "Waar eeue wegtik met elke oogknip : fin de siecle-intertekste in die poesie van Johann de Lange." Thesis, Stellenbosch : University of Stellenbosch, 1998. http://hdl.handle.net/10019.1/8570.
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Thesis (MA)--University of Stellenbosch, 1998.Blog by Johann de Lange: http://johanndelange.blogspot.com/
AFRIKAANSE OPSOMMING: Hierdie studie stel hom ten doel om die 19de-eeuse kulturele fin de siecle-intertekste in Johann de Lange se poësie, wat grotendeels postmodernisties van aard is, na te gaan ten einde die hipotese te toets dat sy werk sterk ooreenkomste met die kunsuitinge van die vorige eeuwending openbaar. Hieruit blyk duidelik 'n korrespondensie of ekwivalensie tussen die tydsgees en diskoers van die huidige fin de millennium en die van die 19de-eeuse fin de siecle. Die titel van die tesis is ontleen aan die gedig "Greenwichtyd" uit Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] Omdat al sewe bundels van die digter ondersoek is, kon slegs drie gedigte in diepte geanaliseer word, naamlik "Correspondences" uit Wordende naak (1990:22), "Studie van 'n portret van 'n man" uit Snel grys fantoom (1986:56) en "Vlees van die berg" uit Vleiswond (1993:51-52). Die gedig "Correspondences", wat seminaal is vir die hipotese wat in hierdie studie gestel word, kom in 'n eie hoofstuk aan bod; "Studie van 'n portret van 'n man" is aanvullend tot die hipotese dat De Lange hom met die kunstenaars van die fin de siecle vereenselwig; terwyl "Vlees van die berg" op vele wyses De Lange se digterlike preokkupasies weerspieël. Enkele aspekte van die kunsstrominge van die Dekadentisme, Estetisisme en Simbolisme, wat in die eeuwending voorkom en ook in De Lange se verse neerslag vind, word in afsonderlike hoofstukke bespreek. Die digter se sosiopolitieke betrokkenheid wat deur die meeste kritici in die verlede misken is, word bevestig. As gevolg daarvan dat mistisisme en metapoësie by De Lange dikwels in 'n enkele gedig saamsmelt, word hierdie aspekte ten slotte in 'n afsonderlike hoofstuk onder die loep geneem. Daar word deurgaans gebruik gemaak van verwysings na geselekteerde gedigte uit De Lange se oeuvre, telkens gesitueer binne die konteks van die postmoderniteit. Ten einde die dinamika van intertekstuele en interdiskursiewe prosesse te demonstreer, word intertekstuele ekskursies of intertekstuele cruising dikwels onderneem.
ENGLISH ABSTRACT: This study investigates the 19th century cultural fin de siecle intertexts in Johann de Lange's predominantly postmodernistic poetry in order to test the hypothesis that his work reveals strong correspondences to art forms of the previous turn of the century. As a result a correspondence or an equivalence between the cultural climates and discourses of the relevant ages, viz. the present fin de millennium and the fin de siecle of the 19th century, is indicated. The origin of the title of the thesis is the poem "Greenwichtyd" from Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] The volume of work involved in the examination of the poet's entire oeuvre of seven volumes precluded the exhaustive analysis of vast numbers of poems. For this reason only three poems have been analysed in any depth. These are "Correspondences" from Wordende naak (1990:22), "Studie van 'n portret van 'n man" from Snel grys fantoom (1986:56) and "Vlees van die berg" from Vleiswond (1993:51-52). The poem "Correspondences" which is seminal to the hypothesis posed in this study is discussed in a separate chapter; "Studie van 'n portret van 'n man" is supplementary to the hypothesis that De Lange identifies with the artists of the fin de siecle; while "Vlees van die berg" reflects many of De Lange's poetic preoccupations. A few aspects of decadence (in the cultural sense), aestheticism and symbolism, schools of art prevalent at the turn of the century which all find expression in De Lange's poems, are examined in separate chapters. The sosio-political commitment of the poet, unrecognised by most critics in the past, is confirmed. Because De Lange often merges mysticism and metapoetry in a single poem, these aspects are finally investigated together in one chapter. Reference is made throughout to selected poems from De Lange's oeuvre as situated within the context of postmodernity. In order to demonstrate the dynamics of intertextual and interdiscursive processes, intertextual excursions or "cruises" are often undertaken.
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Wang, Hui, and 王卉. "Reconfigurations of gender: contemporary Chinese drama 1979-1989 : the politics of re-inscribing sexualdifferences." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242364.
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Wasserman, Herman 1969. "Postkoloniale kulturele identiteit in Afrikaanse kortverhale na 1994." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51879.
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Thesis (PhD)--Stellenbosch University, 2000.ENGLISH ABSTRACT: This thesis contains the results of an investigation into constructions of cultural identity in recent works of short fiction written in Afrikaans. The investigation was conducted within the framework of postcolonial literary theory, with specific reference to the work ofHomi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra and Bob Hodge. The conceptual apparatus concerning postcolonial reconstruction of cultural identities in reaction to the discourse of colonialism were applied to certain Afrikaans short stories to establish to what extent these texts could be considered a '
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Macbeth, Georgia School of Theatre Film & Dance UNSW. "A Plurality of Identities: Ulster Protestantism in Contemporary Northern Irish Drama." Awarded by:University of New South Wales. School of Theatre, Film and Dance, 1999. http://handle.unsw.edu.au/1959.4/33257.
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This thesis examines the ways in which Ulster Protestant identity has been explored in contemporary Northern Irish drama. The insecurity of the political and cultural status of Ulster Protestants from the Home Rule Crises up until Partition led to the construction and maintenance of a distinct and unified Ulster Protestant identity. This identity was defined by concepts such as loyalty, industriousness and ???Britishness???. It was also defined by a perceived opposite ??? the Catholicism, disloyalty and ???Irishness??? of the Republic. When the Orange State began to fragment in the late 1960s and early 1970s, so did notions of this singular Ulster Protestant identity. With the onset of the Troubles in 1969 came a parallel questioning and subversion of this identity in Northern Irish drama. This was a process which started with Sam Thompson???s Over the Bridge in 1960, but which began in earnest with Stewart Parker???s Spokesong in 1975. This thesis examines Parker???s approach and subsequent approaches by other dramatists to the question of Ulster Protestant identity. It begins with the antithetical pronouncements of Field Day Theatre Company, which were based in an inherently Northern Nationalist ideology. Here, the Ulster Protestant community was largely ignored or essentialised. Against this Northern Nationalist ideology represented by Field Day have come broadly revisionist approaches, reflecting the broader cultural context of this thesis. Ulster Protestant identity has been explored through issues of history and myth, ethnicity, class, gender and sexuality. More recent explorations of Ulster Protestantism have also added to this diversity by presenting the little acknowledged viewpoint of extreme loyalism. Dramatists examined in this thesis include Stewart Parker, Christina Reid, Frank McGuinness, Bill Morrison, Ron Hutchinson, Marie Jones, Graham Reid, Robin Glendinning and Gary Mitchell. The work of Charabanc Theatre Company is also discussed. What results from their efforts is a diverse and complex Ulster Protestant community. This thesis argues that the concept of a singular Ulster Protestant identity, defined by its loyalty and Britishness, is fragmented, leading to a plurality of Ulster Protestant identities.
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Mackenzie, Leonore. "Feministiese vertelstrategieë in 'n metafiksionele teks van Jeanne Goosen." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002100.
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Die roman Ons is nie almal so nie (1990) deur Jeanne Goosen word aangebied in 'n realistiese (oftewel tradisionele) vertelvorm. Feministiese vakkundigheid verwys na die narratiewe tipe as patriargaal of fallosentries. As sodanig, is daar 'n ingrypende verskil tussen die vertelwyse van hierdie teks en die van die outeur se vroeere tekste. Hierdie verskuiwing dien as stimulus vir 'n evaluasie van bogenoemde teks binne 'n raamwerk van die feministiese literere teorie en kritiek. Genoemde verskuiwing beteken ook 'n behoefte na 'n ondersoek van die feministiese literatuur en vakkunde in verhouding tot die heersende manlike "stem" van tradisionele redevoering. Dit word beklemtoon dat elkeen van die feministiese teoretiese standpunte die onvoorwaardelike politieke doelstellings van alle feministiese tekste aan die lig bring. Daar word onder andere te kenne gegee dat patriargale mag nie net op persoonlike vlak voorkom nie, maar ook op die vlak van instellings en sosiale gebruike. Patriargale beheer is dus nie 'n onveranderliknatuurlike gegewe nie; dit is vatbaar vir teoretiese analise en praktiese wysiging. Vanwee die feministiese literere teoriee se preokkupasie met patriargale mag, word hierdie teoriee dikwels gekritiseer as synde onbetrokke by strydvrae ten opsigte van rassisme en klasseverdeling. Dit word erken dat die feministiese literere kritiek die geskil met betrekking tot seksisme moet transendeer; dat die toekoms van die feministiese literere teoriee gelee is in 'n deurdringende gesprekvoering met materialisme. Dit is die uitdruklike doelstelling van die marxisties-feministiese kritiese standpunt om rekening te hou, nie net met vraagpunte ten opsigte van taal en "gender" nie, maar ook van klas en ras. Goosen se teks is besonder ontvanklik vir 'n ondersoek van hierdie verwante probleme. * * * The novel Ons is nie almal so nie (1990) by Jeanne Goosen is presented in a realistic (or traditional) narrative form. In feminist terms this narrative form is referred to as patriarchal or phallocentric. As such, the text differs radically from the narrative mode in which the author's previous texts are presented. This shift invites an assessment of the text within a framework of feminist theory and criticism. Moreover, it indicates the need for an investigation into the relationship of feminist literature and scholarship to the dominant male voice of traditional discourse. It is stressed that each of the feminist theoretical positions reveals the unreservedly political purpose of all feminist writing. It is further suggested that patriarchal power exists in institutions and social practices, not merely in individual intentions. Patriarchal power is therefore not a part of immutable nature, but open to effective theoretical analyses and practical change. Due to their preoccupation with patriarchal power, feminist literary theories are often criticised as being blind to issues of race and/or class. It is recognised that feminist literary theory must transcend the issue of sexism; that its future lies in a far more articulated dialogue with materialism. The express purpose of the marxist-feminist critical position is to take into account questions not only of language and gender, but also of class and race. Goosen's text is particularly receptive to an exploration of these interrelated problems.
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Percival, Gary William. "Developments towards a theatre of the absurd in England, 1956-1964." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.
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In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress the imbalance in critical literature, to demonstrate that there existed in England, in the late 1950s and early 1960s, an indigenous expression of absurdism far broader and significantly more complex than that which has been recognised by theatrical reviewers during the past thirty years. Having identified an indigenous absurdism, I go on to challenge the generalisations and over-simplifications surrounding the English 'absurd', which are a product of its critical marginalisation and neglect. I discuss the complexities of the evolution of the English 'absurd', and the ramifications of its development, paying due regard to the theatrical, historical and social factors which shaped its early growth. The playwrights who represent the genre are examined in tum, and attention is devoted to the details of the development of an absurd dynamic within their works. The study falls into three parts. Part I attempts to explain why the English 'absurd' had such a limited impact within its own country up until the late 1960s. It is revealed that many of the writers of the English 'absurd' were incapable of divorcing their plays from the social-orientated drama which dominated English theatre in the late 1950s. The cross-fertilization of an overtly social theatre and absurdism resulted in an expression of the genre which was modified and, to an extent, compromised by its adherence to external, political realities. The focus shifts, in the second part, to accommodate those neglected writers of the English 'absurd' who managed to avoid such compromises and who created a more abstract theatre, the aesthetic and epistemological intentions of which resemble those of the French absurd. Part III explains why, despite the relative obscurity of the English 'absurd', a fragmented absurdism managed to be absorbed into the permanent vocabulary of dramatic expression in England in the 1960s. This final section examines the works of a number of non-absurd writers who took on isolated absurd devices as part of an experiment with the parameters of drama, thereby bringing those techniques into mainstream theatre.
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Sorrells, David J. "The Evolution of AIDS as Subject Matter in Select American Dramas." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2600/.
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Dramatic works from America with AIDS as subject matter have evolved over the past twenty years. In the early 1980s, dramas like Larry Kramer's The Normal Heart, William Hoffman's As Is, and Robert Chesley's Night Sweat educated primarily homosexual men about AIDS, its causes, and its effects on the gay community while combating the dominant discourse promoted by the media, government, and medical establishments that AIDS was either unimportant because it affected primarily the homosexual population or because it was attributed to lack of personal responsibility. By the mid-eighties and early nineties, playwrights Terrence McNally (Love! Valour! Compassion!)and Paul Rudnick (Jeffrey)concentrated on relationships between sero-discordant homosexual couples. McNally's "Andre's Mother" and Lips Together, Teeth Apart explored how families and friends face the loss of a loved one to AIDS. Tony Kushner's Pulitzer Prize-winning Angels in America epic represents living beyond AIDS as a powerful force. Without change and progress, Angels warns, life stagnates. Angels also introduces the powerful drugs that help alleviate the symptoms of AIDS. AIDS is the centerpiece of the epic, and AIDS and homosexuality are inextricably blended in the play. Rent, the Pulitzer Prize-winning musical by Jonathan Larson, features characters from an assortment of ethnic and social backgrounds - including heterosexuals, homosexuals, bi-sexuals, some with AIDS, some AIDS-free, some drug users - all living through the diverse troubles visited upon them at the turn of the millennium in the East Village of New York City. AIDS is not treated as "special," nor are people with AIDS pandered to. Instead, the characters take what life gives them, and they live fully, because there is "no day but today" ("Finale"). Rent's audiences are as varied as the American population, because it portrays metaphorically what so many Americans face daily - not AIDS per se, but other difficult life problems, including self-alienation. As such, Rent defies the dominant discourse because the community portrayed in Rent is the American community.
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Le, Roux Christiaan Johannes. "Vervreemdingstegnieke in Gert Vlok Nel se digbundel Om te lewe is onnatuurlik." Thesis, Stellenbosch : Stellenbosch University, 1998. http://hdl.handle.net/10019.1/70318.
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Thesis (MA) -- Stellenbosch University, 1998.ENGLISH ABSTRACT: In this thesis the techniques of defamiliarisation in Gert Vlok Nel's Om te lewe is onnatuurlik (1993) are investigated, especially with the aid of the Russian Formalist concept ostranenie. The introductory chapter expounds the theoretical basis. With reference to some reviews the question is investigated whether the volume can be regarded as worker poetry. After this follows an explanation of the concept ostranenie as understood by the Formalists, especially Victor Shklovsky, and of the concept Verfremdungseffekt as formulated by Bertolt Brecht. These concepts are then compared with the postmodemist notion of de-naturalization as used by, for example, Linda Hutcheon. In addition to Formalist theory other theories will be used in an eclectic fashion: semiostructuralism (Mikhail Bakhtin and Michael Riffaterre), reception theory (Wolfgang Iser) and psychoanalysis (Harold Bloom). Because om te lewe is onnatuurlik was created in postmodemity, the theoretical approach is also predominantly of a poetmodern nature. In the practical part of the thesis seven poems are discussed in order to highlight the principal techniques of defamiliarisation in each one: the use of ellipses and parody ("die dag toe hulle vir Donkie Viviers"); selfreflexivity and metafidional elements (desember & see"); childlike focalisation and register (soeklig" and "boggellug"); typographical experimentation ("landskap"); spatial relativation ("Rita" and "hillside") and retardation ("hillside").
AFRIKAANSE OPSOMMING: In hierdie tesis word ondersoek ingestel na die vervreemdingstegnieke in Gert Vlok Nel se bundel om te lewe is onnatuurlik (1993), veral met behulp van die Russiese Formalistiese teorie oor die begrip ostranenie. Die inleidende hoofstuk hied 'n uiteensetting van die teoretiese hegrollding. Met verwysing na enkele resensies word daar eerstens ondersoek of die bundel as werkerspoosie beskou kan word. Hierna volg 'n uiteensetting van die konsep ostranenie soos gehanteer deur die Formaliste, veral Viktor Sklovsky, en van die konsep Verfremdungseffekt, soos geformuleer deur Bertolt Brecht. Hierdie begrippe word dan vergelyk met die postmodernietiese begrip de-naturalisasie soos gebruik deur byvoorbeeld Linda Hutcheon. Naas die Formalistiese teorie word ander teoriee op eklektiese wyee in hierdie .tudie betrek: die semio-strukturalisme (Mikhail Bakhtin en Michael Riffaterre), resepsieteorie (Wolfgang Iser) en psigo-analise (Harold Bloom). Omdat die bundel om lewe is onnatuurlik in die post· moclemiteit geskep is, is die invalshoek hoofsaaklik p08tmodernisties van aard. In diepraktiese deel van die tesis word &ewe gedigte bespreek ten einde die belangrikste vervreemdingstegnieke in elk uit te lig: die gebruik van ellipee en parodiering ('"die dag toe hulle vir Donkie Viviers'); selfrefieksie en metapoitiese elemente ("desember & see"); kinderlike fokalisering en register reoeklig" en "boggellug"); tipografiese eksperimentering ("landskap"); ruimtelike relativering ("Rita" en ··hillside");en vertraging ("hillside").
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Moon, Jihie. "Die verhouding tussen geskiedenis en literatuur in post-apartheid Suid-Afrika, met spesifieke verwysing na Verliesfontein deur Karel Schoeman en Op soek na Generaal Mannetjies Mentz deur Christoffel Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53390.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: This study examines the relationship between history and literature, with specific reference to the Afrikaans novels Verliesfontein (1998) by Karel Schoeman and Op soek na generaal Mannetjies Mentz (1998) by Christoffel Coetzee. Both novels are framed against the background of the Anglo Boer War and both take a postmodern approach to that history, amongst other things. First, Chapter 2 reviews the historical background to the relationship between history and literature through the ages (the classical era, and the eighteenth, nineteenth and twentieth centuries), with a view to indicating how this tradition adheres to the postmodern spirit of contemporary times. Thereafter, Chapter 3 presents a theoretical investigation into the postmodern view of historiography and historical fiction. Special reference is made to Hutcheon's theory of historiographic metafiction as an important theoretical point of departure in the discussion of historical fiction. Political and ideological meaning implicit in historiography is discussed. Chapter 4 explores the current trend in South Africa of rereading and reappraising the past, of questioning traditional historiography in a postapartheid South African context (both in Afrikaans fiction and in historical writing). The revisiting of the Anglo Boer War in contemporary South Africa and in Afrikaans fiction is investigated, and an attempt is made to establish the significance of its reappraisal. Against this background the two texts, Verliesfontein and Op soek na generaal Manntjies Mentz, are discussed in Chapter 5. The two novels amply illustrate the possibility for interaction between history and literature, fact and fiction. How may these texts be read in view of postmodern theory? What lessons for present-day South Africans did Schoeman and Coetzee have in mind with their postmodern questioning of traditional historiography and their unconventional reconstruction of the past? Reappraising conventional accounts of history and exploring personal histories as these texts do, Verliesfontein and Op soek na generaal Mannetjies Mentz are part of the dominant discourse that is taking form in the multicultural society of a postapartheid South Africa today.
AFRIKAANSE OPSOMMING: In hierdie studie is 'n ondersoek onderneem na die verhouding tussen geskiedenis en literatuur, met spesifieke verwysing na Karel Schoeman se roman Verliesfontein (1998) en Christoffel Coetzee se roman Op soek na generaal Mannetjies Mentz (1998). In hierdie twee tekste, wat die Anglo-Boereoorlog as hul raamwerk het, is onder andere 'n postmodernistiese benadering tot die geskiedenis benut. Eerstens word in hoofstuk 2 oorsigtelik gekyk na die historiese agtergrond van die verhouding tussen geskiedenis en literatuur met verloop van die tyd (die klassieke tyd, agtiende eeu, negentiende eeu en twintigste eeu), om aan te dui hoe dié tradisie by die heersende tydsgees van die postmodernisme aansluit. Hierna verskaf hoofstuk 3 'n teoretiese ondersoek na die postmodernistiese manier waarop geskiedskrywing en historiese fiksie gesien word. Die teorie van Hutcheon se historiografiese metafiksie word veral in die bespreking van historiese fiksie betrek as 'n belangrike teoretiese uitgangspunt. Vervolgens kom politieke en ideologiese implikasies in geskiedskrywing onder bespreking. Daarna (hoofstuk 4) word die Suid-Afrikaanse kontemporêre tendens om die verlede te herlees en te herwaardeer uiteengesit, en die ondermyning van die tradisionele geskiedskrywing in die post-apartheid Suid-Afrikaanse konteks (sowel in Afrikaanse fiksie as in geskiedskrywing) word ondersoek. Daar word gefokus op die her-bedenking van die Anglo-Boereoorlog in die hedendaagse Suid-Afrika en in Afrikaanse fiksie, en daar word ook probeer om die betekenis van dié herwaardering te soek. Teen bostaande agtergrond kom die twee tekste, Verliesfontein en Op soek na generaal Manntjies Mentz onder bespreking (hoofstuk 5). Die romans is goeie voorbeelde van die interaksie-moontlikhede tussen geskiedenis en literatuur, feit en fiksie, en daar word ondersoek hoe hierdie twee tekste aan die hand van postmodernistiese teorieë gelees kan word. Uiteindelik word daar besin oor watter lesse Schoeman en Coetzee met die postmodernistiese problematisering van geskiedskrywing en die onkonvensionele rekonstruksie van die verlede aan kontemporêre Suid-Afrikaners wou oordra. Met die herbesinning van die konvensionele weergawe van die geskiedenis en veral deur die verkenning van persoonlike geskiedenisse, vorm Verliesfontein en Op soek na generaal Mannetjies Mentz deel van die heersende diskoers wat vandag in 'n multikulturele samelewing van die post-apartheid Suid-Afrika aan die ontwikkel is.
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Duncan, Dawn E. (Dawn Elaine). "Language and Identity in Post-1800 Irish Drama." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277916/.
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Using a sociolinguistic and post-colonial approach, I analyze Irish dramas that speak about language and its connection to national identity. In order to provide a systematic and wide-ranging study, I have selected plays written at approximately fifty-year intervals and performed before Irish audiences contemporary to their writing. The writers selected represent various aspects of Irish society--religiously, economically, and geographically--and arguably may be considered the outstanding theatrical Irish voices of their respective generations. Examining works by Alicia LeFanu, Dion Boucicault, W.B. Yeats, and Brian Friel, I argue that the way each of these playwrights deals with language and identity demonstrates successful resistance to the destruction of Irish identity by the dominant language power. The work of J. A. Laponce and Ronald Wardhaugh informs my language dominance theory. Briefly, when one language pushes aside another language, the cultural identity begins to shift. The literature of a nation provides evidence of the shifting perception. Drama, because of its performance qualities, provides the most complex and complete literary evidence. The effect of the performed text upon the audience validates a cultural reception beyond what would be possible with isolated readers. Following a theoretical introduction, I analyze the plays in chronological order. Alicia LeFanu's The Sons of Erin; or, Modern Sentiment (1812) gently pleads for equal treatment in a united Britain. Dion Boucicault's three Irish plays, especially The Colleen Bawn (1860) but also Arrah-na-Pogue (1864) and The Shaughraun (1875), satirically conceal rebellious nationalist tendencies under the cloak of melodrama. W. B. Yeats's The Countess Cathleen (1899) reveals his romantic hope for healing the national identity through the powers of language. However, The Only Jealousy of Emer (1919) and The Death of Cuchulain (1939) reveal an increasing distrust of language to mythically heal Ireland. Brian Friel's Translations (1980), supported by The Communication Cord (1982) and Making History (1988), demonstrates a post-colonial move to manipulate history in order to tell the Irish side of a British story, constructing in the process an Irish identity that is postnational.
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Fenn, Jeffery W. "Culture under stress : American drama and the Vietnam War." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28668.
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The dissertation undertakes an analysis of the dramatic literature engendered by the Vietnam War in the 1960s and 1970s, and illustrates how the dramas of that period reflect the stresses and anxieties that assailed contemporary American society. It investigates the formative influences on the drama, the various styles in which it emerged, and the recurring themes and motifs. The thesis proceeds from the premise that the events of the 1960s fractured American society in a manner unknown since the Civil War. It demonstrates that the social, political, and intellectual divisiveness that characterized the society was interpreted in the theatre by dramatic metaphors of fragmentation of the individual and collective psyche, and that this fragmentation was reflected in characters who experienced a collective and individual sense of loss of cultural identity, cohesion and continuity.
Included in the examination of the drama is a description of how the social upheaval of the period influenced playwrights to undertake a reassessment of American values and ethics, and to interpret in dramatic form the nature of the trauma of Vietnam for American society. The study includes a discussion of how individual and collective reality is based on cultural conditioning, and how the challenging of cultural myth in an extra-cultural milieu.Arts, Faculty of
Theatre and Film, Department of
Graduate
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Berlando, Maria Elena, and University of Lethbridge Faculty of Arts and Science. "De-colonizing bodies : the treatment of gender in contemporary drama and film." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2007, 2007. http://hdl.handle.net/10133/648.
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Dramatic literature and film are often political and work to deconstruct and dismantle some of the assumptions of a dominant ideology. Tomson Highway’s Dry Lips Oughta Move to Kapuskasing, Caryl Churchill’s Cloud Nine, and Neil Jordan’s The Crying Game, show how gender roles are used in oppression and show that other social categories like race, class, and sexuality are interrelated and constructed. This shows the hollowness of the so-called inherent categories that cause “naturalized” divisions between people and groups. Through exploring these works I hope to draw attention to how these artists use theater and film to educate their audiences, as well as challenge them to take control over complicated issues surrounding power and oppression. These writers encourage their audiences to employ social criticism and to re-evaluate the social order that is often naturalized through dominant ideology and discourse.v, 104 leaves ; 29 cm.
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Peter, Zola Welcome. "The depiction of female characters by male writers in selected isiXhosa drama works." Thesis, Nelson Mandela Metropolitan University, 2010. http://hdl.handle.net/10948/1482.
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This research expresses female character portrayal in various drama works written by males. Chapter one is a general introduction that gives the key to this study, the motivation that leads to the selection of this topic; a literary review on the portrayal of female characters in literary works written by males; the scope of study, the basic composition of the ensuing chapters and the definitions of terms that are of paramount importance for this research. Various literary theories are used in Chapter two for the analysis of the research texts. These literary theories include womanism, gender and feminism which expose the social effects caused by the negative perception of females in social life and the negative portrayal of female characters in male dramatic writings. Other literary theories include onomastics as a literary theory, which exposes the relationship between the name giver of a person and the power the name gives to its bearer, as well as psychoanalysis as a theory which proved to be unavoidable, since this study analyses the personal behaviour of the individual characters within their literary environment. Chapter three depicts the general victimization of female characters in male drama works and exposes the various effects of the attitudes of male writers towards female characters in terms of gender role. Chapter four shows a general stereotypical portrayal of female characters in male written drama texts. This chapter shows the impact of stereotyping on female characters from drama works that puts them in a vulnerable position, showing that it is risky to become a victim of ill-treatment in their communities and the literary world. Chapter five deals with the psychological literary review of female characters, showing them as being suicidal and murderers who easily take their own lives and those of other people. Chapter six is a general conclusion of the works which includes observer remarks from other literary researchers of the literature.
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Visagie, Andries Gerhardus. "Manlike subjektiwiteit in die Afrikaanse prosa vanaf 1980 tot 2000." Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/3267.
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Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2004.ENGLISH ABSTRACT: Since the 1980s the narrative prose of male writers in Afrikaans has been characterised by an intensive questioning of consolidated masculine subjectivity with the (political) father as its primary manifestation. The growing influence of postmodernism and the greater freedom enjoyed by women and gay authors to write about gender issues, facilitated the process of paternal emancipation in Afrikaans narrative. This dissertation is a study of the representation of masculine subjectivity in Afrikaans prose writing from 1980 to 2000 concentrating on the diverse expressions of masculine subjectivity in literary texts with reference to the work of Luce Irigaray (1980 and 1985) on subjectivity, and the theory of R.W. Connell (1995) on the plurality of masculinities. The position of the father in conveying political values to the son within the Oedipal context is examined in a number of texts with specific emphasis on the contrasting processes regulating the hegemonic masculinity of the white father (Alexander Strachan 1984 and Mark Behr 1993) and the marginalised masculinity of the coloured father during apartheid (Benjamin 1997). The work of Alexander Strachan (1994), Piet van Rooyen (1997) and Johann Botha (1997) are examples of texts that display resemblance to the literature of the “School of Virility” identified by Peter Schwenger (1984: 13). Unlike the male protagonists in colonial texts, the masculine subjects in the work of Van Rooyen and Botha can no longer escape the political and historical turmoil of civilisation by finding refuge in “pristine” and unpoliticised hunting fields. Since 1994 the loss of political power, which for so long conditioned the masculine subjectivity of Afrikaner men, has also reached the hunting fields of postcolonial southern Africa. Through the influence postmodernism, a productive tension in literature and theory has developed between the autonomous, consolidated masculine subject, and the decentered masculine subject. Breyten Breytenbach’s representation of the fragmented masculine subject opens up the possibility of a move away from the historical imperatives of the totalising, and often violent, masculine subject. However, Breytenbach (1998) suggests that, in some instances, the fragmented masculine subject may be co-opted by the historically persistent discourse of the autonomous (and violent) masculine subject. Gay writers Koos Prinsloo (1992) and Johann de Lange (1996 and 2000), and to a lesser extent Hennie Aucamp (1981), devote themselves to a sceptical interrogation of identity and subjectivity as categories that are based on heterosexist values. Prinsloo and De Lange employ sexuality as a way to give expression to their antihumanist critique of the subject. The tension between consolidated masculine subjectivity and decentered masculine subjectivity is also present in the autobiography of Joseph Marble (1999). In Marble’s life history the discontinuity between the youthful “I” as protagonist and the adult “I” as narrator contributes to the multiplicity that ultimately characterises Marble as a masculine subject in the text. Finally, this dissertation presents a view of masculine subjectivity in Afrikaans narrative that emphasises diversity. Yet, it is noticeable that nearly all the texts under discussion maintain a certain relationship with hegemonic masculinity. Furthermore, it is only in the work of a small number of writers such as Breytenbach, Prinsloo and De Lange that the interrogation of masculine subjectivity leads to an exploration of modes of being that may transcend the historically persistent discourse of masculine domination.
AFRIKAANSE OPSOMMING: Sedert die jare tagtig van die twintigste eeu word die prosa van manlike skrywers in Afrikaans gekenmerk deur ’n intensiewe bevraagtekening van gekonsolideerde manlike subjektiwiteit soos veral beliggaam deur die (politieke) vader. Hierdie proses van ontvoogding in die Afrikaanse prosa is gefasiliteer deur die groeiende invloed van die postmodernisme en die groter vryheid wat vroueskrywers en gay skrywers geniet het om oor geslagtelike kwessies te skryf. Hierdie proefskrif is ’n studie van die representasie van manlike subjektiwiteit in die prosa van 1980 tot 2000 en bestudeer die uiteenlopende verskyningsvorms van manlike subjektiwiteit in literêre prosatekste met verwysing na onder andere die werk van Luce Irigaray (1980 en 1985) oor subjektiwiteit en die teorie van R.W. Connell (1995) oor manlikheid as ’n meervoudige verskynsel. Die posisie van die vader in die oordrag van politieke waardes na die seun word in enkele tekste ondersoek binne die Oidipale familiedrama met aandag vir die kontrasterende prosesse wat ’n rol speel by die hegemoniese manlikheid van die blanke vader (Alexander Strachan 1984 en Mark Behr 1993) en die gemarginaliseerde manlikheid van die gekleurde vader tydens apartheid (S.P. Benjamin 1997). Strachan (1994) se prosa word verder saam met die werk van Piet van Rooyen (1997) en Johann Botha (1997) bestudeer as voorbeelde van tekste wat toegespits is op viriele manlikheid. By Van Rooyen en Botha kan die manlike subjek nie meer soos in die koloniale prosa die vermoeiende politiek en geskiedenis van die beskawing agterlaat deur hom tot die “ongeskonde” en ongepolitiseerde jagveld te wend nie. Die verlies van politieke mag, wat vir lank die manlike subjektiwiteit van die Afrikanerman bepaal het, is na 1994 ook ’n werklikheid op jagvelde van die postkoloniale Suider-Afrika. ’n Produktiewe spanning in beskouings van manlike subjektiwiteit bestaan sedert die postmodernisme tussen die outonome, gekonsolideerde subjek en die gedesentreerde subjek. Breyten Breytenbach (1998) se representasie van die gefragmenteerde manlike subjek bied op die oog af die potensiaal om manlike subjektiwiteit los te maak van die geweld en dominasie wat die patriargale orde kenmerk. By Breytenbach blyk dit egter dat die gefragmenteerde manlike subjek in sommige gevalle gekaap kan word deur die histories standhoudende diskoers van die outonome (en gewelddadige) manlike subjek. Die gay skrywers Koos Prinsloo (1992) en Johann de Lange (1996 en 2000), en in ’n mindere mate Hennie Aucamp (1981), is in hulle werk betrokke by ’n skeptiese vraagstelling oor identiteit en subjektiwiteit as kategorieë wat gegrond is op heteroseksistiese waardes. Prinsloo en De Lange gryp gay seksualiteit aan as ’n medium om uiting te gee aan hulle antihumanistiese kritiek teen die subjek. Die spanning tussen gekonsolideerde manlike subjektiwiteit en gedesentreerde manlike subjektiwiteit is ook aanwesig in Joseph Marble (1999) se outobiografie. In Marble se lewensverhaal dra die diskontinuïteit tussen die jeugdige “ek” as protagonis en die volwasse “ek” as verteller by tot die uiteindelike meervoudige beeld wat van Marble as manlike subjek na vore tree. Hierdie proefskrif bied uiteindelik ’n beeld van manlike subjektiwiteit in die Afrikaanse prosa wat diversiteit vooropstel, maar dit is nietemin opvallend dat feitlik elke besproke teks ’n sekere verhouding handhaaf met hegemoniese manlikheid. Dit is verder net by enkele skrywers soos Breytenbach, Prinsloo en De Lange dat die bevraagtekening van manlike subjektiwiteit lei tot ’n verkenning van synsvorme wat moontlik die histories deurlopende diskoers van manlike dominasie sou kon oorskry.
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Duguay, Sylvain. "Le dialogue homosexuel dans Les feluettes de Michel Marc Bouchard /." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30163.
Full textAbstract:
This thesis proposes to apply Queer theory as the framework for examining Michel Marc Bouchard's play Les Feluettes. This study is built around two methodological axes, one being the analysis of dialogue; the second, the application of Queer theory. Dialogue and staging are scrutinized in an effort to discover the Queer. The links between sex, power, language and knowledge will be specifically studied. The intention is to show how their relationship, based on opposition, can be modified by a subversive discourse. By way of introduction, a brief discussion of Queer theory will be presented to familiarize the reader with its origins, sources of inspiration and strategies of deconstruction. The first chapter will focus on the homosexual's interior monologue. Chapter two will focus on the homosexual's dialogue with other homosexuals. The third, and final chapter, will round out the analysis by studying the dialogue between the homosexual and heterosexuals. (Abstract shortened by UMI.)
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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Symington, Cornelia Isabel. "Binêre opposisies en perspektiewe op die 'ander' in Pieternella van die Kaap deur Dalene Matthee." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53728.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2004ENGLISH ABSTRACT: This study investigates the binary oppositions in Dalene Matthee's historic novel, Pieternella van die Kaap, and the extent to which it correlates with the perspectives on "the other" and the influence of the spatial context on the two main characters, Eva-Krotoa and Pietemella. The study ascertains in which way Matthee's novel falls within the post-colonial framework; whether a tendency towards hybridity can be found and in which cases the binary opposition of "the self" versus "the other", is consequently suspended. Attention is also given to key concepts associated with this, like stereotyping and convention. After exploring the term post-colonial literature, a number of related elements are discussed, such as the post-colonial focus on identity. Via the focalisation of PietenelIa the novel firstly presents a general view of her experiences in the Cape, on Robben Island, on the ship the Boode, and on Mauritius. In the process it also foregrounds the life of her mother, Eva-Krotoa. Both of them are so much affected by the binary oppositions relating to their existence within different, contrasting spaces, that it is justified to call them "two-head" women. While Eva- Krotoa's life is torn apart by the binary oppositions, there are indications that Pietemella moves in the direction of a growing hybridity, that brings about a synthesis between the oppositions and allows her to reconcile herself with her own identity. This is even more pronounced in the case of her daughter, Maria. The study comes to the conclusion that stereotyping is based on convention and that time, place and circumstances determine whether and to what extent the binary opposition of "the self'/"the other" is suspended.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die binêre opposrsres in Dalene Matthee se historiese roman Pieternella van die Kaap en die mate waarin die perspektiewe op 'die ander' en die invloed van die ruimtelike konteks op die twee vernaamste karakters, Eva-Krotoa en Pieternella, hiermee in verband gebring kan word. Daar word vasgestel in watter mate hierdie roman binne 'n postkoloniale raamwerk val, in watter opsigte sprake is van hibriditeit en in watter gevalle die binêre opposisie van 'die ek'teenoor 'die ander' gevolglik opgehef word. Aandag word ook bestee aan sleutelbegrippe wat hiermee saamhang, soos stereotipering en konvensie. Na 'n verkenning van die term postkoloniale literatuur word verskeie elemente wat hiermee verband hou bespreek, soos die postkoloniale fokus op identiteit. Die roman bied eerstens, via die fokalisasie van Pieternella, 'n oorsig oor haar lotgevalle aan die Kaap, op Robbeneiland, op die skip die Baade en op Mauritius, maar stel in die proses ook die lewe van haar moeder Eva-Krotoa voorop. Beide word in so 'n mate geaffekteer deur binêre opposisies van hulle bestaan binne verskillende, kontrasterende ruimtes, dat hulle tereg 'tweekopvroue' genoem kan word. Waar Eva-Krotoa ten onder gaan aan die binêre opposisies is daar met betrekking tot Pieternella aanduidings van 'n groeiende hibriditeit wat 'n sintese bring tussen die opposisies en haar met haar eie identiteit laat versoen. Dit is in In nog groter mate die geval met haar dogter Maria. Die studie kom tot die slotsom dat stereotipering berus op konvensie en dat tyd, plek en omstandighede bepaal of en in watter mate die binêre opposisie van ekl'ander' opgehef word.
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Drouin, Jennifer. ""To be or not to be free" : nation and gender in Québécois adaptations of Shakespeare." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85904.
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At first glance, the long tradition of Quebecois adaptations of Shakespeare might seem paradoxical, since Quebec is a francophone nation seeking political independence and has little direct connection to the British literary canon. However, it is precisely this cultural distance that allows Quebecois playwrights to play irreverently with Shakespeare and use his texts to explore issues of nation and gender which are closely connected to each other. Soon after the Quiet Revolution, adaptations such as Robert Gurik's Hamlet, prince du Quebec and Jean-Claude Germain's Rodeo et Juliette raised the question "To be or not to be free" in order to interrogate how Quebec could take action to achieve independence. In Macbeth and La tempete, Michel Garneau "tradapts" Shakespeare and situates his texts in the context of the Conquest. Jean-Pierre Ronfard's Lear and Vie et mort du Roi Boiteux carnivalize the nation and permit women to rise to power. Adaptations since 1990 reveal awareness of the need for cultural and gender diversity so that women, queers, and immigrants may contribute more to the nation's development. Since Quebec is simultaneously colonial, neo-colonial, and postcolonial, Quebecois playwrights negotiate differently than English Canadians the fine line between the enrichment of their local culture and its possible contamination, assimilation, or effacement by Shakespeare's overwhelming influence, which thus allows them to appropriate his texts in service of gender issues and the decolonization of the Quebec nation.
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Crous, Matthys Lourens. "Feminisme en lees : Antjie Krog se Lady Anne en Joan Hambidge se Die anatomie van melancholie." Thesis, Stellenbosch : Stellenbosch University, 1990. http://hdl.handle.net/10019.1/68821.
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Thesis (MA)--Stellenbosch University, 1990.ENGLISH ABSTRACT: The aim of this investigation was to provide a theoretical overview of the predominant feminist literary movements and their theoretical theses. I concentrated specifically on providing an historical overview of the major theories and by doing so accumulating them into one theoretical model. Concommitantly theories coined by post-structuralist thinkers such as Derrida and deconstruction are also employed in furnishing the reading model with a deconstructivi i-.>"": base. It proved appropriate to analyse postmodernist poetry ~
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De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.
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A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.
Doctorat en Langues et lettres
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Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.
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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.Doctorat en Langues et lettres
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Bain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
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Thesis (PhD)--Stellenbosch University, 2002.ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
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Adendorff, Elbie Maria. "Digdebute teen die milleniumwending : 'n polisistemiese ondersoek." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/4578.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2003.AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is om die verskyning en ontvangs van Afrikaanse dig-debuutbundels teen die millenniumwending met behulp van die polisisteemteorie te bestudeer. Dié teorie behels dat die literatuur as 'n sisteem tussen ander sisteme in die samelewing beskryf word. In hierdie geval word die sisteemgrens tot die Afrikaanse poësie beperk. Die resepsies van die ses debuutbundels wat in 1999–2000 verskyn het en wat vir die Ingrid Jonker-prys in aanmerking geneem is, word ondersoek. Binne die polisisteemverband word 'n studie onderneem na die marginalisering van die Afrikaanse poësie; dít terwyl die poësie as sodanig reeds 'n gemarginaliseerde genre is. Dié marginalisering is grootliks die gevolg van ekonomiese oorwegings – hoofstroomuitgewers dink twee maal daaroor voordat hulle 'n digbundel uitgee, veral 'n debuutdigbundel. Terwyl die poësie in die orale vorm toenemend gewild blyk te wees, is daar nie veel publikasie-moontlikhede vir debuutdigters nie. Hierdie toestand gaan veral die opkomende digters nadelig tref. In hoofstuk 1 word 'n uiteensetting van die studie gegee. Die stand van sake in die Afrikaan-se poësiesisteem teen die millenniumwending word voorlopig beskryf. Die doel van die navorsing, die afbakening van die studie-objek en die hoofstukindeling van die tesis word uiteengesit. Hoofstuk 2 bied 'n uiteensetting van die polisisteemteorie, wat gegrond is op die werk van die Russiese Formaliste. Verder word aandag bestee aan 'n omskrywing van die poli-sisteem, die struktuur van die polisisteem en die toepassingsmoontlikhede van die teorie. 'n Teoretiese oorsig van kanonisering in die literatuur word in hoofstuk 3 onderneem. In dié hoofstuk word die verskillende definisies van die konsep kanon gegee, die verskillende soorte kanons en die proses van kanonvorming word bespreek. Laastens word die invloede van kanonisering vermeld. Die Afrikaanse literêre veld is die fokuspunt in hoofstuk 4, waar die poësie as gemargina-liseerde genre, die voorkoms van die Afrikaanse poësieveld, die Ingrid Jonker-prys en die rol van die uitgewer bespreek word. Die vraag na die afwesigheid van die "nuwe stemme" in die letterkunde word ook ondersoek. Die toekoms van die Afrikaanse poësie word verder onder die soeklig geplaas. In hoofstuk 5 word 'n studie onderneem van die resepsies van die ses debuutbundels van 1999–2000. Die resensent as kritikus en die taak van resensente word eerstens ondersoek. Kwalitatiewe en kwantitatiewe ondersoeke word onderneem ten einde na te gaan welke van die debutante moontlik die kanondrempel kan oorsteek. In die slothoofstuk, hoofstuk 6, word die bevindinge van die ondersoek saamgevat ten einde die gesprek oor die Afrikaanse poësie verder te voer. Verdere moontlike navorsingsterreine word uitgestippel.
ENGLISH ABSTRACT: The aim of this study is to examine the publication and reception of first volumes of poetry at the end of the twentieth century by means of the polysystem theory. This theory maintains that literature should be considered as a system within other systems in society. In this case the systemic boundary is limited to Afrikaans poetry. The reception of six first volumes of poetry that appeared between 1999 and 2000 and were taken into account for the Ingrid Jonker Prize is investigated. A study is made of the reception of Afrikaans poetry within the polysystemic context and in the light of the fact that poetry is already a marginalised genre. This marginalisation is largely the result of economic pressures – mainstream publishers think twice before publishing a volume of poetry, especially a first volume. While poetry, particularly oral poetry, seems to be increasingly popular, there are few publishing opportunities for new poets. This situation is going to affect especially upcoming poets negatively. Chapter 1 gives an outline of the study. The state of affairs in the Afrikaans poetry system at the end of the twentieth century is described briefly. The aim of the research, the delimitation of the field of study, and the organisation of the chapters of the thesis are set out. Chapter 2 offers an explanation of polysystems theory, which has its foundations in Russian Formalism. The chapter also describes the structure of a polysystem and discusses the possible applications of the theory. Chapter 3 presents a theoretical overview of the process of canonisation in literature. Different definitions of the concept of the canon are given and the process and effects of canonisation are considered. Chapter 4 focuses on Afrikaans literature, including discussion of poetry as a marginalised genre, the future of Afrikaans poetry, the Ingrid Jonker Prize, and the role of the publisher. The issue of the absence of "new voices" in literature is also investigated, as well as the future of Afrikaans poetry. Chapter 5 examines the reception of six first volumes of poetry between 1999 and 2000. The reviewer as literary critic and the function of reviewing are considered first. Qualitative and quantitative studies are undertaken in order to determine which of the first volumes might be incorporated into the canon. Chapter 6 draws together the findings of the investigation in order to extend the discussion on Afrikaans poetry. Possible areas of research are suggested.
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Bouko, Catherine. "La réception spectatorielle et les formes postdramatiques du spectacle vivant." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210342.
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Selon différents théoriciens (Guénoun, Lehmann, Ryngaert, etc.), la fin du vingtième siècle se caractérise par l'émergence de nouvelles formes théâtrales, marquées par la contamination des pratiques spectaculaires.Hans-Thies Lehmann reprend la notion de "théâtre postdramatique" proposée par Richard Schechner pour qualifier ces formes métissées de spectacle vivant La thèse défendue est la suivante :le théâtre postdramatique trouve sa spécificité non seulement dans la transgression des codes dramatiques mais surtout dans des processus de réception spécifiques qu'il importe de définir, à l'aide d'outils notamment sémiotiques. Ces processus sont situés et construits par rapport à différents modèles interdisciplinaires.
Doctorat en Information et communication
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Tremblay, Janie. "Le personnage de la mere dans trois pieces quebecoises des annees 1980 /." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33938.
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The various transformations that Quebec society was undergoing throughout the 1980s are reflected in the dramaturgy of the period, notably in the critique of nationalist discourse, and in the writing of hitherto marginalized groups such as women, immigrants, and gays and lesbians.The tensions within the family unit are one of the leitmotivs of Quebec theatre in the 1980s, which usually represents the mother either as a sort of monster who suffocates her children, or as a victim of the Law of the Father. When a woman decides to speak and to redefine motherhood, this dual model of the "patriarchal mother" crumbles and the universe of the family must be reconfigured.
In this thesis, we propose a semiological analysis for each of the plays of our corpus. The first chapter analyzes Addolorata, by Marco Micone. In this play, the mother's taking possession of speech not only destabilizes her family but also calls into question established structures within the Italo-Quebecois community. The second chapter examines Marie Laberge's Aurelie, ma soeur, a play which illustrates the (re)construction of the family unit around a nonbiological maternal bond. The third and final chapter studies Michel Marc Bouchard's Les Muses orphelines, in which access to speech and to the condition of mother is achieved through lies and truth. In the conclusion of this thesis, we bring together the principal characteristics of the feminine and maternal voices which are heard in the three plays, voices which are all defined by the desire, the need to affirm their subjectivity.
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Satyo, Priscilla Nomsa. "Women in Xhosa drama : dramatic and cultural perspectives." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52615.
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Thesis (PhD)--University of Stellenbosch, 2001.ENGLISH ABSTRACT: This study aims at highlighting a crucial aspect of Xhosa drama: The portrayal of the role women have been forced culturally to assume in society. A selection of Xhosa plays from three periods (1958 - 1965; 1974 - 1982; and 1988 - 1997) is examined. In the process of the study, the analysis and the interpretation of these dramas as well as the depiction of women characters is examined. Authors of the ten dramas under study advocate change through the powerful forces of gender stereotypes and culture distortions. The attributes that the authors commonly ascribe to women characters are passivity, irrationality, compliancy and incorrigibility. An examination of the reasons behind this proliferation of these female stereotypes and the lack of realistic women characters is undertaken. The study posits reasons why particular stereotypes appear in the works of several authors over a period of time. The women characters are products of social conditioning, that is, ideals or counter-ideals of the prevailing values of the authors' culture. They are a symbolic fulfillment of the writers' needs. The broad cultural perspectives of the authors also shape the texts they produce. These dramas treat issues and themes, which become central to the formal and structural ordering of the drama. Such themes have an impact at times on form and structure. In each case the ideology of the class represented by authors under study is indeed reflected in the text, to its detriment. The dominating themes in the ten dramas are forced marriages and women abuse. The authors are so preoccupied with injustices against women that they distort certain cultural aspects by, for example, exaggeration. Women are constantly depicted as victims, while there are no indications in the authors' depictions of women that perceptions of their cultural role and status are in reality undergoing changes. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the dramas of the first literary period (1958 - 1965). These episodes depict the different phases of the dramas. A critical evaluation of the dramas by motivating their positive and negative aspects is undertaken. Chapter 3 deals with the development of plot within episodes in the dramas of the second literary period (1974 - 1982). As in the first literary period, a critical evaluation of the dramas by motivating their positive and negative aspects is examined. Chapter 4 deals with the development of plot within episodes in the dramas of the third literary period (1988 - 1997). A critical evaluation of the dramas by motivating their good and bad points is undertaken. Chapter 5 deals with woman as character in Xhosa dramas under study. A detailed analysis of the main woman character in each drama is undertaken. Furthermore, a critical summary of how the woman has been portrayed in the dramas is presented. Chapter 6 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 7 summarizes the findings of the study.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om 'n kern aspek van Xhosa drama te belig: die rolle wat vroue kultureel gedwing is om te vervul in die gemeenskap. 'n Seleksie Xhosa dramas vanuit drie tydperke (1958 - 1965; 1974 - 1982; en 1988 - 1997) word ondersoek. In die loop van die studie, ontleding en interpretasie van hierdie dramas word die uitbeelding van vroue karakters ook ondersoek. Die skrywers van die tien dramas wat bestudeer word, betoog vir verandering deur middel van die sterk kragte van stereopites en kultureelverwronge voorstellings. Die eienskappe wat die skrywers algemeen toeskryf aan vroue karakters is passiwiteit, irrasionele optrede, gehoorsaamheid en deugsaamheid. 'n Ondersoek na die redes vir die proliferasie van hierdie vroulike stereotipes en die tekortkoming aan realistiese vroue karakters in Xhosa dramas word uitgevoer in die studie. Die studie voer redes aan waarom bepaalde stereotipes in die werk van verskeie skrywers oor 'n tydperk verskyn: hulle vrouekarakters is die produk van sosiale kondisionering, dit wil sêm ideale of teen-ideale van die heersende waardes van die skrywer se kulturele agtergrond en 'n simboliese vervulling van die skrywer se behoeftes. Die algemene kulturele perspektiewe van die skrywers beïnvloed en vorm ook die tekste wat hulle lewer. Hierdie dramas behandel naamlik vraagstukke tematies wat sentraalook bepalend is ten opsigte van die vorm en struktuur van die drama. Sodanige temas het gevolglik in bepaalde gevalle 'n invloed op die vorm en struktuur van die drama. Voorts word die ideologie van die klas verteenwoordig deur die skrywers in elke geval gereflekteer en die teks tot bepaalde nadele daarvan. Die prominente temas in die tien dramas is gedwonge huwelike en vrouemishandeling. Die skrywers is so gepre-okkupeer met die ongeregtighede teenoor vroue dat hulle bepaalde kulturele aspekte verwring deur, byvoorbeeld, buitensporige voorstellings. Vroue word voortdurend voorgestel as slagoffers, terwyl daar feitlik geen aanduidings is in die skrywer se voorstelling van vroue, dat persepsies oor hulle kulturele rol en status inderwaarheid besig is om veranderinge te ondergaan. Die proefskrif is soos volg gestruktureer: Hoofstuk 1 gee die doelstellings, omvang, teorieë en metodes wat in die studie gevolg word. Hoofstuk 2 behandel die ontwikkeling van intrige binne verskillende episodes in die dramas van die eerste literêre periode (1958 - 1965). Hierdie episodes gee 'n uitbeelding van die verskillende fases van die dramas wat in die studie ondersoek word. 'n Kritiese evaluering word van die dramas gedoen deur die positiewe en negatiewe aspekte daarvan te motiveer. Hoofstuk 3 behandel die ontwikkeling van intrige binne die episodes van die dramas van die tweede literêre periode (1974 - 1982). Soos vir die eerste literêre periode, word 'n kritiese evaluering gedoen van die dramas deur onder andere die positiewe en negatiewe literêre aspekte daarvan te motiveer. Hoofstuk 4 ondersoek die ontwikkeling van die intrige binne die episodes in die dramas van die derde literêre periode (1988 - 1997). Die kritiese evaluering van hierdie dramas sluit, soos vir die vorige periodes, 'n gemotiveerde beskouing in van die positiewe en negatiewe aspekte. Hoofstuk 5 ondersoek die vrou as karakter in die Xhosa dramas wat bestudeer word. 'n Gedetaileerde analise van die hoof-vroue karakters in elke drama word gedoen. Daarna word 'n kritiese oorsig aangebied van hoe die vrou voorgestel word in die dramas wat bestudeer is. Hoofstuk 6 bied 'n uitbeelding van Xhosa kultuur in die dramas wat ondersoek is. Bepaalde aspekte van kultuur word vir elke drama ondersoek en die uitbeelding van hierdie kultuur aspekte word behandel. Hoofstuk 7 bied 'n opsomming van die belangrikste bevindinge van die studie.
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Carstens, Hester. "Drempellewens : die uitbeelding van bewussyn in vyf debuutromans (tesis) en Hanna in die park (roman)." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/410.
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韋明月. "當代澳門民眾戲劇先行者 : 周樹利 = The forerunner of contemporary Macau community theatre : Chow Shui Lee." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2101715.
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Jacobs, Martha Christina. "Konsep volksmoeder soos dit in die Afrikaanse drama neerslag vind." Diss., 2009. http://hdl.handle.net/10500/2588.
Full textAbstract:
The central problem in this dissertation entails how the concept volksmoeder (mother of the nation) gradually developed to secure a place in the Afrikaans drama. Chapter 1 determines the hypothesis of this dissertation. Chapter 2 focusses on the volksmoeder characteristics. The conclusion reached in Chapter 2 is that Maria in Langenhoven’s Die vrou van Suid-Afrika (1918) reveals similarities and contrasts with female characters in Dutch plays. Chapter 3 ascertains that characteristics of female personages as mothers of the nation determine their positions in patriarch/volksmoeder relationships in W.A. de Klerk’s Die jaar van die vuur-os (1952). Different types of volksmoeder appear in the above-mentioned farm play and in H.A. Fagan’s Ousus (1934). Chapters 4 and 5 identify how the present day volksmoeder in recent plaasdramas such as Deon Opperman’s Donkerland (1996), André P. Brink’s Die jogger (1997), Ek, Anna van Wyk (1986) and Die koggelaar (1988) by Pieter Fourie, indicate a further development in the concepts patriarch and volksmoeder. In the latter’s Koggelmanderman (2003) the man and woman are removed from the idea of gender.Die sentrale probleem in die verhandeling behels hoe die konsep volksmoeder met verloop van tyd in die Afrikaanse drama neerslag gevind het. Hoofstuk 1 bepaal die hipoteses van die verhandeling. Hoofstuk 2 fokus op die kenmerke van die volksmoeder. Die gevolgtrekking in hoofstuk 2 is dat Maria in Langenhoven se Die vrou van Suid-Afrika (1918) ooreenstem en kontrasteer met Nederlandse vrouefigure. Hoofstuk 3 stel vas dat vrouefigure se kenmerke as volksmoeders hul posisie binne die patriarg/volksmoederverhouding in W.A. de Klerk se Die jaar van die vuur-os (1952) bepaal. Verskillende soorte volksmoeder -verskyn in bogenoemde plaasdrama en in H.A. Fagan se Ousus (1934). Hoofstukke 4 en 5 identifiseer hoe hedendaagse volksmoeders in nuwe plaasdramas, soos Deon Opperman se Donkerland (1996), Andre P. Brink se Die jogger (1997), Ek, Anna van Wyk (1986) en Die koggelaar (1988) van Pieter Fourie, verder binne die patriarg/volksmoederverhouding ontwikkel. In laasgenoemde se Koggelmanderman (2003) beweeg die man en vrou weg van die konsepte patriarg en volksmoeder.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
40
Welgemoed, Leana. "Verset in dramas deur Deon Opperman : Donkerland, Kruispad, Ons vir jou en Kaburu." Diss., 2013. http://hdl.handle.net/10500/13068.
Full textAbstract:
Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme,
moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as
versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra.The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation.
Afrikaans & theory of Literature
MA (Afrikaans en Algemene Literatuurwetenskap)
41
Van, Zyl Engela Anna. "Die dodegedig in Afrikaans." Thesis, 2014. http://hdl.handle.net/10210/9236.
Full textAbstract:
M.A. (Afrikaans)In this study the place of the death poem as genre and particularly its incidence in Afrikaans is traced. Because the corpus of poems about death is so comprehensive, a distinction is made between two significant categories: death poetry in general and death poetry with specific regard to the death of a beloved, especially with reference to a close relative. For the purpose of this study the latter is dealt with. It is established that the death poem referring to the death of a close relative has in almost every known literature been responsible not only for some of the most touching poems, but also for some of the best. In certain Iiteratures particular conventions in connection with . the death poem have crystallized. In others the theme of death has found unrestrained expression. A comparative study and an assessment of value are the two most important methods that were used in this study to ascertain the place of the death poem in literature. The death poem can be classified under several categories, each of which has contributed to a greater or lesser degree to the genre of the death poem. The category of the beloved deceased, especially the beloved close relative is emphasized in this particular study. Most poets have contributed to the corpus of the death poem, but Totius, Elisabeth Eybers, D.J. Opperman and T.T. Cloete, each representing one of the great literary eras in Afrikaans, have contributed the best death poems. It appears from the comparative study that there has been a qualitative improvement in this genre.
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Malan, Isabella Cornelia. "Die ekologiese kode in die Afrikaanse poësie." Thesis, 2012. http://hdl.handle.net/10210/6454.
Full textAbstract:
M.A.In Afrikaans poetry, Nature is depicted in terms of the relationship existing among and / or inanimate organisms, i. e. an ecological mode. Man's influence on the environment, features strongly in the poetry of the eighties. The anthology, Groen (J. L. Marais), can be seen as a focal point of this involvement. Chapter one provides an overview of the ecological code in Afrikaans poetry, spanning the time from the First Afrikaans Language Movement up till the seventies. With regard to this period, the different approaches of the poets to Nature are being studied. During this era a decidedly dynamic approach to the subject existed. Nature was initially seen as the idyllic, soothing and was also used as a metaphor for beauty and purity. With time, Nature took on another dimension and came to represent destructive forces. In chapter two, the anthology Groen by J. L. Marais, under discussion in this work, concluding the eighties, Man is called to task, i. e. to protect and nurture the balance in the ecology. Man is made aware of both the threat to and the conservation of nature. These binary forces are discussed with reference to two semantic devices, cohesion and coherence. As binding factors they provide a semantic light on the above themes. Verweerde aardbol by J. L. Marais, is approached along the same lines in chapter three. The specific themes used in this anthology, serve as a classification aid. The poet's concern about the transience of nature comes to the fore, and Marais himself states that the time has come for writers to be called up in service to the environment without being apologetic about it (Marais 1993: 32). A clear paradigm shift is visible from the infant years of Afrikaans poetry to the poetry of the eighties. The "green"-awareness which inflamed / inspired the community, plays an important role in the eighties and is reflected in Afrikaans poetry. The dynamic power of the ecological code as theme, still has many untapped areas which can be explored in further studies.
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Van, Heerden Erna. "Die konsep "Afrika" in die jonger Afrikaanse letterkunde." Thesis, 2014. http://hdl.handle.net/10210/9280.
Full text
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Basson, Coenraad Hendrik. "Aspekte van die Afrikaanse poësie van die tagtigerjare." Thesis, 1995. http://hdl.handle.net/10500/18067.
Full textAbstract:
Text in AfrikaansDie Afrikaanse poesie van die tagtigerjare toon 'n ryke verskeidenheid deurdat ouer digters soos Eybers, Breytenbach, Cussons, Stockenstrom en Ernst van Heerden voortdig en 'n groot aantal nuwelinge na vore tree. Hoewel die groep digters die grense van "generasie" ver oorskry, blyk dit dat hulle 'n baie li tererbewuste groep kunstenaars is wie se poesie verskeie gemeenskaplike trekke openbaar. Uit die groot verskeidenheid blyk dat sekere temas, soos pyn, aftakeling, dood, liefde, godsdiens asook sosio-kulturele en politieke aktualiteite steeds as die gewildste onderwerpe figureer. 'n Deel van die studie word daaraan gewy om aan te toon hoe hierdie temas in die jonger Afrikaanse poesie vergestalting vind. 'n Terna wat 'n besliste vernuwende aspek in die Afrikaanse poesie bring, is die homoerotiek. Die groter openheid oor homoseksualiteit gee aanleiding tot eksplisiete homoerotiese verse, veral by Joan Hambidge en Johann de Lange. As gevolg van die terroristiese bedrywighede en militere optrede aan die landsgrense gedurende die sewentiger- en tagtigerjare beleef die Afrikaanse literatuur die opkoms van die sogenaamde grensliteratuur as 'n vernuwende aspek van die tema van oorlog en geweld wat van die vorige dekade af oorspoel. Verder word aandag gegee aan die verskynsel van inter(-)tekstualiteit, wat weens die omvang daarvan in die kreatiewe en beskouende literatuur, perspektiefverandering in die Afrikaanse poesie teweegbring. 'n Verdere vernuwende aspek wat aangetoon word, is die wegbeweeg van die beoef ening van die loss er, vryer versvorm van die sestiger- en vroee sewentigerjare na 'n strenger vormbeheer en - dissipline. Die skryf van 'n meer tradisionele tipe poesie word by verskeie digters aangetoon. Die bydrae van tydskrifte en tydskrifverse tot die Afrikaanse poesie word ondersoek. Saam met die verskyning van talle bundels populere poesie, waar die klem veral op die volkskwatryn, sonnet en limerick val, speel die tydskrifte 'n besondere rol om Afrikaanse poesie vir 'n breer leserspubliek toeganklik te maak. Daar word tot die gevolgt~ekking gekom dat die digters van die tagtigerjare die "demokratisering" van die Afrikaanse letterkunde veel verder gevoer het en dat die reikwydte van Afrikaans daardeur uitgebrei is
The rich diversity of Afrikaans poetry of the eighties is displayed by the fact that many of the older poets, such as Eybers, Breytenbach, Cussons, Stockenstrom and Ernst van Heerden, have continued writing poetry, while a large number of newcomers have appeared on the scene. Although these poets far exceed the "generation" boundaries, they are evidently a very literary-aware group of artists, whose work has a number of traits in common. Certain themes, such as pain, decadence, death, love and religion, as well as socio-cultural and political realities, remain popular topics. Part of this study is to show how these themes are expressed in contemporary Afrikaans poetry. A decidedly new aspect of Afrikaans poetry is homo-eroticism. The more open approach to homosexuality gives rise to explicit homo-erotic poems, especially those of Joan Hambidge and Johann de Lange. As a result of terrorist activities and military action on our borders during the seventies and eighties, Afrikaans literature saw the beginning of the so-called border literature as a renewal of the war and violence theme, a relic from the previous decade. Inter(-)textuality is explored, which, due to its influence on creative and reviewing literature, has brought about a change in the perspective of Afrikaans poetry. A further renewal highlighted, is the moving away from the unstructured and freer verse form of the sixties and early 4 seventies to a stricter, controlled and disciplined form. The more traditional type of poetry written by various poets is discussed. The contribution by periodicals and poems in periodicals to Afrikaans poetry is explored. Together with the numerous volumes of popular poetry published, emphasizing the national quatrain, sonnets and limericks, periodicals play an important role in making Afrikaans poetry more accessible to a broader reading public. The conclusion is reached that the poets of the eighties promoted the "democratization" of Afrikaans literature, thereby extending its influence
Afrikaans & Theory of Literature
D. Litt. et Phil. (Afrikaans)
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Nkuna, Khulisile Judith. "Portrayal of women in SiSwati drama." Thesis, 2001. http://hdl.handle.net/10530/886.
Full textAbstract:
Submitted in partial fulfilment of the requirements for the Degree Master of Arts in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 2001.This study looks at the portrayal of women in siSwati drama. The main aim is to reveal how women are portrayed in siSwati drama. In real life women are usually portrayed negatively. This is due to cultural directives that reveal woman as inferior beings. This affects our young children who read books and perceive women as useless. A child reads and has the idea that a woman is unfaithful, useless, a pretender, and dependant and has no job opportunities. If a child is a boy he grows with a negative connotation that a woman has no power. This affects our young girls because they do not develop confidence. There is a belief that the place of a woman is at home where she is expected to do all the household jobs. Our culture too, perceives women as inferior, forgetting that there are women who are single and those who are breadwinners who maintain their homes. This study looks at the presentation of women characters in different siSwati drama books. It reveals the impact of Western culture and African culture to women. It is found that patriarch dominates over women. It also looks at the views of different people about the portrayal of women in siSwati culture.
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"中國現代戲劇建設過程中戲曲因素的消長." 1999. http://library.cuhk.edu.hk/record=b6073776.
Full textAbstract:
張秉權.論文(博士)--香港中文大學, 1999.
參考文獻 (p. i-xvi)
中英文摘要.
Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Zhang Bingquan.
Lun wen (bo shi)--Xianggang Zhong wen da xue, 1999.
Can kao wen xian (p. i-xvi)
Zhong Ying wen zhai yao.
47
Buchler, Louise Anne. "In-yer-face : the shocking Sarah Kane." Thesis, 2008. http://hdl.handle.net/10413/213.
Full textAbstract:
Playwright, Sarah Kane emerged as a new voice in British writing in the early 1990s. Her work, recognized most notably for its shocking content, was the source of media hype, and rendered her work, with that of her peers, as In-Yer-Face Theatre.
This dissertation analyses the use of shock in Kane‟s work, with particular reference to her first and last plays: Blasted and 4.48 Psychosis. I discuss the shock elements employed by Kane in these texts and consider the reasons behind their use, particularly Kane‟s break with realism and subversion of form.
My research draws upon social constructionist thought as a strand of the larger discourses of postmodernism, in particular those which inform the existence of war, violence and trauma. Focusing too, on the work of theatre practitioners such as Antonin Artaud, whose „Theatre of Cruelty‟ is reminiscent of Kane‟s own theatre.
I discuss the origin of In-Yer-Face Theatre as well as its forerunners by examining Post-War British Theatre from the 1940‟s, especially those plays that have resonated on a provocative level. My research also explores the social and political factors influencing theatre over the decades and in relation to Kane, particularly the Thatcher government of the 1980s. I argue that the social and political climate of the 1980s and 1990s played a direct role in the formation of Kane‟s theatre and examine Kane‟s work and its reception in relation to other playwrights of the time. I have deliberately chosen to locate my research in terms of British theatre.Thesis (M.A. (Drama and Performance Studies)) - University of KwaZulu-Natal, Pietermaritzburg, 2008.
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Lubbe, Hansie Jacoba. "Verskyningsvorme van die plaasroman in Afrikaans." Diss., 1999. http://hdl.handle.net/10500/17252.
Full textAbstract:
Summaries in Afrikaans and EnglishThe aim of this dissertation is to analyse those poems in which the image of the knife, el cuchillo, appears in the collection El rayo que no cesa, by Miguel Hernandez. The poet manifests his all-encompassing tragic view of life by means of this recurring negative symbol. The poetry of Miguel Hernandez is autobiographical: The universal themes of nature, love and death reveal a close link between the course of his life and the evolution of his poetry. El rayo que no cesa is central to the evolution of Hernandez's poetry: it is the product of the crisis of conscience that propelled the poet toward a radical change of world-view. The book reveals his frustration with love within the rigid norms of the society of his time. The poet expresses his bitterness by means of destructive images such as knife, sword, and ray/flash, images that project the tragic fate that threatened his entire existence.
Met eietydse denkrigtings oor die literere historiografie as uitgangspunt, word 'n deelgeskiedenis aangebied van die plaasroman as deurlopende en prominente genre in die Afrikaanse letterkunde oor 'n tydperk van nagenoeg sewentig jaar (1926 -1993). Ter inleiding word besin oor die geldigheid van kategorisering van romans en oor die aard van die plaasroman as eiesoortige genre. Orie opeenvolgende periodes word onderskei binne hierdie deelgeskiedenis op grond van bepaalde perspektiefverskuiwings wat in die Afrikaanse literere klimaat opvat. Hierdie periodes word deur die volgende noemers getipeer: Die Afrikaanse gedagte (1920-1940), Die internasionale gedagte (1956-1976) en Die Afrika gedagte (1976-1993). Twaalf plaasromans van literer-historiese betekenis word sinchronies, diachronies en binne ekstratekstuele konteks bespreek. Ten slotte word 'n oorsig gebied van die historiese gang sowel as die veranderende betekenis van die plaasroman in die Afrikaanse letterkunde.
Afrikaans and Theory of Literature
M.A. (Afrikaans)
49
Cloete, Henrietta. "Soziales Drama bei Gerhart Hauptmann." Thesis, 2012. http://hdl.handle.net/10210/6067.
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Landwehr, Selma Louise. "Die korrelasie tussen tematiek en prosodie in die poësie van Wilma Stockenstrom." Thesis, 2014. http://hdl.handle.net/10210/9480.
Full textAbstract:
M.A.Although critics have acknowledged the work of Wilma Stockenstrom and have responded favourably, and although she has received four awards and prizes for her poetry up to the publication of Monsterverse, no all-embracing study of her poetry has been undertaken. Many of the reviews and critical analyses have failed to give proper recognition to her first two volumes of poetry. Consequently the process of development in her work has been largely overlooked, and Monsterverse, although acclaimed, has been assessed as "problematic" and totally "foreign". This study therefore attempts to determine the tendencies which figure in Wilma Stockenstrom's poetry, and examines in particular the iconicity of thematics and prosody as it has developed throughout successive volumes. Most of the themes developed in the later volumes are introduced in her debut work, Vir die Bysiende Leser. Some of the themes explored in this volume, however, lose their significance in later volumes. Although the prosody is still somewhat uncertain in some of the poems, a few poems already suggest her unique and individualistic application of this aspect of style. In this early work it is already apparent that her real power lies in the writing of free verse. She exploits this verse form with rich variety throughout her four volumes. Vir die Bysiende Leser clearly functions as a unit. The intratextuality of the poems is a striking structural aspect of. this work. Unity is also emphasized in the following three volumes, but progressively more attention is given to intertextuality. Stockenstrom's work clearly links up with the intertextual tradition which N. P. van Wyk Louw's Tristia and D.J. Opperman's Komas uit n Bamboesstok have established in Afrikaans literature.