A writer may choose many points of view in considering works of art. Frequently the work of an artist is regarded purely for its own merit. Or it may be considered in relation to the work of other artists or periods. Here, the writer has chosen to consider certain sculptural works of the English artist Henry Moore in relation to the cityscape and landscape settings in which they have been placed. In order to more fully understand the works, how they relate or do not relate to their settings and what effects the settings have upon them, the thesis has been broken into several major sections which in turn have been further divided. A section dealing with Henry Moore as a man and an artist, the pattern of development which his work has taken, and a clarification of the meaning of his work is placed first in order that the reader may more fully understand the specific pieces when they are considered. This section is followed by a chapter devoted to a generalized discussion of the development of sculpture from earliest times to the present day and its various uses within cities and landscape both in the past and in the 20th century. Continuing the thesis, a number of Henry Moore's major works are discussed. The pieces are considered for their significance within the 'oeuvre' of Moore. They are also considered for their function in relationship to their setting -- cityscape or landscape. Certain of Moore's bronzes have been placed in both landscape and cityscape locations and in these cases it has been possible to consider the relative impact of the works within each type of setting. The pieces are not discussed in chronological order, but rather in the order which best suits both the subject and its setting. Those sculptures which have as their setting, the city, have been discussed first as it is in this environment that sculpture is most frequently found. Several of the pieces have both landscape and cityscape sites and thus provide the transition to the setting of pure natural landscape in which are placed other works of sculptor Henry Moore. Finally, a number of works having the exhibition space in the museum or gallery as their setting are given consideration. In a few cases the pieces are not permanently located. However, most of the works considered are in permanent collections and the landscape or cityscape settings in which they are found today are their permanent sites. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

From its earliest beginning in Frances Brooke’s The History of Emily Montague, set in Canada and published in 1769, women have been prominent in Canadian literature. Since that time, a very large number of Canadian novels written by both men and women have been primarily concerned with a female character. In this thesis, an attempt has been made to determine to what extent an author's fictional world view and characterization is influenced by his sex; the area was narrowed to that of the Canadian novel in the period of approximately 1950-1965. Novels by Brian Moore, Sinclair Ross, Hugh MacLennan, Morley Callaghan, Adele Wiseman, Sheila Watson, Ethel Wilson, and Margaret Laurence were chosen as the main objects of the study. A recurrent theme emerged during the study of these novels; many of the authors appeared deeply concerned with the problem of personal and social isolation, and concluded that evil and fear, compassion and love neither originate outside the self nor remain confined to it. The metaphor used to characterize the fear-based isolation was often that of the wilderness, which might be internal, external, or both. A final conclusion about these novels, which are almost all based primarily on female characters, is that the ones created by women are generally more interesting and convincing. The male novelists tend to emphasize the sexual roles played by their female protagonists, while the women authors have a stronger tendency to write about women as people whose sexuality is important, but whose total personality is not constituted by this one aspect. / Arts, Faculty of / English, Department of / Graduate

Though the notion of absent-centred structure enjoys a current fashionableness in a number of contemporary theoretical discussions, the variety of interpretations, some of them implicitly contradictory, and most of them excessively abstract, prevents "absent-centredness" from being the useful critical category it might be. By surveying the history of the term in my Introduction, and by describing the textual realizations of absent-centredness in a number of modern novels, my thesis attempts to define the term as a special strategy of narrative structure. That strategy is identifiable by such formal devices as indirect narration, anti-climax, cancellation, and negation; and by structuring images of spatial and temporal distortion, especially the anarchist explosion and the urban labyrinth. The introductory discussion of works which might or might not be considered absent-centred fiction demarcates the category more clearly, though my choice of novels for more detailed discussion is exemplary rather than exhaustive. My discussion begins with Henry James's The Princess Casamassima (Chapter II) because, in its use of anarchism, the Dickensian labyrinthine city, and anti-climax, that novel represents, albeit uncertainly, the late-Victorian beginnings of absent-centred structure which James's literary descendents shape more consistently. Hence, Joseph Conrad's The Secret Agent (Chapter III) is governed, paradoxically, by a prominent absence, the unseen and indirectly narrated bomb explosion which operates as a narrative mataphor, for the temporal and spatial distortions of the text are both the logical result of the bomb's blast and a means of circumscribing the absent centre. Andrei Bely's Petersburg (Chapter IV) illustrates best the High-Modernist use of the absent centre, though it relies on the same devices of anarchist plot and foiled explosion which Conrad exploits. And while Bely's Symbolism has a particular Russian coloration, it co-opts, like Conrad's, the same fragmentary features of the bomb-threatened city as images for narrative structure. And whereas Conrad shows us that absent-centredness is an apt description of the moral vacancy which he sees as characteristic of the early twentieth-century West, Bely shows us that it is also an apt description of his mystical and metaphysical view of the early twentieth-century East. Like Petersburg,whose narrative is fragmented more literally than The Secret Agent's, Joseph Heller's Catch-22 (Chapter V) exploits the chronological and spatial disruptions which result from explosion. Fragmentation in this work is mimetic of Yossarian's consciousness which, shattered by the realization of Snowden's "exploded" secret, prefers to, but cannot, forget the horror of his comrade's death. As in other works of absent-centred fiction, the hero's hyperbolic fear of his own death is transformed into the fear of apocalyptic nullity. The military establishment which prevents Yossarian's escape from that fear occasions an exploration of the blackly humorous and absurdist nature of a world with no sane centre of control. Most, if not all, of these themes, images, and strategies are gathered together encyclopedically in the most ambitious of these absent-centred works, Thomas Pynchon's Gravity's Rainbow. Here, the anarchist bomb, metaphor for absence, finds its sophisticated contemporary counterpart in the rocket which, in a rainbow arc from "point to no point," transports apocalyptic absence. Under the shadow of that trajectory moves Slothrop, a failed quester whose grail eludes him and who wanders directionless in the labyrinthine and centreless post-war "Zone" until he disappears from both landscape and text. More reflexive than earlier absent-centred works, Gravity's Rainbow makes us aware that Slothrop's experience in the Zone is also the reader's, for like Slothrop, he searches for a centre in the "zone" of a fiction too complexly structured and too exploded to reveal its unifying source, which can only be, paradoxically, the absent centre itself. / Arts, Faculty of / English, Department of / Graduate

Wilson Harris is the author of fourteen novels and two books of shorter fiction. His work, cryptic and yet urgent, checks the widespread belief that experimental writing today is condemned to parody and self-referential performance. Located at the crossroads of numerous cultural traditions, African, Amerindian, and European, his novels evolve a complex language well suited to the articulation of marginal needs in an increasingly polarized world. The novels are difficult, and to examine the grounds of their difficulty, I rehearse at the outset a general theory of experiment in fiction, before reviewing .Harris's own remarks on the subject, gleaned from his critical essays. Harris's distortions appear first at the level of the line; the oddity of his style, and' its attendant vexations, are the subject of my next chapter, "Experiment and Language." Here I consider the techniques and uses of stylistic fracture and surreal montage, showing how Harris undoes the traditional concept of rhetoric by working an amalgam of the extraordinary and the commonplace. The rhetoric of unrhetoric has its structural equivalent in an unmaking of narrative sequence and causation. "Experiment and Narrative" examines the devices by which these securities are foiled, time by space, presence by absence. "Experiment and the Individual" considers the fate of character in fictions set at the ragged edges of the modern world. Harris refuses the holographic illusion of conventional identity, depicting instead those individuals whose resources are so slender as to have become invisible. Finally, "Experiment and Tradition" attempts to show how the dispossessed begin to find a voice in the experimental language of a writer whose very obscurity allows him to perplex the ideology of civil discourse. Harris has developed a style which is representative but not mimetic; his marginal discourse adds a new dimension to the "blank slate" of the avantgarde. / Arts, Faculty of / English, Department of / Graduate

This dissertation develops and demonstrates a new mode of regional literary analysis. I begin by assessing the work of five Canadian literary regionalists from perspectives provided by human geographers and spatial theorists. Although discourses of Canadian literary regionalism vary, I argue that this field has tended to rely upon a reified understanding of regional analysis, a mystified conception of regional identity, and a passive construction of regional space. I offer a means of disrupting these tendencies by re-imagining the process of regional literary analysis. As I define it, literary regionalism is the process of demonstrating patterns in the way that literary texts deploy representations of sociomaterial space to enable performances of identity. This approach foregrounds literature's capacity to elucidate space's social efficacy. It also directs literary regionalism towards a more contemporary understanding of space and identity. In part two I begin to apply my mode of analysis to eight twentieth-century Canadian realist novels by introducing the concept of place. Because place-studies focus on the organization of social relations within a single text, I argue that they offer a useful means of initiating cross-textual, regional analyses. I demonstrate this point by analyzing the relationship between place and gender identity in Charles Bruce's The Channel Shore, and then looking for parallels in the way other novels articulate this relationship. In part three I construct a "region of denial and purgation" by interrogating how and why authors deploy representations of nature to deny the social origins of identity formation. I relate the power such representations have to articulate seemingly epiphanic shifts in identity to the sublime's enduring legacy. Because sublime experience enables characters to reconstitute themselves as new, it facilitates their desires to purge those aspects of their personal histories that have caused them guilt or shame. I conclude that this dissertation makes two contributions to Canadian literary studies. First, it advances a productive dialogue between human geography and Canadian literary studies. Second, by re-imagining the practice of Canadian literary regionalism through alternate disciplinary lenses, this dissertation helpfully foregrounds the heterodox character—and'unexplored potential—of a regional mode of literary analysis. / Arts, Faculty of / English, Department of / Graduate

During the 1960's a distinct change of emphasis took place in the manner in which East German novels reflected the relationship between individual and collective. Using three of the best known works of the period (E.Strittmatter's Ole Bienkopp, H.Kant's Die Aula and Christa Wolf's Nachdenken über Christa T.), this study attempts to describe the change and to consider its implications for the theory of socialist realism. Because each of the novels represents an individual author's contribution to a body of literature which must serve a collective function, his position vis-a-vis society is revealed not only in the social content of his work but also by the form in which it is presented. The central concern of this discussion is the way in which both the content and the form of East German socialist realist literature increasingly, in the course of the 1960's, reflect the potential contradictions and creative tensions inherent in the relationship between individuality and collectivism. Having in the initial, formative stages emphasized the unity of individual and collective aspirations, socialist realist literature began in the 1960's to move away from the programmatic, normative view of social relationships which had first evolved under foreign (Soviet Russian) conditions and become entrenched during the ideological confrontations of the 1950's. The work of Erwin Strittmatter, whose earlier writing typifies the perspectives and style of the 1950's, serves to introduce these changes. His novel Ole Bienkopp is generally recognized to be the first major work to deal principally with relationships within the GDR, rather than the broader issues of internal or external threats to the social structure. The major innovation of Ole Bienkopp is that its narrative interest derives from so-called "non-antagonistic conflicts." This clearly requires much more realistic differentiation of the individual characters than the simplistic, black-white confrontations of earlier works. Strittmatter's characterization is examined both from the point of view of its realism and also to assess the social perspective which it reflects. In contrast to Strittmatter's relatively conservative style and aggressive argumentation, Hermann Kant's Die Aula consistently introduces to East German prose many of the techniques of modern bourgeois novels, corresponding to its more reflective, questioning approach to life. Like Strittmatter and the third author, Christa Wolf, Kant undertakes a retrospective reassessment of the formative years of the GDR, when individual and collective attitudes towards the new society were first established. Although he hints at the importance of this undertaking for finding a satisfactory role for the individual in contemporary society, one of the great flaws of the novel is that he fails to follow this point through. However, many of the literary techniques which made Die Aula so popular and the social attitudes it revealed reappeared to much greater effect in Christa Wolf's Nachdenken über Christa T. Because of its subtle use of style and language and very "open" form and highly reflective, introspective approach to life in the GDR, this novel represents in many ways the apotheosis of the changes in both the content and the form of socialist prose in East Germany during the 1960's. The history of the reception of the novel alone suggests that Wolf had reached hitherto undefined boundaries of socialist realism. Bearing in mind the innovations of perspective and form introduced by Ole Bienkopp and Die Aula, the final chapter examines Wolf's concern that each individual – whether author or ordinary citizen – find fulfilment in the collective. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Bibliography: pages 174-184. / This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.

Submitted in partial fulfilment of the requirements for the Degree Master of Arts in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 2001. / This study looks at the portrayal of women in siSwati drama. The main aim is to reveal how women are portrayed in siSwati drama. In real life women are usually portrayed negatively. This is due to cultural directives that reveal woman as inferior beings. This affects our young children who read books and perceive women as useless. A child reads and has the idea that a woman is unfaithful, useless, a pretender, and dependant and has no job opportunities. If a child is a boy he grows with a negative connotation that a woman has no power. This affects our young girls because they do not develop confidence. There is a belief that the place of a woman is at home where she is expected to do all the household jobs. Our culture too, perceives women as inferior, forgetting that there are women who are single and those who are breadwinners who maintain their homes. This study looks at the presentation of women characters in different siSwati drama books. It reveals the impact of Western culture and African culture to women. It is found that patriarch dominates over women. It also looks at the views of different people about the portrayal of women in siSwati culture.

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