viii, 317 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1980

Text in Afrikaans / Die Afrikaanse poesie van die tagtigerjare toon 'n ryke verskeidenheid deurdat ouer digters soos Eybers, Breytenbach, Cussons, Stockenstrom en Ernst van Heerden voortdig en 'n groot aantal nuwelinge na vore tree. Hoewel die groep digters die grense van "generasie" ver oorskry, blyk dit dat hulle 'n baie li tererbewuste groep kunstenaars is wie se poesie verskeie gemeenskaplike trekke openbaar. Uit die groot verskeidenheid blyk dat sekere temas, soos pyn, aftakeling, dood, liefde, godsdiens asook sosio-kulturele en politieke aktualiteite steeds as die gewildste onderwerpe figureer. 'n Deel van die studie word daaraan gewy om aan te toon hoe hierdie temas in die jonger Afrikaanse poesie vergestalting vind. 'n Terna wat 'n besliste vernuwende aspek in die Afrikaanse poesie bring, is die homoerotiek. Die groter openheid oor homoseksualiteit gee aanleiding tot eksplisiete homoerotiese verse, veral by Joan Hambidge en Johann de Lange. As gevolg van die terroristiese bedrywighede en militere optrede aan die landsgrense gedurende die sewentiger- en tagtigerjare beleef die Afrikaanse literatuur die opkoms van die sogenaamde grensliteratuur as 'n vernuwende aspek van die tema van oorlog en geweld wat van die vorige dekade af oorspoel. Verder word aandag gegee aan die verskynsel van inter(-)tekstualiteit, wat weens die omvang daarvan in die kreatiewe en beskouende literatuur, perspektiefverandering in die Afrikaanse poesie teweegbring. 'n Verdere vernuwende aspek wat aangetoon word, is die wegbeweeg van die beoef ening van die loss er, vryer versvorm van die sestiger- en vroee sewentigerjare na 'n strenger vormbeheer en - dissipline. Die skryf van 'n meer tradisionele tipe poesie word by verskeie digters aangetoon. Die bydrae van tydskrifte en tydskrifverse tot die Afrikaanse poesie word ondersoek. Saam met die verskyning van talle bundels populere poesie, waar die klem veral op die volkskwatryn, sonnet en limerick val, speel die tydskrifte 'n besondere rol om Afrikaanse poesie vir 'n breer leserspubliek toeganklik te maak. Daar word tot die gevolgt~ekking gekom dat die digters van die tagtigerjare die "demokratisering" van die Afrikaanse letterkunde veel verder gevoer het en dat die reikwydte van Afrikaans daardeur uitgebrei is / The rich diversity of Afrikaans poetry of the eighties is displayed by the fact that many of the older poets, such as Eybers, Breytenbach, Cussons, Stockenstrom and Ernst van Heerden, have continued writing poetry, while a large number of newcomers have appeared on the scene. Although these poets far exceed the "generation" boundaries, they are evidently a very literary-aware group of artists, whose work has a number of traits in common. Certain themes, such as pain, decadence, death, love and religion, as well as socio-cultural and political realities, remain popular topics. Part of this study is to show how these themes are expressed in contemporary Afrikaans poetry. A decidedly new aspect of Afrikaans poetry is homo-eroticism. The more open approach to homosexuality gives rise to explicit homo-erotic poems, especially those of Joan Hambidge and Johann de Lange. As a result of terrorist activities and military action on our borders during the seventies and eighties, Afrikaans literature saw the beginning of the so-called border literature as a renewal of the war and violence theme, a relic from the previous decade. Inter(-)textuality is explored, which, due to its influence on creative and reviewing literature, has brought about a change in the perspective of Afrikaans poetry. A further renewal highlighted, is the moving away from the unstructured and freer verse form of the sixties and early 4 seventies to a stricter, controlled and disciplined form. The more traditional type of poetry written by various poets is discussed. The contribution by periodicals and poems in periodicals to Afrikaans poetry is explored. Together with the numerous volumes of popular poetry published, emphasizing the national quatrain, sonnets and limericks, periodicals play an important role in making Afrikaans poetry more accessible to a broader reading public. The conclusion is reached that the poets of the eighties promoted the "democratization" of Afrikaans literature, thereby extending its influence / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)

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

No description available.

That period in Canada, between 1935 and 1955, which encompasses a pre-war depression, a world war, a post-war period of disillusionment, and the beginning of a time of affluence and intellectual expansion, has left an impressive fund of poetry recording the emotional response of Canadians to the turbulence of these years. At the beginning of this period, the poetry is asserting its independence from the derivative poetry of the earlier Canadian poets, and the end of the period, has already introduced the new mythopoeic mode which dominates the recent literary scene. The major themes of the poetry of this period are directly related to the historical events of the time. In Chapter I, the poetry of social protest is examined in detail. A group of exclusively critical poems, unexperimental in technique, is balanced by a group of more sympathetic ones, employing more of the characteristics of the new poetry. Many poems of social protest indicate an enduring hope for a better future, but those poems dominate this tradition, which incorporate a decidedly revolutionary program. The ultimate solution, however varying the degrees of action may be, is man's own responsibility. Chapter II presents poems inspired by World War II. The initial distrust of the war is replaced by despair. The loss of love, life, security, and meaning is explored in introspective, sensitive poems, as concerned with the emotions on the battlefield, as those in the empty home. The hope for a better future is found in love, courage, or endurance, and the final victory evokes both faith and distrust in its reality. The psychological interest in the individual in a postwar world has produced a number of poems examined in Chapter III. By this time, the poets are already employing new forms with comparative freedom, and this poetry reflects the flexibility demanded by an interest in the complexities of human psychology. The tensions between the need for people, and the need to be alone are as convincingly presented as those between the desire to be loved, and the desire to be independent. The tedium of daily existence creates its peculiar cyclic metaphor, manipulated by many of the poets in a variety of ways. The psychology of abnormality preoccupies a few poems, but a fairly general statement of faith in humanity is characteristic of all of this work. In this chapter, the psychological responses in several of Pratt's poems are examined, along with a brief discussion of his relationship to the rest of the Canadian poetry. Chapter IV examines the poetry which very definitely uses myth as structure, and discusses, very briefly, the mythopoeic poetry after 1955. The favourite structural myth, the fertility cycle, is accompanied by the various aspects of the quest myth. A curiously ironical inversion of the apocalyptic vision indicates that the Canadian mythopoeic poets cannot be expected to be conventional. This study leads to the ultimate conclusion that the Canadian poetry of this twenty year period is a related, but disunified group of fragments, directly connected with the chronological events of the period, but never merging into a clear stream of poetry which flows through these years. The chief reasons for this are explored in the conclusion. A. selective bibliography of the poetry published in Canada between 1935 and 1955 is appended. / Arts, Faculty of / English, Department of / Graduate

Depuis la deuxième guerre mondiale le roman caradien français témoigne d'un dynamisme étonnant. Dans ce travail nous nous proposons d'examiner certains de ces romans écrits entre les années 1947 et 1957 afin de mettre en relief quelques traits de leur développement. L'intére êt des intellectuels pour l'effet de l’évolution sociale de la Province de Québec sur la mentalité de l'individu se manifeste librement dans le roman. L'auteur n'est nullement retenu par les règies qu'impos ent un document historique. Cette liberté lui permet d'arriver à la même fin que l'historien ou le sociologue, d'une façon plus realiste, done plus attrayante, pour un plus grand nombre de gens. Littérature encore dans son enfance, la littérature canadienne ne justifiera encore aucun jugement définitif d’ensemble. Toutefois il faut signaler un aspect significatif du roman canadien français: l'interréaotion des forces sociales et de la personnalité collective et individuelle. Cette thése ne se borne pas à signaler les simples esquisses de moeurs. Elle a plutôt l'intention de dégager des romans un type d'homme représentatif de cette société en évolution. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

De tous les genres littéraires le roman était le moins en faveur chez les écrivains du Canada Français au XIXe siècle. Le manque de métier de ces écrivains et leur incapacité à observer et à analyser les caractères expliquent sans doute cette étrange lacune. Les premiers romans contenaient surtout des légendes, des rapports historiques mêlés d'études de moeurs indiennes. L'exploitation de la veine d'aventure étant toujours le point de départ de toute littérature naissante, le roman canadien-francais s’était tourné vers la véritable aventure du Canada, c'est-à-dire la colonisation. Les thèmes en étaient l’attachement au sol, l’exploitation et le patriotisme. Mais la présentation était primitive. En 1914 "Le Temps" publie Maria Chapdelaine de Louis Hémon. Cette oeuvre a donné le ton à bien des romanciers canadiens-français, qui ont trouvé chez un écrivain venu de France les éléments qui leur manquaient, c'est-à-dire une technique, un style, l'observation exacte et l'analyse des caractères. Ce chef-d'oeuvre de Louis Hémon contient un thème important, celui de la lutte de l'homme contre la nature. Ce thème se trouve aussi dans les oeuvres de trois autres écrivains: Marie Le Franc, Georges Bugnet et Maurice Constantin-Weyer, tous arrivés de France au début du vingtième siècle. Cette thèse se propose d'etudier l'homme et la nature à travers les oeuvres de ces quatre écrivains français, et les éléments nouveaux qu'ils ont apportés à la littérature du Canada Français. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Since World War II Canadian literary criticism has tended to be either historical or aesthetic in its emphasis. Little or no interest has been shown in the linguistic approach to criticism; no work has been done on Canadian poets comparable to the writing of Donald David and David Abercrombie on English poets, or of Chatman or Miles on American poets. It is the purpose of this thesis to make a preliminary survey of contemporary Canadian poets from Pratt to Newlove, with particular reference to their style and technique. Special attention will be given to rhythm, and sound, relating Canadian poets' experience to contemporary trends elsewhere. Central to this study is the concept of rhythm in poetry. For the older poets, Pratt and Klein, rhythm was contained in the traditional metres. Raymond Bolster, influenced by the Chicago poets, directed attention to the imagist conception of free verse; and this led, among the poets of the forties, to an increasing interest in the experiments of Pound and Williams. In the fifties, Olson, Duncan, Creeley and Ginsberg began to emphasize the oral and linguistic side of poetry-making. Their influence, first felt in Eastern Canada, has recently gained recognition on the West Coast. The Canadian poets dealt with in this study are those specifically concerned with new experiments in rhythm and sound, and for this reason such poets as Birney and Layton have been excluded. Their eclecticism and frequent changes in style would seem to deserve specialized. research. In this present work, Chapter I defines the terms used and summarizes various critical views on verse techniques, from the Russian Formalists up to the present. Chapter II deals with the forerunners of experimentation, Pratt and Klein. Of the two, Klein was the greater technician, a poet who played with many metrical forms. Both men, however, were deeply concerned with language and its relation to poetry, and this linguistic interest undoubtedly Influenced younger poets. Chapter III examines the imagist movement and in particular its effect on the poet of the thirties, Raymond Knister. Although he used metaphor and symbol, the emphasis which Knister put upon the object— "little things and great"— did great service to the growth of an indigenous, objective movement in Canadian poetry. This movement is the subject of chapters IV and V, in which the work of Souster and Dudek is examined. Chapter VI considers the poetry of Milton Acorn as it relates to the imagism and social commentary already present in the poetry of Souster and Dudek. An unusual aspect of Acorn's verse is its didactic note, expressed in resonant rhythms. Chapter VII examines the style of Alfred Purdy. Although he eschews rhyme, he uses the Iambic stance whenever it suits his purpose. Purdy's own personal rhythm dominates the content and structure of all his poetry. In conclusion Chapter VIII refers to the contemporary scene in British Columbia, attempting to show that the experimental trends from the western States and from eastern Canada have united in the work of Phyllis Webb, James Reid and John Newlove. Each one, though markedly individual, is profoundly conscious of the spoken word, the linguistic collecation of words, and the importance of syntax as a propeller of rhythm and sound. Newlove's poetry is especially singled out as being an 'oral' and 'aural' reflection of his place and time. An Appendix is attached which described the Trager and Smith approach to stress, intonation and juncture, with some critical notes on its application to the art of poetry. Throughout this thesis, the emphasis is on an examination of a poet's style rather than an evaluation of his content. Nonetheless it should be borne in mind that "Sound and meter...must be studied as elements of the totality of a work of art, not in isolation from meaning." An examination of Canadian poetry from Pratt to Purdy must recognize the intimate interplay that exists between thought and expression. / Education, Faculty of / Graduate

This thesis is composed of the translation of previously untranslated works of important modern Spanish authors from Spain, Argentina and Mexico: Adolfo Bioy Casares (Argentine novelist and frequent collaborator with Jorge Luis Borges): PLAN DE EVASION, 1945. The entire novel is structured on a "fantastical" formula of physiological-philosophical ideas--rooted in the psychological theories of William James and encompassing even the borders of the current threshold of biological engineering. This "formula" is presented near the end of the novel and serves as the key to the reality of the novel itself: to the manner of its architecture, its mental and emotional perceptions and its ultimate "resolution" which turns the conclusion back on its parts, forcing the reader to make a reassessment of the perplexing components of reality in the novel and, perhaps, even to reexamine the questions of the nature of reality itself. In a fully fictional and highly symmetrical manner, the novel explores the question of reality, building its own structure of a network of multiple and conflicting realities which are each developed to be consistent with themselves but which conflict insolubly at their ultimate junctures with each other. Rafael Alberti (poet and dramatist of the famous "Generation of 1927" in Spain): EL ADEFESIO, 1944. This work, often compared with Garcia Lorca's "House of Bernarda Alba", is considered by the critics to be his finest play, and in Spain his work is more highly regarded than that of Lorca. Like Lorca, in El Adefesio Alberti utilizes common Spanish folklore, but unlike Lorca he uses it only as a springboard to larger and more complex ends. In the play he interweaves Spanish folklore with Greek mythology and Christian legend, employing a naked, fluid symbolism in a way that is at moments strikingly modern and existential. In the play he achieves a startling poetic counterpoint between the classical, lyrical ritual of tradition, with its elevated emotion, and a dissonant ritual of grotesqueries suggestive of the modern theatre of the absurd—resulting in a poetic unity that is both rich and complex. Jorge Guillen (an imagist poet, also of the "Generation of 1927" in Spain): CANTICO, 1928. His self-professed aims in Cantico (a "poetry of affirmation") are to express his concept of the basic unity, harmony and abundance of life and of the intimate relatedness of all things in time and space. In the poems of Cantico Guillen pursues this affirmation through purity, intensity of vision and exclusion, his verses characterized by a refined, joyful classicism and brilliant metaphor. Alfonso Canales (an important member of the school of modern Spanish poets, whose works date from 1950 to the present): 0T0N0, 1956. This poem is from his book of poetry El Candado. Max Aub (major modern playwright and fervent anti-fascist, self- exiled from Spain and now residing in Mexico since 1942): LOS EXCELENTES VARONES, 1946. Although his work is no longer recognized in Spain, Aub is generally regarded by critics as one of the finest living Spanish playwrights. The concerns which have dominated Aub's post-Spain writings are those of war, fascism, exile, humanism and the dignity of man under pressure in relation to moral values. Although Los Excelentes Varones, by Aub's own classification, belongs to the genre of his work which he calls "police theatre", it is much more than that, being also a piercing black farce satirizing the recurrent and ominous impulse of society—past, present and possibly future—toward the police state / Arts, Faculty of / Graduate

This thesis examines the music criticism of Kaikhosru Shapurji Sorabji (1892- ), a well known composer and music critic active in England from the early 1920s to the late 1940s. Although many authors have referred to Sorabji's music and criticism, neither has been treated in a substantive manner. The present study focuses on Sorabji's contributions to The New Age, a weekly journal, and particularly on his articles therein dealing with contemporary British composers. It is of interest that Sorabji's criticism deals with a vibrant period of music history, known as the English Renaissance. An examination of Sorabji's writings, published articles and private correspondence reveals him to be a highly complex personality. His marginal position in English society, based partly on his racial background and his negative views of the British, led him to view the musical scene from a perspective differing from that of other critics. Not fully admitted into the inner circles of the musical establishment, Sorabji surrounded himself with a small, elite group of friends and admirers, which included well known composers and literary figures such as Bernard van Dieren, Peter Warlock, William Walton, John Ireland, Sacheverall Sitwell, Hugh McDiarmid and Cecil Gray. It is within this context that Sorabji redefined the role of the music critic and criticism to suit his personal values and style which were much influenced by his involvement in the mystical tradition of Tantric Hinduism. A detailed discussion of Sorabji's writings on the British composers Delius, Elgar, Bax, Vaughan Williams, Hoist, Ireland, van Dieren, Walton, Lambert, Smyth, Berners, Bush, Warlock, Howells, Bliss, Boughton, Scott, Goossens and Britten reveals that the critic's musical affinities were conservative throughout his career as music critic for The New Age. An analysis of these writings shows a clear-cut pattern of likes and dislikes. Sorabji praised highly the musical styles that appealed to him and wrote in a harsh and negative manner about music that he found distasteful. While this emotionalism tainted many of his reviews, it also encouraged the support of those who shared his opinions. Nonetheless, Sorabji's use of harsh and blunt language often turned the tide of public opinion against him. Yet, it is this particular style, which can sometimes be humourous and racy and other times harsh to the point of cruelty, that distinguishes Sorabji writings from the mainstream of music criticism. An appendix lists Sorabji's writings in The New Age during the period 1915 to 1934. / Arts, Faculty of / Music, School of / Graduate