Dissertations / Theses on the topic 'American fiction – Themes, motives'

Ecocritical theology relates to American fiction as it connects nature and spirituality. In my development of the term “neo-pastoral” I begin with Virgil’s Eclogues to serve as examples for spiritual and nature related themes. Virgil’s characters in “The Dispossessed” represent people’s alienation from the land. Meliboeus must leave his homeland because the Roman government has reassigned it to their war veterans. As he leaves Meliboeus wonders why fate has rendered this judgment on him and yet has granted his friend Tityrus a reprieve. Typically, pastoral literature represents people’s longing to leave the city and return to the spiritual respite of the country. When Meliboeus begins his journey he does not travel toward a specific geographical location. Because the gods have forced him from his land and severed his spiritual connection to nature he travels into the unknown. This is the starting point from which I develop neo-pastoral threads in contemporary literature and discuss the alienation that people experience when they are no longer connected to a spirit of the land or genius loci. Neo-pastoralism relates Bakhtin’s idea of chronotope and the expansion of the narrative voice of the novel to include the time/space dialogic. Neo-pastoral fiction shows people in their quest to find spirituality in spite of damage from chemical catastrophic events and suggests they may turn to technology as an ideological base to replace religion. The (anti) heroes of this genre often feel no connection with Judeo-Christian canon yet they do not consider other models of spirituality. Through catastrophes related to the atomic bomb, nuclear waste accidents, and the realization of how chemical pollutants affect the atmosphere, neo-pastoral literature explores the idea of apocalypticism in the event of mass annihilation and the need for canonical reformation. The novels explored in this dissertation are John Updike’s Rabbit, Run; Thomas Pynchon’s The Crying of Lot 49; Bernard Malamud’s The Fixer; Don DeLillo’s White Noise; Leslie Marmon Silko’s Almanac of the Dead; Toni Morrison’s Paradise; and Cormac McCarthy’s The Road.

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.<p><p>Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. <p><p>The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. <p><p>On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?<p>------<p><p>Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. <p><p>Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.<p><p>Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. <p><p>Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .<p><p>En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? <p><br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

Magister Artium - MA<br>This mini-thesis makes an argument for the significance of a female-dominated hidden tradition of experimental ethnographic writing in British social anthropology. It argues that the women anthropologists who experimented with creative forms of ethnography were doubly marginalised: first as women in an androcentric male canon in British social anthropology and American cultural anthropology, and second as creative writers whose work has been consistently undervalued in sombre scholarly circles. The study proposes that Hilda Beemer Kuper (1911-1995) and Edith Turner (1921-2016) should be regarded as significant in a still unexcavated literary tradition or subgenre with Anglo-American anthropology. It showcases the narrative craft of Kuper through a detailed textual analysis of her two most accomplished experimental ethnographies A Witch in My Heart (written in 1954, performed in 1955, and published in siSwati in 1962 and English in London in 1970) and A Bite of Hunger (written in 1958 and published in America in 1965). I highlight Kuper‟s multiple literary techniques in evoking of the fraught position of young Swazi co-wives, modern women and women accused of witchcraft in a patriarchal culture with particular attention to her gifts in creating dramatic plots, complex characters and dialogue rich in vernacular metaphor and proverbs. It then celebrates the even more experimental creative writing of Edith Turner. While Turner has sometimes been acknowledged for her hidden contributions to the co-production of her deeply loved and more famous husband Victor, she has not been given her due as an experimental ethnographer, also placing the experiences of African women centre-stage. In what she overtly advertised as “female literary style”, Turner‟s belatedly published 1987 novel The Spirit and the Drum. A Memoir of Africa is analysed with meticulous attention to the literary techniques by which she seeks to explore an anthropology of experience and empathy. These accomplished but under-acknowledged women creative writers sought to explore what they both explicitly conceived of as gestures of humanist cross-cultural engagement.

This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual.<br>Department of Art

Joseph Cornell (1903-1972) est un artiste américain très connu dans son pays mais peu étudié en Europe. Le catalogue raisonné de son œuvre n'est toujours pas établi à ce jour. <p><p>Tout au long de sa vie, ses sources d'inspiration sont intimement liées à la femme. Cette thèse souhaite aller plus loin que les études existantes: d'une part en envisageant la femme dans tous ses rôles (danseuse, diva, écrivaine, amie, starlette,) et d'autre part, en étudiant la série qui lui est consacrée. Ce regard minutieux sur les variations au sein d'une série est l'un des points forts et totalement inédits de cette thèse. Il permet d’observer le renouvellement de l’obsession et le goût pour la collection, au sens où Baudrillard l’entend.<p><p>En première partie, l'angle d'approche consiste à observer, les stratégies de l'artiste qui tente de s'approprier la femme par la mise en boîte, en bouteille, en dossier, <p><p>En deuxième partie, nous observerons la manière dont il installe une distance qui permet à la muse de rester inaccessible – au sens romantique voire nervalien du terme. La distance peut-être d'ordre surnaturel: la femme prend alors les traits d'une fée ou d'une sylphide ;temporelle (la muse est imaginée enfant) ;spatiale (la muse prend vie sous forme de constellation). Autre stratégie d'évocation: "le portrait sans visage" où le corps de la muse est totalement absent, seul « un objet symbolique) fait référence à la femme désignée. Il peut s’agir d’une chambre ou d’une lampe de mineur pour évoquer Emily Dickinson ou une poupée pour évoquer La Belle au Bois dormant. Vers la fin des années cinquante, Cornell réalise des « boîtes-mémoriaux » en hommage à des jeunes trop tôt disparues. <p><p>La troisième partie tente d’étudier comment Cornell « transcende » l’idée de mort. <p><p>Enfin, en quatrième partie, nous dresserons un bref inventaire des collages des années soixante ayant comme thème central le nu féminin. Cornell quittant un matériel « nostalgique » afin de « charge d’innocence » des images qu’il considère comme érotiques.<p> <p><p>Cette étude s'appuie, entre autres, sur une vingtaine d'œuvres analysées qui n'ont jamais été publiées, une trentaine d'autres qui n'ont jamais été commentées. Plus d'un tiers des œuvres choisies bénéficient d'une recherche de sources totalement inédites, se voyant ainsi placée sous un nouveau regard interprétatif. Et enfin, les œuvres sont mises en rapport avec les sources littéraires qui les ont nourries (Aurélia de Gérard de Nerval, Le Portrait de Jennie, la poésie d’Emily Dickinson, la biographie de Marilyn Monroe ou les écrits de Mary Eddy Baker, …). <p><br>Doctorat en Histoire, art et archéologie<br>info:eu-repo/semantics/nonPublished

Notre thèse a pour enjeu la poétique de la distance dans les fictions de dix écrivains français et francophones de la seconde génération de la guerre d'Algérie (1954-1962), c'est à dire à distance de cet événement. Leurs fictions, publiées entre 1987 et 2010, interrogent la transmission et la filiation.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

This thesis is a study of the treatment of mental disability in Canadian literature. Literature reflects the perceptions and practises of the culture of which it is a part. Radical changes have been made in recent years in the thinking about persons with mental handicaps. The issue of whether the changes are reflected in literature prompted the writing of this thesis. Little is known about characters labelled as mentally disabled in non-didactic, Canadian Literature. They are not commonly discussed in the academic journals of Canadian Literature and Education. The purpose of this thesis was to get to know ten of the above characters. The following questions were drawn from issues in the academic literature regarding mental disability. All seven questions were applied to each character in turn. (1) Label? (2) Personal relationships? (3) Thoughts and feelings? (4) Choices? (5) Daily activity? (6) Relationship with service providers? (7) Personal assets and abilities? Short story characters: Benny Parry, "The Time of Death," Munro, 1968; Dolores Boyle, "Dance of the Happy Shades," Munro, 1968; Kelvin, "Circle of Prayer," Munro, 1986; Neddy Baker, "Hello Cheeverland, Goodbye," Findley, 1984; Stella Bragg, "Bragg and Minna," Findley, 1988. Characters from novels: Francis Cornish, "What's Bred in the Bone," Davies, 1985; John-Gustav Skandl, "What the Crow Said," Kroetsch, 1978; Lotte, "Not Wanted on the Voyage," Findley, 1984; Rowena Ross, "The Wars," Findley, 1977; Tehmul Lungraa, "Such a Long Journey," Mistry, 1991. Findings indicated that Canadian literature is not yet reflecting the new movement to develop full personhood. Most characters were limited in the choices they made. A variety of labels were used. Little was said about what the characters think or feel. No characters were married, had children, or a job. Most of the characters had a personal relationship with another character.

Bibliography: leaves 215-230<br>This thesis uses a postcolonial framework to analyse the construction and representation of identities of Shona women in selected black and white Zimbabwean-authored fiction in English published between 1890 and 2015. The study traces meanings associated with Shona women’s identities as ascribed by dominant powers in every epoch to create narratives that reflect the power dynamics. The thesis argues that identities are complex, characterized by various intersections such as race, gender, class and ethnicity. Shona women have to negotiate their identities in various circumstances resulting in shifting multiple identities. The thesis focuses on how such identities are represented in the selected texts. Findings reveal that the colonial project sought to write the Shona women out of existence, and when they appeared negative images of dirt, slothfulness and immorality were ascribed to them. These images continued after independence to justify male dominance of women. However, the lived experience of women shows they have agency and tend to shift identities in relation to specific circumstances. Shona women’s identities are dynamic and multifarious as they aim at relevance in their socioeconomic and political circumstances. Representations of Shona women’s identities are therefore influenced by the aim of the one representing them. All representations are therefore arbitrary and must be interrogated in order to deconstruct meaning and understand the power dynamics at play. The works analysed are Olive Schreiner’s Trooper Peter Halket of Mashonaland (1897), Doris Lessing’s The Grass is Singing (1950), Yvonne Vera’s Nehanda (1993), Cythia Marangwanda’s Shards (2014), Valerie Tagwira’s The Uncertainty of Hope (2006), Violet Masilo’s The African Tea Cosy (2010), Eric Harrison’s Jambanja (2006), Dangarembgwa’s The Book of Not (2006), Christopher Mlalazi’s Running with Mother (2012) and Brian Chikwava’s Harare North (2009).<br>English Studies<br>D. Litt. et Phil. (English)

Includes bibliographical references (leaves 123-127)<br>This dissertation examines how three dystopian texts, namely Aldous Huxley’s Brave New World, Jasper Fforde’s Shades of Grey and Veronica Roth’s Divergent trilogy, exhibit social conformity as a disciplinary mechanism of the ‘carceral’ – a notion introduced by poststructuralist thinker Michel Foucault. Employing poststructuralist discourse and deconstructive theory as a theoretical framework, the study investigates how each novel establishes its world as a successful carceral city that incorporates most, if not all, the elements of the incarceration system that Foucault highlights in Discipline and Punish. It establishes that the societies of the texts present potentially nightmarish future societies in which social and political “improvements” result in a seemingly better world, yet some essential part of human existence has been sacrificed. This study of these fictional worlds reflects on the carceral nature of modern society and highlights the problematic nature of the social and political practices to which individuals are expected to conform. Finally, in line with Foucault, it postulates that individuals need not be enclosed behind prison walls to be imprisoned; the very nature of our social systems imposes the restrictive power that incarcerates societies<br>English Studies<br>M.A. (English Studies)

This study focuses on the investigation and deconstruction of the phenomena of the South African dystopian society, as reflected in the novels of Lauren Beukes and films by Neill Blomkamp. The characteristics and signifiers of a uniquely South African dystopian society are established and investigated through a posthuman lens. The theoretical framework of this study is principally concerned with the critical posthuman writings of Rosi Braidotti, Donna Haraway and, to a lesser extent, Cary Wolfe. Feminism and post-colonialism, and their influences on posthuman theory, are applied as the secondary theoretical framework, in this study. The study is practice led, with the study of the literature serving as mutually informative to the execution of a body of work centred on the dystopian theme. The paintings are intended to be metonyms for the wide range of manifestations of social decline evident in contemporary South African narratives.<br>Arts and Music<br>M.A. (Visual Arts)

Bibliography: leaves105-117<br>Summaries followed the Bibliography<br>The study investigates the abuse of husbands’ property by widows in the two selected isiZulu novels Ifa ngukufa and Ifa lenkululeko, which is found to have a huge impact on children and family members. The study presents the causes of the abuse of husbands’ property, the course of action of abusing husbands’ property and the consequences thereof. The content analytical approach has been used to analyse the two novels. The analysis reveals that some of the causes of the abuse of husbands’ property by widows are the widows’ carelessness, weakness, lack of respect, stress and laziness. In both literary texts, widows abuse their husbands’ property with their new lovers. As persons living in modern times, they do not respect the African cultural practices. They refuse to wear mourning clothes for their late husbands, as required by the African culture. Instead, they find new lovers within a few days of their husbands’ death, and invite them to stay in their husbands’ houses. The study highlights how easily some people, including widows, can be influenced by other peoples’ cultures. They do not respect their parents, children and the in-laws; and do not pay attention to the wellbeing of their children. When the money is depleted, the new lovers go back to their families. The study further reveals that, after the departure of the new lovers, the widows realise that they (new lovers) were not in love with them, but were after their properties. The presence of the new lovers in the widows’ lives has a negative effect on family members. Consequently, the relationship between the widows and the in-laws, parents and children suffers. The investigation is concluded by presenting recommendations that will help widows to avoid tricksters from robbing them of their property. The study is of great value to children who become the victims of circumstance.<br>Ucwaningo luphenya ngokuhlukunyezwa kwempahla yabayeni ngabafelokazi kumanoveli amabili akhethiwe esiZulu ethi Ifa ngukufa nethi Ifa lenkululeko, okutholakala ukuthi kunomthelela omkhulu ezinganeni nakumalungu omndeni. Ucwaningo luveza izimbangela zokuhlukunyezwa kwempahla yabayeni, isenzo sokwenza kabi impahla yabayeni nemiphumela yakhona. Indlela yokuhlaziya okuqukethwe isetshenziselwe ukuhlaziya lamanoveli amabili. Ukuhlaziywa kuveza ukuthi ezinye zezimbangela zokuhlukunyezwa kwempahla yabayeni ngabafelokazi ukunganaki kwabafelokazi, ubuthakathaka, ukungabi nenhlonipho, ingcindezi nobuvila. Kuyo yomibili imibhalo ebhaliwe, abafelokazi bahlukumeza impahla yabayeni babo namashende abo amasha. Njengabantu abaphila ezikhathini zanamuhla, abayihloniphi imikhuba yamasiko ase-Afrika. Bayenqaba ukugqoka izingubo zokuzila zabayeni babo abangasekho, njengoba kudingeka ngokwesiko lase-Afrika. Esikhundleni salokho, bathola amashende amasha ezinsukwini ezimbalwa ngemuva nje kokushona kwabayeni babo, futhi bagcine behlala nabo ezindlini zabayeni babo. Ucwaningo luqhakambisa ukuthi kulula kanjani ukuthi abanye abantu, kufaka phakathi nabafelokazi, bathonywe ngamasiko abanye abantu. Abahloniphi abazali babo, izingane kanye nabasemzini lapho bendele khona; futhi abanaki ngisho nenhlalakahle yezingane zabo. Lapho imali isiphelile, amashende abo amasha abuyela emindenini yabo. Ucwaningo luqhubeka ngokuveza ukuthi, ngemuva kokuhamba kwamashende abo amasha, abafelokazi bayabona ukuthi wona (amashende amasha) abengabathandi, kepha babelandela impahla yabo. Ukuba khona kwamashende amasha ezimpilweni zabafelokazi kunomthelela omubi kumalungu omndeni. Ngenxa yalokho, ubudlelwano phakathi kwabafelokazi nabasemzini, abazali nezingane buyaphazamiseka. Uphenyo luphethwa ngokwethula izincomo ezizosiza abafelokazi ukuthi bagweme abakhohlisi ekubaphuceni impahla yabo. Ucwaningo lubaluleke kakhulu ezinganeni eziba yizisulu zalezi zezimo.<br>Phuputso e batlisisa tshebediso e mpe ya thepa ya banna ke bahlolohadi dibukeng tse pedi tsa dipale tse kgethilweng tsa Sezulu Ifa ngukufa le Ifa lenkululeko, e eleng taba e fumanwang e na le tshusumetso e kgolo ho bana le ditho tsa malapa. Phuputso e hlahisa disosa tsa tshebediso e mpe ya thepa ya banna, mokgwa wa ho sebedisa ka tsela e mpe thepa ya banna le ditlamorao tsa teng. Mokgwa wa katamelo ya manollo ya dikateng o sebedisitswe ho manolla dipale tse pedi. Manollo e senola hore tse ding tsa disosa tsa tshebediso e mpe ya thepa ya banna ke bahlolohadi ke ho se tsotelle, bofokodi, ho hloka tlhompho, kgatello ya maikutlo le botswa. Ditemaneng tsa bongodi ka bobedi, bahlolohadi ba hlekefetsa thepa ya banna ba bona le baratuwa ba bona ba batjha. Jwalo ka batho ba phelang mehleng ya kajeno, ha ba hlomphe ditlwaelo tsa setso sa Maafrika. Ba hana ho apara diaparo tsa bofifi bakeng sa banna ba bona ba seng ba hlokahetse, jwalo ka ha moetlo wa Maafrika o hloka hore ho be jwalo. Ho ena le moo, ba fumana baratuwa ba batjha matsatsi a mmalwa kamora lefu la banna ba bona, ebe ba ba memela ho dula ka matlung a banna ba bona. Phuputso e bontsha hore na batho ba bang, ho kenyeletswa le bahlolohadi, ba ka susumetswa habonolo jwang ke ditso tsa batho ba bang. Ha ba hlomphe batswadi ba bona, bana le ba bohading; mme ha ba tsotelle boiketlo ba bana ba bona. Ha tjhelete e fedile, baratuwa ba batjha ba kgutlela malapeng a bona. Phuputso e tswela pele ho senola hore, kamora hore baratuwa ba batjha ba tsamaye, bahlolohadi ba hlokomela hore (baratuwa ba batjha) ba ne ba sa ba rate, empa ba ne ba le kamora thepa ya bona. Boteng ba baratuwa ba batjha bophelong ba bahlolohadi bo na le phello e mpe ho ditho tsa lelapa. Ka hona, kamano dipakeng tsa bahlolohadi le ba bohading, batswadi le bana e ya senyeha. Phuputso e phethelwa ka ho hlahisa dikgothaletso tse tla thusa bahlolohadi ho qoba hore baqhekelli ba ba utswetse thepa ya bona. Phuputso ena e bohlokwa haholo ho bana ba fetohang diphofu tsa maemo a tjena.<br>African Languages<br>M.A. (African Languages)

Text in Afrikaans<br>In die verhandeling word die vergestalting van die sprokiemotief in die tekste, Griet skryf 'n sprokie deur Marita van der Vyver (1992) en Weerkaatsings - 'n sprokie deur Eleanor Baker (1984) nagegaan. Die doel is om vas te stel op watter wyse hierdie "kindgerigte" genre op die literere vlak van die volwasse leser omvorm word. Om hierdie doel te bereik word eerstens 'n begripsverkenning van die sprokie as epiese genre gedoen. In die verkenning van die genre val die soeklig nie net op die Westerse sprokie nie, maar daar word ook gefokus op die inheemse SuidAfrikaanse sprokie. Tweedens word aan die hand van hierdie teoretiese raamwerk 'n noukeurige analise gemaak van die vergestalting van die sprokiemotief binne die twee primere tekste. Die sprokieselemente in Griet skryf 'n sprokie en Weerkaatsings - 'n sprokie word uitgelig en die hantering daarvan vergelykend ondersoek<br>In the dissertation the manifestation of the fairytale motif in the texts, Griet skryf 'n sprokie by Marita van der Vyver (1992), and Weerkaatsings 'n sprokie by Eleanor Baker (1984) is investigated. The purpose is to ascertain the manner in which this "child-centred" genre is transformed on the literary level of the adult reader. To achieve this goal, a conceptualization of the fairytale as an epic genre is firstly undertaken. In the exploration of the genre, the search light does not only focus on the Western but also on the indigenous South African fairytale. Secondly, by means of this theoretical framework, a detailed analysis is made of the manifestation of the fairytale motif in the two primary texts. The elements of the fairytale in Griet skryf 'n sprokie and Weerkaatsings - 'n sprokie are highlighted and the handling thereof comparatively investigated<br>Afrikaans & Theory of Literature<br>M.A. (Afrikaans)

The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones.<br>Afrikaans & Theory of Literature<br>M.A. (Theory of Literature)

Text in Afrikaans<br>In hierdie studie word die verbandhoudende teoretiese begrippe van trans-liggaamlikheid, kriptosoölogie en dieresiele ondersoek met verwysing na drie magies-realistiese Afrikaanse romans, naamlik Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) en Dwaalpoort (Alexander Strachan, 2010). Die gewaande dualisme tussen kultuur en natuur word in die tekste bevraagteken en vrye interaksie tussen biologiese, klimatologiese, ekonomiese en politieke magte vind plaas in die onderskeie romanruimtes. Die toenemende druk op die omgewing word uitgebeeld en in hierdie opsig sluit die romans aan by ʼn eietydse tendens in die (Afrikaanse) letterkunde waar die klem op ekologiese kwessies val. Hierdie drie kontemporêre romans reflekteer voorts die komplekse interaksie tussen menslike en niemenslike diere en kan beskou word as dierenarratiewe (met ’n mitiese onderbou) waar tradisionele beskouings oor diere in die samelewing deurentyd ondermyn word.<br>In this research report, related theoretical concepts such as transcorporeality, cryptozoology and animal souls will be explored with reference to the magic-realistic Afrikaans novels Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) and Dwaalpoort (Alexander Strachan, 2010). The perceived dualism of nature versus culture is undermined in the respective novels and the environment is exposed as a space where the interaction between biological, climatological, economical and political forces takes place freely. The novels portray the increasing demands on the environment and in this respect these texts become representative of a current trend in (Afrikaans) literature to reflect ecological issues. The three contemporary novels further reflect the complex interaction between human and nonhuman animals and can be described as animal narratives (underpinned by myths) where traditional perspectives on animals in society are constantly subverted.<br>Afrikaans and Theory of Literature<br>M.A. (Afrikaans)

Indiana University-Purdue University Indianapolis (IUPUI)<br>In this study, Janis Edwards and Carol Winkler’s method, based on Michael McGee’s ideograph, is applied to non-discursive forms in order to understand the extent to which these images can be understood as a representative form functioning ideographically. Artifacts for analysis include the 2008 Shepard Fairey Obama “PROGRESS” and “HOPE” images, related campaign graphics, and parodies, political and non-political, humorous and serious. Literature on visual rhetoric, the ideograph, and extensions of McGee’s ideograph to visual forms was reviewed. When the method was applied to the artifacts, the Obama “HOPE” image was found to be an example of a representative form. Additionally, the representative form was demonstrated to function ideographically in the parodied examples analyzed in this thesis. Opportunities for further study on the visual ideograph and additional artifacts were proposed.

Text in German with summaries in German and English<br>Includes bibliographical references (leaves 350-377)<br>Die Doktorarbeit hat die Absicht herauszufinden, was Jonathan Edwards unter dem Begriff „Sündenerkenntnis“ verstanden hat und dabei die Frage nach der Bedeutung dieses Verständnisses für die Erweckungsbewegung zu beantworten. Während Jonathan Edwardsʼ Theologie und Philosophie im Allgemeinen gut erforscht ist, wurde dieser Aspekt noch nicht genauer untersucht. Zunächst wird auf der Grundlage einer chronologischen Einordnung seiner Werke Jonathan Edwardsʼ Verständnis von Sündenerkenntnis aus seinen wichtigsten Schriften erarbeitet, wobei eine Entwicklung in seinem Gedankengut deutlich wird (Qualitative Inhaltsanalyse). In einem zweiten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis mit der Theologie seiner Vorläufer, Zeitgenossen sowie Nachfolger und Gegner verglichen, wobei sich die Untersuchung auf die Bewegung des Puritanismus, die Epochen des „Great Awakening“ und des „Second Great Awakening“ beschränkt (Diachronischer Vergleich). In einem dritten Teil wird Jonathan Edwardsʼ Verständnis von Sündenerkenntnis systematischtheologisch und theologiegeschichtlich eingeordnet. Mit dieser Studie soll ein weiterer deutscher Beitrag zur internationalen Jonathan Edwards-Forschung geleistet werden. Der Ansatz dieser Forschung ist dabei historisch ausgerichtet, da er den systematisch-theologischen Begriff „Sündenerkenntnis“ auf der Grundlage der Biografie Edwardsʼ und einer chronologischen Einordnung seiner Werke zu ermitteln sucht, um ihn dann in einem diachronischen Vergleich mit Verständnissen aus verschiedenen zeitlichen Epochen zu vergleichen und so den Begriff „Sündenerkenntnis“ in einem theologiegeschichtlichen Kontext einordnet und versteht.<br>The thesis tries to answer the question, how Jonathan Edwards understood the term “conviction of sin”. The intention is to find out the significance of his understanding of this term for the revivalmovement of his time. While numerous studies have been done on his theology and philosophy, this aspect has not been thoroughly examined yet. Based on a chronological assessment of his works Jonathan Edwardsʼ understanding of conviction of sin is established from his major works (qualitative content analysis). This reveals a development in his thought-system. In a second part Jonathan Edwardsʼ understanding of conviction of sin is compared with the theology of his predecessors, contemporaries and opponents. This examination is limited to the time of the Puritans, the “Great Awakening” and the “Second Great Awakening” (diachronic comparative analysis). In a third part Jonathan Edwardsʼ understanding of conviction of sin is assessed in a systematictheological way and classified historically. The author intends to make another German contribution to international Jonathan Edwards Studies. This research is historically focused, because of the fact, that the term “conviction of sin” is analysed by means of the biography of Edwards and a chronological classification of his works to compare it with meanings of different historical epoches and classify it in its theological historical context by that approach.<br>Christian Spirituality, Church History and Missiology<br>D. Th. (Church history)