M.A. (Afrikaans) / Please refer to full text to view abstract

M.A. (African Languages) / The purpose of this study is to analyze the poetry of Puleng. There is no work done on Puleng to date which reveals his thoughts, ideas, memories and creativity. This study will enlighten interested readers especially budding poets and students of literature...

This thesis covers Daphne Rooke's eight published "South African" novels: A Grove of Fever Trees, Mittee, Ratoons, Wizards' Country, A Lover for Estelle, The Greyling, Diamond Jo, and Margaretha de la Porte. It supports the recent revival of critical interest in Rooke, and argues for the continuing relevance of her work in post-apartheid South Africa. This study also broadens the scope of recent Rooke research by including lesser known works like The Greyling and Margaretha de la Porte in its analysis. Recent criticism has focused on Rooke's unusual blend of romance and realism. The first three chapters concentrate more on "realism", emphasising the depth and extent of Rooke's engagement with serious social issues. The novels are examined in terms of their handling of the themes of class (chapter one), race (chapter two) and gender (chapter three). The concluding chapter shifts in focus to "romance" and examines the question of generic_identity -- touching on Rooke's gothic, magical realist and "popular" qualities -within a consideration of the particular "South African-ness" of her work.

This thesis involves intensive analyses of some of the short-short stories in John Miles's Liefs nie op straat nie, in order to reveal the narrative strategies employed in each. In other words, it is geared to "the rules that govern ... textual actualization and, consequently, those rules that govern the way literary discourse functions as communication" (Riffaterre 1983: 158). Subsequently, attention is given to the interrelationship among the texts, the way in which they act upon one another and interact with the title of the volume, in order to establish the function of such relations. The following texts are analysed in consecutive chapters: "Lucy", "Lappies, kan jy my hoor, Lappies?", "Voorgevoel", "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?", "Hy staan by die deur en hy klop", "Gustav gaan speel", and "Liefs nie op straat nie". In a concluding chapter the implications of the title are discussed with reference to all the texts in the volume, including those not analysed individually. It is concluded that, on the one hand, the expectations raised by the title are ironicized because the title is never "completed" explicitly, and because that which, by implication, should not be seen in public ("op straat"), is specifically situated in the street and scrutinized in close-up. But on the other hand the title also evokes a peculiar mentality present in all the texts, either in the narrators, or in the characters, or in both. The discussion of "Lucy" is focussed mainly on the contrast and interaction between the world of the child and that of the adult and on the way in which this interaction is actualized within the text through the contrast in the experience of time, the use of "mémoire involontaire", "durée" and the contrasts between (and overlapping of) narrative perspective and focalization. In respect of "Lappies, kan jy my hoor, Lappies?" special attention is paid to similarities and contrasts between this text and the traditional suspense story, notably the way in which conventional techniques are employed to create suspense, as well as to generate an entire subtext which eventually "relocates" the text on the niveau of the murderer's psychological dilemma. In discussing "Voorgevoel" emphasis is not placed primarily on what is conveyed by the narrator, but on the way in which his intentions are subverted both by the window pane through which he is looking and by the narration as such. In this way he is foregrounded and revealed as narrator, just as the text is foregrounded and revealed as literature, with the emphasis, in both cases, not only on their defence mechanisms but also on their impotence. "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?" are grouped together in one chapter in order to illuminate the interaction between the two narratives in the first text, as well as the interaction between the two texts. Ultimately, they may be seen as three narratives juxtaposed through irony and relativism. The "triumph" of the "preferably not in public" mentality, both in the text and in society, is also illustrated by the interaction between the three narratives. In chapter, 5, in which "Hy staan by die deur en hy klop" is discussed, attention is focussed on the ironic function of the Biblical references, the contrast between Jan and the rest of society, and the way in which the "climax" is located within the Iserian "blank" in the text, so that the entire process of decoding is based on a filling in of that "blank" and its implications. "Gustav gaan speel" is based loosely on Barthes's lexia model, in order to determine the signifying process in the text, and also to demonstrate the way in which the text presupposes rereading. In the discussion of the title text it is revealed how the text is centered in the basic dichotomy between the narrator-as-writer and the journalist, and the way in which this polarity is relativized by the text as such. The text is demonstrated to be the credo of the volume as a whole as well as of the fiction of the Seventies in Afrikaans.

D.Litt. et Phil. / Studies in hermeneutics have largely focused on hermeneutical method and the application of such methods; however, the significance of hermeneutical method in the actual exegetical process has received limited attention, particularly as it relates to the preaching event. It is necessary to examine the significance of hermeneutical method at two levels; namely, the theoretical and the practical levels. In considering the theoretical understanding, it is argued that there are seven broad categories of proposed influencing factors in the practical exegetical process; these being: 1) lntrapersonal, deriving from the person ofthe exegete. 2) Spiritual, deriving from the spiritual life of the exegete. 3) Community, arising in the community context within which the exegete seeks to interpret the biblical text. 4) Contextual, deriving from the cultural and social context ofthe exegete. 5) Methodological, shaping the manner in which the exegetical process is carried out. 6) Traditional, arising out of the historical context within which the exegete stands. 7) Academic, arising out of contexts which are either regarded as learned or as respected. Hermeneutical method and methods may be categorized under methodological factors, and it is suggested that most hermeneutical theorists would argue for the primacy of methodological factors in general and hermeneutical method in particular. However, an examination of practice suggests that spiritual factors are regarded as more significant than methodological factors. On the basis of the research findings, the proposed influencing factors may be ranked as follows: 1 Spiritual 2 Methodological 3 Academic 4 Intrapersonal 5 Contextual I Community I Traditional. vii In the light of these theoretical considerations and research findings, it is argued that the most appropriate response to the significance of hermeneutical method is to call exegetes to a hermeneutic of responsibility. The proposal is that the biblical exegete choose an appropriate method or methods for the given exegetical task; however, the application should be effected in a fourfold approach to the exegetical task. The fourfold approach challenges the exegete to be deliberately aware of their responsibility, at both a theoretical and practical level, to four realms of responsibility. These four realms being: 1) The God of Scripture: The responsibility to the God of Scripture is that which acknowledges that the Christian Bible is a product of divine revelation, and that the God of that revelation is intimately involved in the practical exegetical task. 2) The community of faith: The responsibility to the community of faith is that responsibility which recognizes the community or communities of faith as forming a vital context for the practical exegetical task and the conclusions of that task. 3) The world at large: The responsibility to the world at large is that responsibility in response to which the exegete undertakes to deliberately consider the challenges presented to the biblical text and to the exegete by those contexts and persons who would be regarded as either on the fringe ofthe community of faith or outside ofthe community. 4) The historical and universal church: The responsibility to the historical and universal church is that responsibility by which the exegete recognizes their context as being part of the older history of the church and the greater setting of the universal church.

D.Litt. / The purpose of this study is to demonstrate the role which tradition plays in Ritsos' poetry. It constitutes three chapters: Ancient tradition in Ritsos' poetry but more especially in the poems of The Fourth Dimension. The Folk Song and Ritsos' Epitaph. Folk, Historical, Literary, and Religious tradition in Ritsos' poetry but more especially in the following poems: Romiossini ("Greekness'), Kira Ton Abelion ("Lady of the Vineyards'), Teratodes Aristourgima ("Monstrous Masterpiece'). In the early section of the first chapter, emphasis is placed on the presence of "myth" in Ritsos' poetry - myth, which enriches it with symbols and references drawn from the entire mythological nexus. Ritsos penetrates modern man's thoughts, feelings and actions. He applies the principle of objectivity, which at the same time is the "basic function" of his mythical method. In the second part, emphasis is placed not only on the dramatic monologues of Ritsos' Fourth Dimension but also on the manner in which the monologues relate with ancient drama, where Ritsos with his own personal and vivid style gives it that human drama which identifies with that of Greek tragedy. Furthermore, existing linguistic similarities and differences are illustrated which exist in The Fourth Dimension and ancient drama. The dramatic factor is examined in the poems and monologues as also on the demystification and the unheroic - a factor common to both Ritsos and Euripides. The second chapter demonstrates the influence of folk songs on Ritsos' poetry and more especially on the Epitaph. A detailed discussion is presented on the manner in which the Epitaph relates with the Laments (folk songs of grief and lamentation), with the following points of comparison used in this regard: use of the Fifteen Syllabic Metre, language, vocabulary, syntactical and paratactical elements, pleonastic uses, figures of speech, symmetry, rhyme and literary style, inter alia. The third chapter examines in detail the element of tradition (ancient, historical, literary, Christian, religious and folk-lyric factors) in the following poems: 'Romiossini' ('Greelcriess), 'Kira Ton Abelion' (Lady of the Vineyards) and 'Teratodes Aristourgima' (Monstrous Masterpiece '). The aim in this section is to ascertain (by means of direct and indirect examples drawn from Greek Tradition) the degree of influence which tradition exerts on Ritsos' work and the, manner in which Ritsos' work relates to it. Obvious similarities are pointed out - those which are contained in 'Romiossini' and Solomos"Eleftheri Poliorkimeni' ('The Free Besieged). Furthermore, similarities found in Sikelianos"/era Odos' ('The Sacred Way) and 'Kira Ton Abelion' ('Lady of the Vineyards) are compared with those found in Makriyannis and Theophilos (common element in Ritsos - Seferis-Elytis). Similarities found in 'Teratodes Aristourgima' (Monstrous Masterpiece) are compared with those of Kariotakis, Palamas ('Dodecalogos tou Giftou' - ' Gypsy's Dodecalogue), Porfiras, Varnalis, Tsirkas, 'Erophili and Erotocritos'.

M.A. / Receiving favourable recognition during his life-time, Bosman's short stories have attracted increasing critical attention since his death. With the exception of Professor E. Davis's review of Mafeking Road in Trek, and Lily Rabkin's 'Tribute to Bosman in The Forum after his death, however, much of the early Bosman criticism tends to make sweeping value judgements, with critics' opinions occasionally influenced by the lurid elements in Bosman's personal life; Professor A.G. Hooper, for instance, is recorded as observing that 'Bosman's stories seemed to have a sort of bitterness in them, but this was perhaps due to his hard and bitter life...

M.A. (African Languages) / Poetry is an art form beyond other genres. It is superior because it is tied up with deep feelings. "It is an outflow of powerful feelings". Poetry is by and large, differentiated from prose by a mark of greater specialism. African poetry is twofold; viz. traditional poetry and modern poetry. Traditional poetry is derived from Africa; and modern poetry is developed largely from the west. A brief statement on Northern Sotho poetry was given attention. The abilities of Tseke as a poet were briefly discussed. Tseke's poems were divided according to themes and poetic forms. Russian Formalism as a literary theory was looked into. Imagery as a poetic device was discussed under headings such as: figures of speech, senses used to evoke images and repetition. Tseke's language was discussed to show his ability to coin new words. Structure as a poetic device included headings such as: structure of poems, what brings structural agreement between stanzas and elements which contribute to the achievement of unity in poems.

AFRIKAANS: In die onderhawige verhandeling word die skepping van 'n eietydse mite by monde van die teorie van die karnavaleske as benaderingswyse by Riana Scheepers se korter prosa bespreek. Die spesifieke doelstelling is soos volg: <ul><li>om vas te stel of daar vanuit die kamavaleske as basiese benaderingsveld effektiewe riglyne daargestel kan word waarvolgens 'n interpretasie van die kortverhale van Riana Scheepers gedoen kan word; </li> <li>om aan te dui hoe kultuurgebonde verskynsels in Scheepers se kortverhale ontdek kan word, met ander woorde om Scheepers se verhale aan die hand van die teorie van die kamavaleske te analiseer. Hierdeur kan tot die kerngedagte(s) van die verhale deurgedring word; </li> <li>om aan te dui hoe daar deur die abstrahering van kulturele verskynsels uit tekste riglyne vanuit die ontginde materiaal gevoer kan word tot die konkretisering daarvan in 'n skepping van 'n eietydse mite; </li> <li>om aan te dui hoe daar vanuit een verwysingsraamwerk, naamlik die van die kamavaleske 'n geheelbeeld van die betekenis- en werklikheidswêreld van die verskillende kortverhale vasgestel kan word. <br></li></ul> In die konsep karnavaleske word die begrippe karnaval en kamavaleske as verskillend onderskei, maar in interrelasie met mekaar. Die begrip karnaval word geassosieer met 'n spesifieke periode waarin sekere kulture deelneem aan 'n fees waarin onder andere die aanvaarde waardesisteme omvergewerp word. Die begrip karnavaleske dui op die verskuiwing van die karnavale in dié van 'n literêre taal. Dieselfde gees as die van die kamavale, in 'n literêre teks, geld ook die karnavaleske; die karnavaleske verskaf 'n spieëlbeeld van die karnavale. Die studie is gebaseer op die hipotese dat die teorie van die karnavaleske voldoen aan die genoemde doelstelling. Om die hipotese te bewys is die volgende aspekte bespreek: <ul><li> 'n oorsigtelike studie om begrippe en idees aangaande die werklikheid wat oor die eeue heen deur die mens bedink is, in sy pogings om te weet en te verstaan wat sit agter alles wat is, en wat sy plek hierin is, vas te stel; </li> <li>'n indringende bespreking om die teorie van die karnavaleske met betrekking tot die interpretasie van die korter woordkunswerk by Scheepers te verduidelik; </li> <li>'n in-diepte-studie om vas te stel of daar vanuit die karnavaleske as basiese benaderingsveld effektiewe riglyne daargestel kan word waarvolgens 'n interpretasie van die kortverhale van Riana Scheepers gedoen kan word. Vir die doel word verskeie verhale van Scheepers aan die hand van die teorie van die karnavaleske ondersoek; </li> <li>'n bespreking waarin die voorafgaande afleiding saamgevat word om aan te dui dat die teorie van die karnavaleske as benaderingswyse aangewend kan word om Scheepers se verhale op 'n nuwe manier te lees. <br></li></ul> Die teorie van die karnavaleske is 'n kreatiewe benadering tot interpretasie. Dit bied aan die leser vryheid binne die raamwerk van die eise van 'n literêre teks en die literêre teorie. Deur abstrahering word die leser in staat gestel om we! by die eise wat die woordkunswerk stel, te hou en nogtans nuwe interpretasiemoontlikhede te ontgin. ENGLISH: This study is an attempt to analyse the short stories of Riana Scheepers by using the theory of the camivalesque. More specifically this study attempts:<ul> <li> to determine whether effective guidelines exist for the interpretation of Riana Scheepers' short stories from a particular point of reference, namely the camivalesque; </li> <li>to indicate how cultural metaphors could be discovered in the short stories of Scheepers; </li> <li>to indicate how abstracted cultural metaphors could be concretised in the creation of a contemporary myth. </li> The study is based on the hypothesis that the method of the camivalesque complies with the above-mentioned requirements. To prove this hypothesis the following aspects were considered: <li>a thorough investigation to explain the theory of the camivalesque as it applies to the interpretation of Scheepers' short stories; </li> <li>an in-depth investigation to determine whether effective guidelines of the camivalesque as method of approach to the interpretation of Scheepers' short stories exist. To this end various short stories of Scheepers are discussed by means of the theory of the camivalesque; </li> <li>a discussion wherein the foregoing conclusion is summarised, showing that the method of the carnivalesque could be applied as an approach to reading Scheepers' short stories. <br></li></ul> The theory of the carnivalesque is a creative approach to interpretation. It offers the reader the liberty to act freely within the requirements of a given literary work of art and literary theory. / Dissertation (MA (Literature))--University of Pretoria, 2006. / Afrikaans / unrestricted

Please read the abstract on page 369, of the section, 12summary / Thesis (DPhil (History of Art))--University of Pretoria, 2008. / Visual Arts / DPhil / unrestricted