Bibliography: leaves 274-303. / vi, 303 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / This study places the radicalisation of art music in early post-War France in its broader socio-cultural and political context. / Thesis (Ph.D.)--University of Adelaide, Performing Arts, 2000

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

Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.

One of the most frequently repeated questions of our time is what is art? Since we have become conditioned to the idea that ''significant art - a much overworked modern term - belongs to the revolutionary avant-garde, artists carry their search for the new at all costs into the field of non art. P.1

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