The purpose of this document is to explore the domain by which architecture can be interpreted through symbolism and emotional allegory. It deals with the notion that a building can become a vocabulary of historical references, and the product of many cultures through epochs of history, alien to one another but come together by manipulating elements within the architecture. / Dissertation (MArch (Prof))--University of Pretoria, 2004. / Architecture / unrestricted

Though the Nigerian-Biafran War has been the subject of numerous literary and other artistic representations in the four decades since its conclusion, Nigerian author Chimamanda Ngozi Adichie’s 2006 novel Half of a Yellow Sun has recently received tremendous international attention for its treatment of the 1967-1970 conflict. Contrary to the assertions of many critics, the novel’s complex representation of the war functions as much more than a setting for a series of family dramas at the foreground. Providing a counterargument to such readings, which emphasize the personal over the political in Half of a Yellow Sun, this paper will propose and trace a political allegory legible within the characters’ personal relationships and historical circumstances. Specifically, I will argue that the relationship between two protagonists, the twins Olanna and Kainene, aligns with the relationship between (Northern) Nigeria and the Eastern Nigeria, known as Biafra between 1967 and 1970, during its attempt to secede. In the way that Kainene grows emotionally distant from Olanna, eventually stops speaking to her, and suddenly disappears, so Eastern Nigeria increasingly clashed with Northern Nigeria during the early 1960s, seceded as the Republic of Biafra in 1967, and eventually “disappeared” at the end of the war in 1970, as it was absorbed back into Nigeria. Rather than indicating a sense of finality, however, Adichie’s text refuses closure in ways that ultimately suggest an alternative both to the notion that the novel has an apolitical, purely tragic ending, and to dominant narratives about the Biafran secession’s “inevitable” failure. This reading thus intervenes in critical conversations about Half of a Yellow Sun, the Biafran state, and secession and self-determination throughout Africa. If Kainene’s disappearance does not only testify to the tragedies of war, and if her character allegorically corresponds to Biafra, then what political possibilities might her disappearance allow? Does Biafra—and in turn, the possibility of secession—remain at large too? Far from the prevalent scholarly and political rhetoric that relegates Biafra to a narrow three-year time frame, Adichie’s novel conceives of a Biafran existence beyond the pages of some finalized history. / text

Abstract The aim of this research paper is to investigate the allegorical and national qualities present within South African post-apartheid cinema. Through the production of a satirical short film, an analysis of key texts by Frederic Jameson and Aijaz Ahmad, as well as a comparative breakdown of French and Australian national cinema, these topics will be explored and unpacked. The South African film environment establishes itself as one dominated by internationally produced films and one that utilises indigenous cultural aspects in order to compete against this dominance. This study identifies the specific techniques employed by South African filmmakers and highlights the successes and pitfalls of doing so. By examining the film careers of Darrell Roodt and producer Anant Singh, this paper identifies South African cinema as one with a focus on international goals, aspirations and audiences, while it neglects its own local audience and development. This research then proposes ways in which to resolve this problem by drawing on examples from other national cinemas.

This dissertation analyzes the legacy of Protestant allegory in eighteenth-century fictions. In doing so, the dissertation shows that personifications and allegorically inflected characters became increasingly opaque and vulnerable to charges of impersonation as the novel developed in the early and middle eighteenth century. I attribute the distortion of allegorical representation to the conflicting yet intermeshed interpretive frameworks that allegory and the novel demand of their readers. For evidence, I primarily analyze John Bunyan’s The Pilgrim Progress, Jonathan Swift’s A Tale of a Tub, Samuel Richardson’s Pamela, and Henry Fielding’s Jonathan Wild.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Stories about aborigines in a settler society, especially stories about aboriginal maidens and settler men, tend to become national allegories. Initially, the aboriginal maiden is a figure for colonial landscapes and resources, while later, in her conversion in fact or fiction from aboriginal to settler, she helps build national identity. Yet after being romanced, the aboriginal maiden’s fate is to disappear from settler consciousness, because she is displaced by the national settler mother or because the settler loses interest in her, only to return in abjection to haunt the settler conscience. In her return as a prostitute, a commodified bride or a ghost, she disturbs the discourse of ‘national domestication’, the notion of nation as family. Though she returns in abjection, an Amazonian association tends to linger in the person of the aboriginal maiden, an association that suggests the kind of self-empowerment on which a healthy liberal society depends. In other words, the figure of the aboriginal maiden tends to be used in the construction, the contestation, and potentially the reconstruction of national identity in a settler society. While I discuss examples from settler societies around the world, particularly the story of Pocahontas, and try to contribute to ‘settler colonial discourse studies’, I focus on postwar Taiwan. This dissertation proposes the notions of the ‘settler society’ and the Habermasian public sphere as ‘frames’ for the study of Taiwanese literature. I show how the Formosan aboriginal maiden has been appropriated for the construction and critique of both Chinese and Taiwanese nationalisms. I argue that while nationalism is partly about social control and the advancement of particular interests, writers who have romanced the Formosan aborigine have been implicitly participating in a debate about national domestication, the telos of which is the democratic imagination of a good society, one in which the Formosan aborigines will feel in some sense ‘at home’, though perhaps not as members of the ‘national family’. Finally, under the rubric of ‘alternative aboriginal modernities’, I discuss stories that reread the romance of the Formosan aborigine by aboriginal writers who have entered the national debate.

Stories about aborigines in a settler society, especially stories about aboriginal maidens and settler men, tend to become national allegories. Initially, the aboriginal maiden is a figure for colonial landscapes and resources, while later, in her conversion in fact or fiction from aboriginal to settler, she helps build national identity. Yet after being romanced, the aboriginal maiden’s fate is to disappear from settler consciousness, because she is displaced by the national settler mother or because the settler loses interest in her, only to return in abjection to haunt the settler conscience. In her return as a prostitute, a commodified bride or a ghost, she disturbs the discourse of ‘national domestication’, the notion of nation as family. Though she returns in abjection, an Amazonian association tends to linger in the person of the aboriginal maiden, an association that suggests the kind of self-empowerment on which a healthy liberal society depends. In other words, the figure of the aboriginal maiden tends to be used in the construction, the contestation, and potentially the reconstruction of national identity in a settler society. While I discuss examples from settler societies around the world, particularly the story of Pocahontas, and try to contribute to ‘settler colonial discourse studies’, I focus on postwar Taiwan. This dissertation proposes the notions of the ‘settler society’ and the Habermasian public sphere as ‘frames’ for the study of Taiwanese literature. I show how the Formosan aboriginal maiden has been appropriated for the construction and critique of both Chinese and Taiwanese nationalisms. I argue that while nationalism is partly about social control and the advancement of particular interests, writers who have romanced the Formosan aborigine have been implicitly participating in a debate about national domestication, the telos of which is the democratic imagination of a good society, one in which the Formosan aborigines will feel in some sense ‘at home’, though perhaps not as members of the ‘national family’. Finally, under the rubric of ‘alternative aboriginal modernities’, I discuss stories that reread the romance of the Formosan aborigine by aboriginal writers who have entered the national debate.

<p>The central portion of Paul's letter to the Galatians consists of three main arguments, each of which invokes a different image of Abrahamic descent: sons (3:7) in 3:6-14, seed (3:16, 29) in 3:15-4:11, and children of promise (4:28) in 4:21-5:1. Current interpretations of these Abrahamic appeals typically portray them as logically problematical, collectively inconsistent, and/or generally unpersuasive, a situation that then leads most scholars to identify them as <italic>ad hoc</italic> responses to the Galatian agitators. This inability to find a coherent model of Abrahamic descent in Galatians, however, threatens to undermine the very gospel itself by suggesting that it cannot effectively counter a Judaizing call that derives from a simple appeal to Abraham.</p> <p>This dissertation argues that Paul does indeed present the Galatians with a coherent account of Abrahamic descent that accords with his persuasive intent of refuting a law-based circumcision. Its key insight lies in the suggestion that Paul understands the Abrahamic <italic>diatheke</italic> in 3:15-18 as akin to a Hellenistic adoptive testament. As a result, the promised Abrahamic seed must be both a son of Abraham and, because of Abraham's divine adoption through the <italic>diatheke</italic>, a son of God, hence Paul's identification of Christ as Abraham's sole seed (3:16).</p> <p>This twofold nature of the Abrahamic seed then suggests a distinction in Paul's other terms for Abrahamic descent. The dissertation accordingly contends that "sons of Abraham" in 3:7 designates, as it typically did in the mid-first century C.E., the Jews, i.e., those physical descendants of Abraham who also share his faith. In contrast, "children of promise" in 4:28 designates gentiles who have through faith received the Abrahamic blessing, i.e., the Spirit of sonship that makes them children of God. Each group thus requires incorporation into Christ to establish their status as Abrahamic seed: the Jews so that they might share in the gentiles' divine sonship, the gentiles so that they might share in the Jews' Abrahamic sonship. This interdependent union of the Jewish sons of Abraham and the gentile sons of God in Christ then constitutes the single divine Abrahamic seed who inherits (3:29). </p> <p>Paul employs this model to refute the necessity of law observance as follows. In 3:6-14, he argues that Christ's accursed death on the cross divides faith from law observance as a means of justification for Jews; the full sons of Abraham accordingly become those Jews who, by dying to the law and embracing Christ, exhibit the same radical trust in God as their forefather exhibited. In 3:15-4:11, he argues that God added the law and its curse to ensure that the Jews could not receive the Abrahamic blessing promised to the nations--i.e., the Spirit that would make the Jews sons of God and, thus, Abrahamic seed--apart from the one seed, Christ. Finally, in 4:21-5:1, he argues that, like Hagar, the non-adoptive Sinaitic <italic>diatheke</italic> produces Abrahamic descendants (i.e., non-Christian Jews) who share the general human enslavement to the <italic>stoicheia</italic>, whereas the adoptive Abrahamic <italic>diatheke</italic> produces Abrahamic descendants (i.e., Christian Jews) whose divine adoption frees them from this enslavement. Each appeal to Abraham thus undermines the gentile Christians' motivation for submitting to the law by demonstrating that Jewish Christians do not even remain under the law.</p> / Dissertation

Abstract The family can be viewed as a reflector of culture, which becomes increasingly rich and varied as time goes by. It is like a person who undergoes all the vicissitudes of human beings' experiences, so it is not only a valuable specimen for us to have a better understanding of the course of human history but also an important basis for us to know ourselves. For this reason, the family novels have always been a extremely flexible and rich narrative genre, which represent complex social performance and the culture world in both eastern and western literature. This thesis is focused on Mo Yan's four novels related to the family. They were "Red Sorghum Family", " herbivorous Family", " Big Breasts & Wide Hips", and " Life and Death Are Wearing Me Out". For one thing, we deconstructed the survival ethics masked in these novels, analyzed the heroic image described in these novels, and discussed the issue of "degradation of species ". In what follows, we explored the underlying love ethic in these novels from the two perspectives: the suspension of moral and the reversion of tradition. Previous studies have demonstrated that in Mo Yan's family novels, making the flesh public is used as a method of unfolding primitive vitality. Third, we delved into the connotation after the pleasure of making love (body of pleasure) through an analysis of Mo Yan's praising body and preference over the land and lower body. Mo Yan's family novels are also filled with the plots about hunger and violence. Finally, we attempted to investigate the narrative skills and moral of Mo Yan's family novels. With the fact that Mo Yan elaborated the plots, his works about the family are one of the most brilliant novels. These novels describe the lifeblood of both paternal and maternal family system; they also revealed the implications about Mo Yan's viewpoints on the relationship between nation and country in the society intertwined with war, hunger, and violence.

This thesis sets out to explore Sara Suleri¡¦s memoir Meatless Days in terms of trauma, memory and writing. The first chapter traces the historical background and Pakistanis¡¦ trauma framed in nostalgia. The second chapter probes into the teaching of Suleri¡¦s mother: the performance, the unplot and the identity, in which I resort to Julia Kristeva¡¦s critique essays to replace Suleri¡¦s mother¡¦s position in Pakistani society since she exists there with ¡§heterogeneous¡¨ cultural and national identity. The third chapter, focusing on Benjamin¡¦s theory on history and memory, deals with Sara Suleri unique writing style. Suleri¡¦s Meatless Days uses her allegorical writing to open herself to the possibilities of silence, introspection, isolation and loneliness in the memoir. Suleri¡¦s writing shares some of the single-minded self-absorption with her mother and has somehow been channeled in to her memorized and lost beloved. The memoir then develops into a story that seems to involve synchronicity, but actually involves our need for synchronicity when synchronicity is simply the way coincidence indulges itself in wish-fulfillment.