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This dissertation is a critical examination of selected Tsonga novels by male and female writers. Positive and negative images of women by these authors are analysed, compared and evaluated from a feminist perspective. Emphasis is laid on the manner in which Tsonga writers portray female characters in a changing society and the extent to which the images of women in this literature represent the present day woman. Adherence to ideological, cultural and traditional values as well as the differences in portrayal of women by male and female writers is also investigated. Through a comparison of novels written by male and female writers it is established that because of patriarchy these writers differ markedly in their portrayal of female characters. In all the novels analysed, the sociol-cultural context influences the way in which these writers portray female characters. Male writers promote traditional values which female writers strive to discard by portraying female characters who predominantly undermine stereotypical cultural sex-roles. / African languages / M.A. (African languages)

Ce mémoire de maîtrise est consacré à un aspect peu étudié de l'art de Jacques-Louis David, c'est-à-dire l'influence caravagesque dans les œuvres de l'artiste. Les différentes périodes de la production de l'artiste sont étudiées en fonction d'identifier cette influence et la façon dont elle s'est manifestée. Cette influence est apparue à partir de la deuxième moitié du 18e siècle dans la peinture française pendant une période de réforme de l'art pictural. Jacques-Louis David n'est pas le seul artiste à s'être intéressé au caravagisme. L'intérêt pour Caravage et ses suiveurs coïncidait aussi avec un intérêt pour le naturalisme et le dessin d'après nature. Le maître de David, Joseph-Marie Vien, a joué un rôle important dans la promotion de ces deux notions. C'est lors de son premier voyage en Italie avec son maître Vien que Jacques-Louis David entra pour la première fois en contact avec le caravagisme. C'est à partir de ce moment que son oeuvre commença à se transformer alors que l'artiste s'affranchit de l'influence de la peinture rococo. Le Salon de 1781 qui suivra ce voyage sera un moment très important dans sa carrière et les œuvres qu'il y présenta étaient grandement marquées par le caravagisme, ce qui se manifeste par la couleur, la lumière et par le rendu naturaliste du corps. Le jumelage entre le naturalisme et l'idéalisme joue un rôle important dans la formation de l'esthétique davidienne. Après ce Salon, l'influence caravagesque s'exprimait de façon moins évidente dans son œuvre, mais elle était toujours présente et se manifestait plutôt par l'emprunt de motifs. Nous avons identifié cette influence jusqu'à la fin de la carrière de l'artiste. Nous voyons aussi dans ce mémoire que le rapport entre David et Caravage peut aussi être effectué par le biais d'une manifestation d'homosexualité et d'androgynie dans le travail des deux artistes. Ce mémoire n'est pas axé sur l'interprétation des œuvres, mais plutôt sur des analyses qui permettent de mettre en évidence l'influence caravagesque / This Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.

Made available in DSpace on 2016-03-15T19:47:31Z (GMT). No. of bitstreams: 1 Augusto Cesar Vassilopoulos Natal.pdf: 13064132 bytes, checksum: 050021ec6d7e9e3f98aef424674cbea4 (MD5) Previous issue date: 2014-02-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / From the study of narratives of Brazilian writer João Guimarães Rosa, we attempted to identify, catalog and describe some elements that they turn on their literary discourse. Readings were taken on a considerable part of the author's work, which originated assertions, assumptions and relationships observed in this study. By analyzing rosianos statements, prioritized five highlight relevant essential discursive themes in his speech, which were divided and organized into five themes: "love, night, religion, people and nature." The authors chosen as analytical support to address the love were the Greek philosophers Plato and Aristotle, thinkers Erich Fromm, Benedito Nunes, Arthur Schopenhauer, André Comte- Sponville Sigmund Freud and Carl Gustav Jung, the sociologist Zygmunt Bauman and semiotician Algirdas Greimas. The authors required as analytical support to treat religiosity were the philosopher St. Augustine, the Essayist Elisa Guimarães and two experts in iconography, Jacopo Varazze and Nilza Botelho Megale. The authors adopted as analytical support for crushing the night were the folklorist Luís da Câmara Cascudo, the demonologist Eliphas Lévi and literary critic Massaud Moisés. The authors listed as analytical support to subsidize the axis on the speech of the people were the socio- linguist Dino Preti, sociologist Roger Bastide, the philosopher Jean - Jacques Rousseau, the thinker Antonio Candido, the anthropologist Claude Lévi - Strauss and again the folklorist Luís da Câmara Cascudo. The authors used as analytical support to embrace nature were Heraclitus of Ephesus and Empedocles of Agrigento philosophers and thinkers Humberto Maturana, Francisco Varela, Fritjof Capra and Gaston Bachelard. / A partir do estudo de narrativas do escritor brasileiro João Guimarães Rosa, buscou-se identificar, catalogar e descrever alguns elementos que recorressem em seu discurso literário. Foram realizadas leituras acerca de parte considerável da obra do autor, das quais se originaram as asserções, deduções e relações verificadas neste trabalho. Ao analisar os enunciados rosianos, priorizou-se evidenciar cinco temas discursivos essenciais pertinentes em seu discurso, os quais foram divididos e organizados em cinco eixos temáticos: amor, noite, religiosidade, povo e natureza . Os autores escolhidos como suporte analítico para abordar o amor foram os filósofos gregos Platão e Aristóteles, os pensadores Erich Fromm, Benedito Nunes, Arthur Schopenhauer, André Comte-Sponville Sigmund Freud e Carl Gustav Jung, o sociólogo Zygmunt Bauman e o semioticista Algirdas Greimas. Os autores requeridos como suporte analítico para tratar a religiosidade foram o filósofo Santo Agostinho, a ensaísta Elisa Guimarães e dois especialistas em iconografia, Jacopo de Varazze e Nilza Botelho Megale. Os autores adotados como suporte analítico para esmiuçar a noite foram o folclorista Luís da Câmara Cascudo, o demonologista Eliphas Lévi e o crítico literário Massaud Moisés. Os autores elencados como suporte analítico para subsidiar o eixo sobre o discurso do povo foram o sócio-linguista Dino Preti, o sociólogo Roger Bastide, o filósofo Jean-Jacques Rousseau, o pensador Antonio Candido, o antropólogo Claude Lévi-Strauss e, novamente, o folclorista Luís da Câmara Cascudo. Os autores utilizados como suporte analítico para abarcar a natureza foram os filósofos Heráclito de Éfeso e Empédocles de Agrigento e os pensadores Humberto Maturana, Francisco Varela, Fritjof Capra e Gaston Bachelard.

Ce mémoire de maîtrise est consacré à un aspect peu étudié de l'art de Jacques-Louis David, c'est-à-dire l'influence caravagesque dans les œuvres de l'artiste. Les différentes périodes de la production de l'artiste sont étudiées en fonction d'identifier cette influence et la façon dont elle s'est manifestée. Cette influence est apparue à partir de la deuxième moitié du 18e siècle dans la peinture française pendant une période de réforme de l'art pictural. Jacques-Louis David n'est pas le seul artiste à s'être intéressé au caravagisme. L'intérêt pour Caravage et ses suiveurs coïncidait aussi avec un intérêt pour le naturalisme et le dessin d'après nature. Le maître de David, Joseph-Marie Vien, a joué un rôle important dans la promotion de ces deux notions. C'est lors de son premier voyage en Italie avec son maître Vien que Jacques-Louis David entra pour la première fois en contact avec le caravagisme. C'est à partir de ce moment que son oeuvre commença à se transformer alors que l'artiste s'affranchit de l'influence de la peinture rococo. Le Salon de 1781 qui suivra ce voyage sera un moment très important dans sa carrière et les œuvres qu'il y présenta étaient grandement marquées par le caravagisme, ce qui se manifeste par la couleur, la lumière et par le rendu naturaliste du corps. Le jumelage entre le naturalisme et l'idéalisme joue un rôle important dans la formation de l'esthétique davidienne. Après ce Salon, l'influence caravagesque s'exprimait de façon moins évidente dans son œuvre, mais elle était toujours présente et se manifestait plutôt par l'emprunt de motifs. Nous avons identifié cette influence jusqu'à la fin de la carrière de l'artiste. Nous voyons aussi dans ce mémoire que le rapport entre David et Caravage peut aussi être effectué par le biais d'une manifestation d'homosexualité et d'androgynie dans le travail des deux artistes. Ce mémoire n'est pas axé sur l'interprétation des œuvres, mais plutôt sur des analyses qui permettent de mettre en évidence l'influence caravagesque / This Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.

This dissertation is a critical examination of selected Tsonga novels by male and female writers. Positive and negative images of women by these authors are analysed, compared and evaluated from a feminist perspective. Emphasis is laid on the manner in which Tsonga writers portray female characters in a changing society and the extent to which the images of women in this literature represent the present day woman. Adherence to ideological, cultural and traditional values as well as the differences in portrayal of women by male and female writers is also investigated. Through a comparison of novels written by male and female writers it is established that because of patriarchy these writers differ markedly in their portrayal of female characters. In all the novels analysed, the sociol-cultural context influences the way in which these writers portray female characters. Male writers promote traditional values which female writers strive to discard by portraying female characters who predominantly undermine stereotypical cultural sex-roles. / African languages / M.A. (African languages)

This feminist analysis addresses Lindsey Collen’s intertextual use of myth in The Rape of Sita and how her reformation of the parodied texts becomes a resistance to patriarchy. Collen’s examination of possible counteractions against patriarchy is analysed and it is determined whether or not she posits writing, especially demythologization, as the best resistance to patriarchal discourse. Also, her assertion that transformation and a unity of the sexes are needed to bring about equality is studied. The methodology used is qualitative and inductive. The sources are examined and interpreted through close-reading strategies which reveal the complexities of the text and the way in which Collen subverts myth. Classical and Hindu myths and other texts, such as T.S. Eliot’s The Waste Land, are re-read and re-examined to investigate to what extent they have challenged or championed patriarchal ideology, through which it is hoped that a greater understanding of the way in which mythology contributes to attitudes to rape is gained. Three other texts dealing with rape are also studied, in order to better place Collen’s novel in context of the genre. Primarily, feminist criticism, particularly with an African feminist viewpoint, is used. However, because a conflation of post-colonial and postmodern approaches is embedded within feminism, these concepts are dealt with also. Theorists drawn upon include Michel Foucault, Roland Barthes, Mircea Eliade and Margaret Atwood. / Dissertation (MA (English))--University of Pretoria, 2007. / English / MA / unrestricted

Principe spirituel pour Muḥyī al-Dīn Ibn ʿArabī (1165-1240) et archétype universel pour Carl Gustav Jung (1875-1961), le Féminin est au centre de cette recherche où il sera étudié sous l’angle de l’expérience mystique dont il est un médian incontournable. L’accent sera mis surtout sur le rapport entre le Féminin comme principe ou archétype et l’expérience mystique tel qu’ils s’articulent chez nos deux penseurs tant dans leur vécu personnel que sur le plan de leurs élaborations théoriques. Elle consiste, pour éviter tout anachronisme, davantage en un dialogue d’idées qu’une comparaison de la pensée du maitre soufi andalou avec celle du psychanalyste moderne suisse. C’est à ce premier niveau d’analyse, où le Féminin et le Masculin forment une androgynie primordiale, que leurs pensées se rejoignent de manière significative. Les deux penseurs reconnaissant au Féminin en particulier une fonction transcendantale qui s’accomplit à travers une prédisposition à l’établissement d’une relation avec le monde subtil de l’Esprit qui s’enracine soit dans une tradition religieuse donnée, l’islam dans le cas d’Ibn ʿArabī, ou d’une analyse thérapeutique aux allures néanmoins mystiques dans le cas de Jung. L’expérience du Féminin chez nos deux penseurs révèle un rapport différencié quant à la nature et à la forme de l’expérience spirituelle qui est son support d’expression. Leurs conceptions se distinguent aussi sur la question de Dieu (transcendant ou immanent) dont la rencontre est perçue comme la finalité vers laquelle tend la dynamique transformatrice de la personnalité qu’implique ce cheminement initiatique qu’induit la rencontre du Féminin spirituel. Avant de réaliser cette ultime et unificatrice rencontre, il faut d’abord rencontrer et entrer en relation avec ce Féminin comme figure d’une altérité intérieure et extérieure en vue de dépasser le dualisme primaire où les humains sont embourbés tant individuellement que collectivement. C’est sur ce point en particulier que l’étude montre des convergences signifiantes, qui révèlent, d’un côté, le lien transversal qu’il y a entre le soufisme et la psychologie analytique et de l’autre les aspects implicites d‘une psychologie des profondeurs nichant en arrière-plan de la mystique akbarienne. Cette ébauche de dialogue, opérée dans une approche interdisciplinaire, révèle certes des postures épistémologiques très différentes, mais aussi une convergence de vue tacite jusque-là et que la méthode de la phénoménologie herméneutique retenue pour ce travail de maitrise a éclairé d’un nouveau jour. C’est dans cet esprit qu’elle peut ouvrir de nouvelles pistes de réflexion à nos sociétés contemporaines prises avec une crise de sens et de perte de repères identitaires inquiétante. Le sous-bassement de cette crise est une vision dualiste de la femme et de l’homme, et corollairement d’une division binaire entre nature et culture, au lieu de saisir leur nécessaire et paradoxale complémentarité qui doit se réaliser en premier lieu en chaque être humain. / A spiritual principle for Muḥyī al-Dīn Ibn ʿArabī (1165-1240) and a universal archetype for Carl Gustav Jung (1875-1961), the Feminine is at the center of this research, where it will be studied from the perspective of the mystical experience of which it is an inescapable mediator. The emphasis will be on the relationship between the Feminine as a principle or archetype and the mystical experience as articulated by our two thinkers in their personal experience as well as in their theoretical elaborations. It consists, to avoid any anachronism, more of a dialogue of ideas than a comparison of the thought of the Andalusian Sufi master with that of the modern Swiss psychoanalyst. It is at this first level of analysis, where the Feminine and the Masculine form a primordial androgyny that their thoughts meet in a significant way. Both thinkers in fact recognize in the Feminine a transcendental function that is fulfilled through a predisposition to establish a relationship with the subtle world of Spirit that is rooted either in a given religious tradition-Islam in the case of Ibn ʿArabī or of a therapeutic analysis with nonetheless mystical overtones in the case of Jung. The experience of the Feminine in our two thinkers reveals a differentiated relationship as to the nature and form of the spiritual experience that is its medium of expression. Their conceptions also differ on the question of God (transcendent or immanent) whose meeting is perceived as the finality towards which tends the transforming dynamics of the personality that implies this initiatory path that induces the meeting of the spiritual Feminine. Before realizing this ultimate and unifying encounter, one must first meet and relate to this Feminine figure of inner and outer otherness in order to overcome the primary dualism in which humans are mired both individually and collectively. It is on this point in particular that the study shows significant convergences, which reveal, on the one hand, the link between Sufism and analytical psychology; and on the other hand, the "deep psychological" aspects of Akbarian mysticism. This draft dialogue, carried out in an interdisciplinary approach, certainly reveals very different epistemological postures, but also a convergence of views implicit until then and which the method of hermeneutic phenomenology chosen for this master's thesis has shed new light on. It is in this spirit that it can open up new avenues of reflection for our contemporary societies caught up in a disturbing crisis of meaning and loss of identity markers. The underpinning of this crisis is a dualistic vision of woman and man, and consequently of a binary division between nature and culture, instead of grasping their necessary and paradoxical complementarity which must be realized first and foremost in each human being.