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no abstract provided by author / Ph. D.

M.S.

M.A. (Afrikaans) / This study explores the nature, role and function of letters (i.e. epistolary communication) in Etienne van Heerden’s novels, In stede van die liefde (In love’s place) (2005) and 30 nagte in Amsterdam (30 nights in Amsterdam) (2008). Existing theoretical insights into the so-called epistolary novel (novel of letters), as well as the role of letters in literary texts, are used as point of departure for an in-depth analysis of each novel. Botha (1987:149) defines the epistolary novel as “a novel consisting entirely or in part of letters, diary fragments or other relevant documentation, while a foreword and/or conclusion by a fictional editor/publisher can also be included” (my translation – FB). Though neither In stede van die liefde and 30 nagte in Amsterdam at first sight seem to be epistolary novels, both meet with the requirements of Botha’s (1987:149) definition in the sense that they partly consist of letters. Botha’s (1987:149) definition also contains no specific indication of exactly how many letters or diary fragments a novel should include to be considered an epistolary novel. From a study of the letters in Van Heerden’s novels it becomes evident that In stede van die liefde and 30 nagte in Amsterdam do not display all the features of the epistolary novel. Some defining characteristics are deliberately deviated from or undermined, while other characteristics are identified in the novels that serve as supplement to existing theoretical approaches to the epistolary novel. In both novels, for example, letters function as catalysts for action, while they are sometimes used as part of the narration or to expose the inner life (thoughts) of characters. In addition letters are also used to provide background information and to act as historical documents. Among other things, it is indicated that most of the letters in In stede van die liefde and 30 nagte in Amsterdam do in fact not fulfil the traditional purpose of letters, as two-way communication is not established in all of them. It can justifiably be argued, therefore, that letters rather reveal something more symbolic about the psyche of the characters who act as letter writers in the novels. A textual analysis of the two Van Heerden novels clearly indicates that both In stede van die liefde and 30 nagte in Amsterdam should be considered innovative with regard to the use of letters. The complexity, richness and literary quality of these novels require many different interpretations, however, with the investigation into the role of letters as only one possible way in which insight can be obtained into these impressive literary achievements.

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M.A. / This study was prompted principally by two events: reading Kazuo Ishiguro's The Remains of the Day (1989), and encountering Pico lyer's Time article "The Empire Writes Back" (1993). lyer argues that the late twentieth century has been witness to an important event in the world of literature: the emergence of a new generation of writers writing in English, but not necessarily originating from British-colonial (or postcolonial) backgrounds. Among the writers lyer mentions are Vikram Seth, Michael Ondaatje, Ben Okri and - most notably - Kazuo Ishiguro. Ishiguro was born in Japan but emigrated with his parents to the United Kingdom at the age of six. This study focuses on his biculturalism and the impact that his mixed upbringing has had on his style and thematic concerns. This forms the principal focus of the first part of the study. The influence of Japanese writers, that of Japanese film and, finally, that of the European literary tradition are looked at in turn. The core of this study is a comparative analysis of Ishiguro's first three novels: A Pale View of Hills (1982), An Artist of the Floating World (1986), and The Remains of the Day (1989). Here certain common pre-occupations are identified and discussed - chiefly, Ishiguro's concern with memory, with constructions of the past, and his use of "unreliable" first-person narrators. It is argued that Ishiguro returns insistently to these thematic concerns in his first three novels, and that they can therefore be seen as constituting a three-part exploration of the notion of memory, of "reconstructing" the past. A separate chapter briefly examines Ishiguro's most recent work, The Unconsoled (1995), in which these themes are once again present, although they are bodied forth in a strikingly different style. The purpose of examining this novel is mainly to illustrate its formal and stylistic divergence from the first three (far more successful) novels - a divergence which in turn serves to throw into relief the thematic integrity of the first three novels. The study concludes by drawing together the discussion of the first three novels before moving on to a consideration of Ishiguro's place in what has become known as "New Internationalism". Here it is argued that Ishiguro's work has important resemblances to that of other writers loosely grouped into this literary movement and that he deserves his place among this illustrious group of writers who are changing the face of world literature written in English.

A dissertation submitted to the Faculty of Humanities and Social Sciences, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Fine Arts by Dissertation / In this research I examine how the ineffable is addressed and explored in selected artworks by British-Indian artist Anish Kapoor (b 1954) and South African artist Karel Nel (b 1955). I introduce the notion of the ineffable, described as that which is too great or profound to be expressed in words; the ungraspable, indescribable, indefinable. It is often linked to the spiritual, the fluid and unfixed, the transcendent and the notion of the revelatory. I consider it alongside related terms such as the sublime, the numinous, the mystical etc. In examining how it can be seen to link to artists’ aesthetic pursuits, I briefly consider the idea of the shamanistic role of the artist in providing a ‘transformative event’ of bringing the invisible into visible form. My primary focus is on how both Kapoor and Nel can be seen to use their chosen materials, forms, and means of display to engage with ideas that relate to the metaphysical and allude to the intuitive and the spiritual. Their interest in Buddhist philosophy and the notion of reconciliation of opposites as well as their exploration of space and the idea of the immaterial becoming object is related to my discussion of their artworks in terms of evoking the ineffable. Kapoor's biomorphic sculptural forms covered in powder pigments, examples of his reflective stainless steel sculptures and two recent sitespecific installation artworks using smoke and water are closely examined as are examples of Nel's two-dimensional drawings using pastels, powdered earth pigments, carboniferous salts and dust and two of his site-specific installation artworks involving the use of water and refracted/reflected light. I finally discuss my own creative work in relation to the above as presented in my exhibition titled Ātmān / MT2016

徐啓章. / 稿本 / 論文(碩士)--香港中文大學硏究院歷史學部,1992. / 附參考文獻 / Xu Qichang. / 前言 --- p.1 / Chapter 第一章 --- 邁涅克與德國社 / Chapter 1.1 --- 帝國的光榮˘Ưđ歲月 --- p.1-1 / Chapter 1.2 --- 從共和到極權 --- p.1-4 / Chapter 第二章 --- 世紀末德國的文化危機 / Chapter 2.1 --- 世紀末的吶喊 --- p.2-1 / Chapter 2.2 --- 危機與轉機 --- p.2-4 / Chapter 2.3 --- 思想涵義 --- p.2-9 / Chapter 2.4 --- 社會基礎 --- p.2-13 / Chapter 第三章 --- 自由主義中的國家與民族 / Chapter 3.1 --- 大同主義與民族國家 --- p.3-1 / Chapter 3.2 --- 從洪堡到俾斯麥 --- p.3-3 / Chapter 3.3 --- 自由主義與民族精神 --- p.3-5 / Chapter 3.4 --- 藏身的惡魔 --- p.3-8 / Chapter 第四章 --- 理想主義的權力觀 / Chapter 4.1 --- 近代史中的國家理性觀念 --- p.4-1 / Chapter 4.2 --- 強權與道德 --- p.4-3 / Chapter 4. 3 --- 理想主義與歷史主義 --- p.4-6 / Chapter 4.4 --- 惡魔現身 --- p.4-8 / Chapter 第五章 --- 文化價值與歷史 / Chapter 5.1 --- 因果與價值 --- p.5-1 / Chapter 5.2 --- 文化與文化史 --- p.5-3 / Chapter 第六章 --- 歷史主義的危機 / Chapter 6.1 --- 批判與危機 --- p.6-1 / Chapter 6.2 --- 世界觀的崩漬 --- p.6-3 / Chapter 6.3 --- 狂傲的惡魔 --- p.6-5 / Chapter 第七章 --- 文化的重生 / Chapter 7.1 --- 德國的災劫 --- p.7-1 / Chapter 7.2 --- 回歸十八世紀 --- p.7-2 / Chapter 7.3 --- 惡魔共生 --- p.7-3 / 結語

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