The object of this thesis is to study the monologue, a dramatic genre that re-emerged on the Spanish literary scene in the 1970s. Despite the fact that a number of well-known Iberian playwrights have cultivated this genre assiduously over the past three decades, their work has received relatively little critical attention from either academic or theatre circles. What is sought here, therefore, is the means to demonstrate the importance and richness of the monologue as an autonomous dramatic creation. To do this it was necessary to establish a sufficiently large corpus--some eighty long and short monologues--and identify those particular conventions and the structural diversity that would make possible the formulation of a theory of connected language functions in the monologue by adapting existing theoretical principles to the study of this singular genre. The application of this theoretical construct enabled me to determine the nature of the functions of expression, communication and persuasion present in the discourse of a single speaker. / Specifically, in considering the function of expression I reflect both upon the coherent discourse that derives from the (exterior) verbalization of (interior) thought and emotion, and upon the objectives and consequences of such expressions of the mental and emotional states of the individual. Secondly, I focus attention on the same verbal discourse inasmuch as it reflects the complex function of communication manifested in both an immanent and in a transcendental form. Such complexity derives from the fact that, if verbal discourse here is enunciated either in isolation or before an interiorized addressee (a fictional being), it is always emitted in the "presence" of an external addressee (the theatre audience/or reader). Finally, my study of the function of persuasion underscores the idea of empowerment: the authority of the word that is wielded by the monologist upon his/her addressee(s), a verbal manipulation that takes place both within the fictional world and beyond. / In short, this thesis seeks to show how the monologue as a fictional dramatic genre questions the viability of interpersonal relationships.

This thesis attempts to show how the little magazine Carmen (1927-28), and its militant supplement, Lola, together provide evidence of the innovative work of a newly emergent generation of poets in the 1920s. An historical overview of literary events in the decade is given in the first chapter in order to situate the more specific comparisons made in the second chapter with other Spanish periodical reviews which were both precursors and contemporary publications. Chapter three and four are dedicated to an in-depth analysis of the contents of Carmen and Lola. By focusing exclusively upon these somewhat neglected reviews, the intention here is to prove that, as their founding editor, Gerardo Diego, proposed, they are both an important source of documentary history concerning the Generation of 1927 and a fascinating anthology of its poetry.

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Since the colonial period, Zimbabwe has been a territory characterised by contestation. In the 2000s, Zimbabwe entered a period of severe socio-economic conditions; this period was also marred with several cases of human rights abuses and political violence. This period also saw the emergence of a new opposition party, the Movement of Democratic Change (MDC). In the mid-2000s, South Africa was vested with the task of resolving the political crisis in Zimbabwe by the Southern African Development Community (SADC). Former South African President Thabo Mbeki managed to facilitate a Global Political Agreement (GPA), which was signed on 15 September 2008. This led to an Inclusive Government (IG) being formed on 3 February 2009. The IG brought the three main opposition parties in Zimbabwe into a power-sharing government with the Zanu-PF. This dissertation explores the role played by South Africa in brokering a power-sharing deal in Zimbabwe, it also assesses whether “power-sharing” is an effective peace-building model. At the core of this dissertation is an assessment of the impact of the IG on the politics in Zimbabwe. Three themes are used to assess the politics, namely socio-economics in Zimbabwe, the rule of law in Zimbabwe and the perceived legitimacy of the government. The dissertation uses content analysis as the research method to analyse three newspapers, a South African newspaper, the Mail & Guardian and two Zimbabwean newspapers, the Sunday Mail and the Standard Newspaper. The period of analysis will be from 2005 to 2011. The dissertation offers a substantive analysis of the reporting of the three newspapers. The findings of this dissertation reveal that the socio-economic situation in Zimbabwe has improved since the implementation of the IG but is still in a dire situation. It also reveals that, despite the decrease in reports of human rights abuses and the cases of political violence, Zimbabwe is still devoid of the rule of law. It reveals that the legitimacy of the government is in Zimbabwe has slight improved since the implementation of the IG. The dissertation offers recommendations to the political crisis in Zimbabwe from the discipline of conflict transformation scholarship. / M.Soc.Sc. University of KwaZulu-Natal, Durban 2013.

The renewed interest in representational figure painting that occurred in the 1960s and 1970s caused artists, art historians, and critics to consider whether or not this contemporary work belonged to the abstract, modernist direction painting had taken in the 20th century. This paper considered the problem as it was reflected in the careers of contemporary figure painters Philip Pearlstein, Jack Beal, and Alfred Leslie. The opinions of critics and historians and the views of the artists themselves were researched. The critics reached the consensus that all three artists' works were a logical extension of the modernist tradition in painting. Pearlstein concurred. He felt strongly that subject matter was irrelevant if the artist's attitude toward it was modernist in sensibility. Beal and Leslie found that abstract modern art was of little interest to them and concerned themselves with figure painting as a narrative genre allowing personal expression.The author also used this issue as a framework for the evaluation of her own series of three representational oil paintings of human figures wrapped in fabric. After describing the paintings, she concluded that they did reveal aspects of the artists' and critics' criteria of modernism (i.e. evenness of detail, large scale, and aggressive imagery) that should be pushed further in future work.

This thesis explored the problem of creating an illusion of textiles from the beginning stages through the finished work. Included in this study were the reasons for selection of problem, motivation and media. In addition the solutions and interpretations were presented with references to personal gains and insights.

The intention of this thesis and this series of paintings was to discover a universal bond between Surrealism and Abstract Art. It examined the origin of creative motivation and observed the similarities between these forms of creative production.For examples and information the writer researched Salvador Deli and Max Ernst of the Surrealistic schools; Wassily Kandinsky and Jackson Pollock represented the Abstract school. Objectification of unconscious processes was expressed through the inner wishes end dreamstates of both the Surrealists and the Abstractionists. A cohesive tie was discovered between image and imageless painting. Through comparison of the artists used as reference and the confirming series of paintings, this thesis was successfully completed.

The purpose of the study was to examine the status of contemporary fiber as an art form and to identify critical factors affecting its continued development.An extensive search of available literature was conducted. From this search, coupled with the researcher's extensive personal involvement with fiber, populations were identified and questionnaires were designed.Three pertinent but different populations, consisting of fiber artists, college/university and art school heads, and museum, gallery, and textile directors/curators were selected to receive the questionnaires. The questionnaires were designed to reflect the similarities and differences of the population.Data were treated to comparative percentages, valid percentages, cumulative percentages, frequencies, and Chi-Squares. Four major concerns were identified and discussed. They are:1. Fiber as Fine Art2. The Importance of Content and Message Orientation in Fiber3. The Problem of Plurality and Fiber4. The Need for a Critical Language Relative to FiberFindings and Conclusions1. The division between fine art and crafts still exists. Therefore, the division also exists for fiber art, which is part of the crafts discipline.2. Most individuals are not in favor of limiting the parameters of what constitutes fiber art in order to help gain a clearer understanding of what fiber art really is.3. There does not appear to be a critical language for fiber art except that which is technique, method, or materials based.4. The opinion of whether fiber art should be message or statement oriented is divided. Some were in agreement while others were not. In addition, some of the respondents answered with "sometimes."