A.S. Willsky. / Cover title. / Includes bibliographical references (leaves 6-7). / Research supported in part by the Army Research Office. DAAL03-86-K-0171 Research supported in part by the AFOSR. AFOSR-88-0032 Research supported in part by the NSF. ECS-8700903

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Texte remanié de: Diss.--Geschichtswissenschaftliche Fakultät--Tübingen--Eberhard-Karls-Universität, 1995. / Bibliogr. p. 426-440. Index.

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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 dissertation is based upon a study of the active service magazines produced by British and Dominion troops serving in the various active war theatres of the First World War. These magazines have never previously been systematically examined, and the dissertation first analyses them as a phenomenon in their own right, then uses them in conjunction with other sources to construct an analysis of morale in the British and Dominion forces and the means by which it was sustained. The analysis of morale and the influences upon it forms the main body of the text. It deals particularly with the infantry, because of the hardness of their lot and their dominant role in mutinies in other armies. It analyses their organisation and conditions of life, but it focuses most attention on the time spent behind the lines in rest and reserve, and particularly on the recreations enjoyed by the troops. It attempts to show that these aspects of the infantrymen's service have been unduly neglected, were important, and had an influence over attitudes throughout the period of service and perhaps even beyond it. Arising from this study, the dissertation seeks to demonstrate a considerable degree of continuity in attitudes, as expressed through the popular cultural media of the troops, from civilian to military life. It considers the importance of this for understanding the behaviour of the men as soldiers and, to a lesser extent, as veterans after the war. It also looks at similarities and differences of background and approach between the various national contingents which made up the British and Dominion forces, and looks briefly at perceived contrasts with other armies. In conclusion, it looks ahead to the use of troop recreations in the Second World War, and attempts to assess their importance in the First, both for morale and for the historiographical debate about continuity and change in the soldiers' experience.

There is a two-fold recurrent theme in Claire Martin's literary works. On the one hand, the established power structure as embodied in the patriarchal image is reversed through the exploration of love and female sexuality. On the other, the male-female dynamic is reconstructed in the Martinian female character (in two of Martin's novels this character also happens to be a writer) and a viable mirror-image of the true nature of woman emerges. The writer as fictional character first appears as Gabrielle in Doux-Amer (1960), Martin's first novel, and later as the anonymous narrator in Les Morts (1970), her last. Martin herself says in an interview that the protagonist of Les Morts could be an older version of Gabrielle. Les Morts is essentially a dialogue between two speakers, an anonymous narrative voice and an equally anonymous interlocutor. This aspect and the singular blend of autobiography and fiction which characterizes the novel lead to a number of questions as to its signification and interpretation. An aura of mystery surrounds these anonymous voices as they discuss the past, or rather as the protagonist relates fragments of her past which do not respect chronological order or geographic accuracy. These are further complicated by the relevance of the autobiographical nature of the work, arising from the relationship between the author and the character, and the portrait of the writer which is conveyed. The ensuing discussion leads to several conclusions about the work. The detailed and somewhat ironic treatment of the connection between love and death in Les Morts is in fact a discourse of displacement in which the 'I' of the speaker rebels against patriarchal authority in an 'imaginary' confrontation involving the use of memory as literary device. As a result of this 'confrontation' (mirrored by the second speaker), the 'I' recovers the ability to love and hence to write. The outcome of the process is paradoxical: the discovery of writing as a solution eliminates the need to write for both author and character. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.