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The founding hypothesis of the study is that creative writers translate jazz music and performance into discourse by recourse to a number of figurative domains. These translations map existential, anthropological and political spaces and situate jazz within these. The first chapter concerns the representation of jazz in the construction of alterity, focussing on the evocation of the Dionysian spirit of jazz, the parallels between jazz and Bahktin's carnival and the strategic deployment of 'blackness' in configurations. The second chapter applies the notion of 'existential integration' in tracing some of the fluid boundaries between the music, the body of the instrument and the body of the performer in representations. The final chapter looks at the contrary tendency: the representation of mystical transcendence in the course of listening to or performing jazz. Underlying each of the three chapters is a concern with the emergence and propagation of oppositional identities in jazz writing. / English Studies / M.A. (English)

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This work investigates characterisation in four modern Zulu novels. The objective of the study is to examine whether or not there is development in the portrayal of characters in recently published Zulu novels. The study is prompted by the view that a high number of novels in African languages have inadequate portrayal of characters (Zulu 1998). Focus has been placed on the following four Zulu novels: Izibiba Ziyeqana, Asikho Ndawo 8akithi, Isidleke Samanqe, and Itshwele Lempangele. The novels were published between 1995 and 1998 and all have won literary prizes in recognition of their high literary qualities. It has been found in the study that the way characters are portrayed in the four novels shows some signs of development. All the chief characters are 'round' in the sense that they change and adapt to changes and circumstances. Even though there are serious problems, the characters are seen to be fighting like ordinary human beings to better their lives. It is also found in the study that antagonists in some novels are round characters. It is concluded that this study identifies positive properties about the development of characterisation in the Zulu novel of the late 1990's. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek karakterisering in vier moderne Zulu novelles. Die hoofdoelstelling van die studie is om vas te stel of daar 'n ontwikkeling in die voorstelling van karakters in onlangs-gepubliseerde Zulu novelles is. Die studie is gemotiveer deur die siening wat bestaan dat 'n groot aantal novelles in Afrikatale 'n onvoldoende voorstelling van karakters toon (Zulu, 1998). Die fokus van die studie val op die volgende vier Zulu novelles: Izibiba Ziyeqana, Asikho Ndawo Bakithi, Isidleke Samanqe en Itshwele Lempangele. Hierdie novelles is gepubliseer tussen 1995 en 1998 en het almal literere pryse gewen ter erkenning van hulle uitstaande letterkundige meriete. Die studie het bevind dat die wyse waarop die karakters voorgestel is in al vier novelles verskeie tekens van ontwikkeling ten opsigte van die Zulu letterkunde toon. AI die hoofkarakters is "rond" in die sin dat hulle verander en aanpas na gelang van veranderinge en omstandighede. Selfs onder ernstige omstandighede, veg die karakters soos gewone mense om hulle lewens te verbeter. Daar is ook in die studie bevind dat die antagoniste in sommige novelies ronde karakters is. Die studie identifiseer positiewe kenmerke t.o.v. die ontwikkeling van karakterisering in die Zulu novelle in die laat 1990's. / IQOQO Lomsebenzi ubhekane nokuvezwa kwabalingiswa emanovelini amane wesiZulu. Kubhekwe amanoveli amasha ngenjongo yokuthola ukuthi ngabe kukhona yini ukuthuthuka ngokuvezwa kwabalingiswa. Okwaziwayo okwamanje wukuthi ukuvezwa kwabalingiswa emanovelini amaningi wabomdabu kusezingeni eliphansi (Zulu 1998), yingakho-ke lomsebenzi ubuzama ukuthola ukuthi ngabe luyabonakala yini loguquko Iwemqubekela phambili. Kukhethwelamanoveli alandelayo: Izibiba Ziyeqana, Asikho Ndawo Bakithi Isidleke Samanqe, kanye ne-Itshwele Lempangele lapho kucubungulwa loshintsho lokuvezwa kwabalingiswa ngababhali bemnyaka yabo 1990. Lamanoveli angawoshicilelo olusuka ku-1995 ukuya ku-1998. Kuye kwakhethwa lamanoveli ngoba azuze imiklomelo yokuthi abhalwe ngezinga eliphezulu. Okutholwe kulomsebenzi ukuthi ukuvezwa kwabalingiswa yilababhali balamanovela kubonisa impumela phambili. Bonke abalingiswa abaphambili batholakala beyizindilinga. Umlingiswa nomlingiswa lapho ehlangabezana nezingqinamba uyaguquguquka azifune ebuhleni ngempilo yakhe. Nanoma kunobunzima sibathola ngasosonke isikhathi balwisana nabo bazama izindlela ezizobasa empumelelweni. Kutholakale futhi ukuthi bonke labalingiswaabangabaphikisi (antagonists)babonakala bakhula. Lomsebenzi uphethwa ngokuthi ziyabonakala zrmpewu zokukhula nokuthuthuka ekuvezweni kwabalingiswa emanovelini wesiZulu wababhali bango1990.

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There are two parts to this thesis: a novel, Closing the Circle, and a critical commentary on the process of writing a novel from beginning to end. The novel tells the story of Natasha, a young, late twentieth century woman who searches for her "roots." It begins in southern Alberta and she eventually travels to Eastern Europe where she uncovers the voices in her dreams and from the past. It deals with the metaphysical question of a collective unconscious that houses past symbols pertinent to her search as well as the question as to the validity of dreams and memory in human life. The critical commentary addresses issues involved in writing a fiction vis a vis structure and other literary devices. It also addresses questions that come with taking personal familial historical events and writing them into "story." / 28 cm.

The decade 1940-1950 represents a decisive stage in the evolution of the relations between the Quebec literary scene and France. Whereas before the war, literary discourse keeps on upholding, in a dogmatic way, the superiority of French culture and literature, the next period is characterized, on the contrary, by a reassessment of this postulate. / The historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intellectuals is not unrelated to the process of modernization and autonomization undertaken at that time by the major sectors of the Quebecer literary apparatus. / A conflict of interest in the publishing sector as well as ideological differences spark a controversy between Robert Carbonneau and some members of the Comite National des Ecrivains. This "quarrel", to quote Charbonneau, is an unprecedented example of direct confrontation between Quebecer and French literary agents. On this occasion, Robert Charbonneau redefines French Canadian literature outside of France's sphere of influence, France being a country whose status he wishes to limit to that of just one foreign reference among many. / This desire for autonomy can also be found in literary texts which, using means available to them, bear witness to an appreciable decline of the French literature. But whereas literary discourse attempts to resist annexation to French literature, the literary apparatus is subject, upon the Liberation, to a material and symbolic domination by the French authorities, a domination it cannot fight. In this respect, the conditions of literary production in the fifties are paradoxical since the text, while voicing its rejection of the French institution and its French Canadian identity, continues to receive its ultimate consecration from France.

The founding hypothesis of the study is that creative writers translate jazz music and performance into discourse by recourse to a number of figurative domains. These translations map existential, anthropological and political spaces and situate jazz within these. The first chapter concerns the representation of jazz in the construction of alterity, focussing on the evocation of the Dionysian spirit of jazz, the parallels between jazz and Bahktin's carnival and the strategic deployment of 'blackness' in configurations. The second chapter applies the notion of 'existential integration' in tracing some of the fluid boundaries between the music, the body of the instrument and the body of the performer in representations. The final chapter looks at the contrary tendency: the representation of mystical transcendence in the course of listening to or performing jazz. Underlying each of the three chapters is a concern with the emergence and propagation of oppositional identities in jazz writing. / English Studies / M.A. (English)