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Dissertations / Theses on the topic 'Xhosa drama – 20th century – History and criticism'

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Published: 4 June 2021

Last updated: 16 February 2022

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1

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

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2

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.<br>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 a

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3

Dokolwane, Kutala Primrose. "Characterization in selected Xhosa novels of the 90's." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52160.

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Thesis (MA)--University of Stellenbosch, 2001.<br>ENGLISH ABSTRACT: This study examines the portrayal of characters in four Xhosa novels of the 1990s. The objective is to found out whether or not characterization in the Xhosa novels of the 1990s improves. This is done with the view that past studies of characterization done before 1990 by Jafta (1978; 1996), Satyo (1978), Sirayi (1989) and Dlali (1992) gave the picture that a high percentage of writers portray characters as archetypes because of thematic concerns. This often renders characterization poor in the sense that the reader is a

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4

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

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5

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 disin

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6

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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7

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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8

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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9

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

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10

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 sho

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11

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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12

Macbeth, Georgia School of Theatre Film &amp 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 196

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13

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

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14

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

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15

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

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16

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 characte

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17

Zideba-Thomas, Cynthia Daniswa. "Normative value systems as portrayed by V.N.M. Swaartbooi and V. Magadla." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/650.

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This study will focus on norms and value systems as portrayed by two female Xhosa writers. The aim of this study is to show how normative value systems are represented by two female Xhosa female writers. It also aims to show the effects of these systems on women. The method of research will be based on survey of Xhosa literature focusing on the following two books, Inzol ‘enkundleni, by V. Magadla and UMandisa by V.N.M. Swaartbooi.

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18

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 arti

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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.

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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 f

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20

Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.

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21

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 rais

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22

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,

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23

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.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished

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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.<br>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 a

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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.<p>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'aid

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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.<br>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 "patri

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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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Nkuna, Khulisile Judith. "Portrayal of women in SiSwati drama." Thesis, 2001. http://hdl.handle.net/10530/886.

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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.<br>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

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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.

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張秉權.<br>論文(博士)--香港中文大學, 1999.<br>參考文獻 (p. i-xvi)<br>中英文摘要.<br>Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong.<br>Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.<br>Mode of access: World Wide Web.<br>Zhang Bingquan.<br>Lun wen (bo shi)--Xianggang Zhong wen da xue, 1999.<br>Can kao

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30

Buchler, Louise Anne. "In-yer-face : the shocking Sarah Kane." Thesis, 2008. http://hdl.handle.net/10413/213.

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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 constructionis

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31

Cloete, Henrietta. "Soziales Drama bei Gerhart Hauptmann." Thesis, 2012. http://hdl.handle.net/10210/6067.

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32

"Imagistic action: an interdisciplinary study of poetic tension in Yeats' theatre." 2000. http://library.cuhk.edu.hk/record=b5895814.

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by Wong Hing Yi.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2000.<br>Includes bibliographical references (leaves 131-137).<br>Abstracts in English and Chinese.<br>Introduction --- p.1<br>Chapter Chapter One --- "“The Last Romantic or the First Modern?"": in the light of the predecessors and contemporaries" --- p.7<br>Chapter Chapter Two --- "“More than Cool Reason"": a study of the poetic metaphor in Yeats's poems" --- p.29<br>Chapter Chapter Three --- """An illusion that should not be quite an illusion"": a study of the visual image in Yeats´ةs plays" --- p.51<br>Chapter Chapte

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33

Cairns, Glen. "Danceland: a production record." Thesis, 1996. http://hdl.handle.net/2429/4105.

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The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered duri

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Hedley, Jocelyn School of English Media &amp Performing Arts UNSW. "The unpublished plays of Miles Franklin." 2007. http://handle.unsw.edu.au/1959.4/40895.

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With the publication of her novel, My Brilliant Career, in 1901, Miles Franklin became the darling of the Sydney literati. Great things were expected of the little girl from the bush. But five years later, nothing had eventuated; her talent, Miles thought, was barely recognised in Australia. In the hope of gaining greater writing opportunities, she shipped to Chicago where she became involved in social reform. It was hard work and ill paid, and though she bewailed the fact that it sapped her writing energy, she nonetheless felt a commitment to the cause such that she remained for almost a deca

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Knowles, Adam Daniel. "Memories of England British identity and the rhetoric of decline in postwar British drama, 1956-1982 /." Thesis, 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116103.

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Hester, Jessica Lynn. "White trash fetish: representations of poor white southern women and constructions of class, gender, race and region, 1920-1941." Thesis, 2005. http://hdl.handle.net/2152/1565.

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Van, der Westhuizen Pieter Christoffel. "Parodie en pastiche in die (post)modernistiese drama/teater." Thesis, 1997. http://hdl.handle.net/10500/3432.

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Text in Afrikaans<br>The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts shoul

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Johnson, Amy R. "Stranger in the Room: Illuminating Female Identity Through Irish Drama." Thesis, 2007. http://hdl.handle.net/1805/918.

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Thesis (M.A.)--Indiana University, 2007.<br>Title from screen (viewed on May 23, 2007) Department of English, Indiana University-Purdue University Indianapolis (IUPUI) Includes vita. Includes bibliographical references (leaves 82-83)

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Van, der Westhuizen Pieter Christoffel. "Selfrefleksiwiteit in die (post)modernisitiese drama /teater." 1995. http://hdl.handle.net/10500/16292.

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Text in Afrikaans<br>Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die P

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"文藝與政治之間: 論洪深、田漢夏衍與中國現代戲劇的轉向 = Between literature and politics : a study of Hong Shen, Tian Han, Xia Yan and the transformation of modern Chinese drama". 2015. http://library.cuhk.edu.hk/record=b6115317.

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在中國現代文學中，文藝與政治之間有著密切而複雜的關係，此一問題在現代戲劇中尤其值得重視。過往戲劇研究長期位處邊緣，這與戲劇此一文類所獨具的綜合藝術特質不無關係，其橫跨文學、美術、音樂、表演等領域的跨藝術特徵，導致其複雜性實際上遠超純文學的範疇。另一方面，戲劇運動的集團性和政治性，亦導致論者對於中國現代戲劇發展較為簡單化的論述，戲劇史的書寫往往與時代話語緊密連繫。不論是純粹文藝化還是政治化的角度，皆很可能遮蔽了戲劇本身一體兩面的問題，導致研究單一化和簡單化。洪深 (1894-1955)、田漢 (1898-1968)和夏衍 (1900-1995)均是中國現代重要戲劇家，同時亦長期被定位為左翼文藝陣營中的重要成員。戲劇家和政治家的身分重疊，導致他們的研究情況往往與時代的意識形態掛鈎，而目前有關他們的研究更是受到冷落，與他們的文學成就並不相稱。本文以三位劇作家為研究對象，希望通過他們的不同面向，重新審視文藝與政治之間各種複雜關係的可能性。<br>本文分為五章。第一章為導論，主要介紹本文的寫作理念、方法和背景。第二章以洪深為研究對象，重新探討他的現實主義戲劇創作和主張。洪深對改譯劇的主張和實踐，體現了他與晚清鴛鴦蝴蝶派文學和西方戲劇的深刻淵源，而他和蕭伯納之間的文學關係，反映了他對早期文明戲的戲劇改革和西方舞台的繼承，突顯了洪深如何在中西文化之間思索中國現代戲劇中的現實主義問題。第三章從西方

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Welgemoed, Leana. "Verset in dramas deur Deon Opperman : Donkerland, Kruispad, Ons vir jou en Kaburu." Diss., 2013. http://hdl.handle.net/10500/13068.

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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 Afrikaner

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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.

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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 relationship

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Hills, Paul R. "Neural narratives and natives: cognitive attention schema theory and empathy in Avatar." Diss., 2020. http://hdl.handle.net/10500/26659.

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Text in English<br>This study offers a fine-grained analysis of James Cameron’s film, Avatar (2009), on several theoretical fronts to provide a view of the film from a cognitive cultural studies perspective. The insights gained from cognitive theory are used to situate the debate by indicating the value cognitive theories have in cultural criticism. The critical discourse analysis of Avatar that results is a vehicle for the central concern of this study, which is to understand the diverse, often contradictory, meaning-making exhibited by Avatar audiences. A focus on the construction of e

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Kruger, Johanna Alida. "The Actual versus the Fictional in Betrayal, The Real Thing and Closer." Thesis, 2014. http://hdl.handle.net/10500/18570.

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Text in English<br>Although initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these pl

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Krüger, Johanna Alida. "The Actual versus the Fictional in Betrayal, The Real Thing and Closer." Thesis, 2014. http://hdl.handle.net/10500/18570.

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Text in English<br>Although initially dismissed as superficial, Harold Pinter’s Betrayal, Tom Stoppard’s The Real Thing, and Patrick Marber’s Closer use the theme of marital betrayal as a trope to investigate metatheatrical and epistemological issues. This study aims to demonstrate how these three plays define and explore the concept of authenticity within the fictional as well as the actual world; how arbitrary the construction and mediation of the characters’ identities are, not only from their own perspective, but also from the audience’s; the significance of the audience’s role in these pl

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Oluwasuji, Olutoba Gboyega. "Re-imagining Ogun in selected Nigerian plays: a decolonial reading." Thesis, 2018. http://hdl.handle.net/10500/25490.

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Text in English<br>Through an in-depth analysis of selected texts, this study engages with the ways in which Ogun is reimagined by recent selected Nigerian playwrights. Early writers from this country, influenced by their modernist education, misrepresented Ogun by presenting only his so-called negative attributes. Contemporary writers are reconceptualising him; it is the task of this thesis to demonstrate how they are doing so from a decolonial perspective. These alleged attributes represent Ogun as a wicked, bloodthirsty, arrogant and hot tempered god who only kills and makes no positive con

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Watt, Diane Lilian. "The disintegration of a dream : a study of Sam Shephard's family trilogy, Curse of the starving class, Buried child and True west." Diss., 1995. http://hdl.handle.net/10500/17851.

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The family trilogy, Curse of the Starving Class, Buried Child and True West, presents Sam Shepard's strong bond with his culture and his people, illustrates an intense connection with the land, and reveals a deep longing for the traditions of the past, through the dramatisation of the betrayal of the American Dream. Although obviously part of the American tradition of family drama, Shepard never completely conforms, subverting the genre by debunking the traditional family in order to make a statement about the present disintegration of the bonds of family life and modern American soc

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