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<p>  </p> <p>The transition of Folk music in the USA from the margins to notoriety, had its roots in the ‘leftist’ ideology of their proponents, and a message of communal solidarity, based on the ‘we’. The arrival of Bob Dylan in the 60s to an already recognized folk movement propelled him to global stardom, which made it possible for his music to permeate Spanish houses and songwriters’ circles. Dylan focused on the ‘you’ as a finger-pointing technique that questions his listener’s alliances. He had a revolutionary character that influenced songwriters both in the USA and Spain, whether through his lyrics or his rebellious rejection of any kind of pressure group. </p> <p>His lyrical content of vivid images placed before the eyes of the listeners (<em>enargeia</em>), captivated his audiences. Spanish songwriters, who at the same time received influence from France, or the social poets of the first half of the 20th Century, among others, found in Dylan a valuable source to widespread a non-conformist message of freedom. They translated and reinterpreted some of Dylan’s protest songs, and in the case of Catalonia or Galicia, used their native languages as a symbol of defiance against the Francoist Government.</p> <p>Early Dylan and his counterparts in Spain became organic intellectuals as a bridge between the subalterns and the ruling bloc. They used epideictic discourses to put their audiences in questioning and decision-making positions. Their use of <em>prosopopeia</em> bestowed memory to those individuals who were wronged by the judiciary system in the USA and Spain; aiding in developing a counter-hegemonic discourse that placed them in the tradition of the <em>euphantasiotos</em>, who is as skilled in the <em>ars </em>of <em>enargeia </em>as in the <em>ars </em>of <em>actio</em>, as a poet and a performer. </p>

The changing social consciousness in South Africa during the twentieth century falls within a political-historical framework of events: amongst others, World Wars I and II; the institution of the Apartheid Laws in 1948; the declaration of a South African Republic in 1960; Nelson Mandela's release in 1992. The literary social consciousness of Abrahams, Paton, Mphahlele and Gordimer spans the time before and after 1948. Their novels reflect the changing reality of a country whose racial and social problems both pre-date and will outlive the apartheid ideology. These and other novelists' changing social consciousness is an indication of the development of attitudes and reactions to issues which have their roots in the human and in the economic spheres, as well as in the political, cultural and religious. Their work interprets the history and the change in the South African social consciousness, and also gives some indication of a possible future vision. / English Studies / M.A. (English)

The aristocratic novel in the twentieth century depicts the successes and failures of the aristocracy's efforts to come to terms with the social realities brought about by contemporary egalitarianism. Although several of the novels discussed are written by aristocrats, the aristocratic novel as such refers to novels about the aristocracy as a social grouping. Seven authors are selected to represent fictional treatment of a class in crisis, struggling between decadence and resilience: V. Sackville-West, Evelyn Waugh, Nancy Mitford, Elizabeth Bowen, Molly Keane, L.P. Hartley and Emma Tennant. Sackville-West faces and chronicles the inevitable decay of her class, yet cannot refrain from mourning its gracious past. To her, the manor house symbolizes an ancient idyllic symbiosis between aristocrat and worker. To Evelyn Waugh, the aristocracy embodies the finest achievements of inherited English culture. He regards its decline as the crumbling of Christian civilization itself. Resilience against the rising proletariate lies in faith and a chivalrous other-worldliness associated with the old Catholic aristocracy. Mitford uses comedy to defend the ideals of service and honour which she sees undermined by vulgarity and mercantilism. She resists her opponents with lethal swipes of raillery. Bowen and Keane deal with the decline of the Irish Protestant Ascendancy. The heirs of the ascendancy have to cope with the paralysing bequest of a more vital past. Ironically, resilience lies in breaking with their heritage. Hartley appears to criticize the class structure, but his work reveals a fascination for the captivating myth of patrician life. Tennant, representing an aristocracy which has profited from the resurgence of wealth in Thatcherite Britain, is unsparingly caustic on the condition of her class. Her satiric writing presents an ethical resurgence that goes beyond the mere financial recovery of her society. The genre examined suggests a primal need among urbanized citizens for the myth of an heroic order. In the finest aristocratic novels, admiration for an imitable superior order is used to rally a consciousness of a venerable ethical establishment. What is threatened or lost is not merely wealth and privilege, but aristokratos - government by the best. / English Studies / D. Litt. et Phil. (English)

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Thesis (MA)--Stellenbosch University, 2004 / ENGLISH ABSTRACT: This study investigates the binary oppositions in Dalene Matthee's historic novel, Pieternella van die Kaap, and the extent to which it correlates with the perspectives on "the other" and the influence of the spatial context on the two main characters, Eva-Krotoa and Pietemella. The study ascertains in which way Matthee's novel falls within the post-colonial framework; whether a tendency towards hybridity can be found and in which cases the binary opposition of "the self" versus "the other", is consequently suspended. Attention is also given to key concepts associated with this, like stereotyping and convention. After exploring the term post-colonial literature, a number of related elements are discussed, such as the post-colonial focus on identity. Via the focalisation of PietenelIa the novel firstly presents a general view of her experiences in the Cape, on Robben Island, on the ship the Boode, and on Mauritius. In the process it also foregrounds the life of her mother, Eva-Krotoa. Both of them are so much affected by the binary oppositions relating to their existence within different, contrasting spaces, that it is justified to call them "two-head" women. While Eva- Krotoa's life is torn apart by the binary oppositions, there are indications that Pietemella moves in the direction of a growing hybridity, that brings about a synthesis between the oppositions and allows her to reconcile herself with her own identity. This is even more pronounced in the case of her daughter, Maria. The study comes to the conclusion that stereotyping is based on convention and that time, place and circumstances determine whether and to what extent the binary opposition of "the self'/"the other" is suspended. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die binêre opposrsres in Dalene Matthee se historiese roman Pieternella van die Kaap en die mate waarin die perspektiewe op 'die ander' en die invloed van die ruimtelike konteks op die twee vernaamste karakters, Eva-Krotoa en Pieternella, hiermee in verband gebring kan word. Daar word vasgestel in watter mate hierdie roman binne 'n postkoloniale raamwerk val, in watter opsigte sprake is van hibriditeit en in watter gevalle die binêre opposisie van 'die ek'teenoor 'die ander' gevolglik opgehef word. Aandag word ook bestee aan sleutelbegrippe wat hiermee saamhang, soos stereotipering en konvensie. Na 'n verkenning van die term postkoloniale literatuur word verskeie elemente wat hiermee verband hou bespreek, soos die postkoloniale fokus op identiteit. Die roman bied eerstens, via die fokalisasie van Pieternella, 'n oorsig oor haar lotgevalle aan die Kaap, op Robbeneiland, op die skip die Baade en op Mauritius, maar stel in die proses ook die lewe van haar moeder Eva-Krotoa voorop. Beide word in so 'n mate geaffekteer deur binêre opposisies van hulle bestaan binne verskillende, kontrasterende ruimtes, dat hulle tereg 'tweekopvroue' genoem kan word. Waar Eva-Krotoa ten onder gaan aan die binêre opposisies is daar met betrekking tot Pieternella aanduidings van 'n groeiende hibriditeit wat 'n sintese bring tussen die opposisies en haar met haar eie identiteit laat versoen. Dit is in In nog groter mate die geval met haar dogter Maria. Die studie kom tot die slotsom dat stereotipering berus op konvensie en dat tyd, plek en omstandighede bepaal of en in watter mate die binêre opposisie van ekl'ander' opgehef word.

Thesis (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This thesis contains the results of an investigation into constructions of cultural identity in recent works of short fiction written in Afrikaans. The investigation was conducted within the framework of postcolonial literary theory, with specific reference to the work ofHomi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra and Bob Hodge. The conceptual apparatus concerning postcolonial reconstruction of cultural identities in reaction to the discourse of colonialism were applied to certain Afrikaans short stories to establish to what extent these texts could be considered a '<writing back" to the colonial discourse of Afrikaner nationalism and apartheid. The research focused on texts that had been published after 1994, being the date of the first democratic elections in South Africa, but also investigated their relation to certain literary traditions that preceded this date. From the Afrikaans short stories that were read within a postcolonial framework, it could be concluded that Afrikaans literature after 1994 could still be read in terms of what Mishra and Hodge (1994) called a fused postcolonial, a typification that according to Viljoen (1996) was applicable to the Afrikaans literature of before 1994. The cultural identity that was constructed in these texts showed similarities with the two moments of cultural reconstruction that Hall (1992) mentioned, namely either a strategic essentialism of the colonized subject or a hybridized cultural identity as the result of an ongoing, dynamic process of negotiation in a Third Space as Bhabha (1994) pointed out. A discourse of resistance against new forms of cultural imperialism, arising from a broader disillusion with the perceived dystopia of post-colonial South Africa, could also be inferred from certain Afrikaans short stories that have appeared since 1994. As far as a renewed undermining of imperialising tendencies is concerned, these texts can therefore be considered a continuation of the dissidence that has been characteristic of Afrikaans literature for several decades. / AFRIKAANSE OPSOMMING: Hierdie proefskrif bevat die resultate van 'n ondersoek na konstruksies van kulturele identiteit in onlangse kortverhale in Afrikaans. Die ondersoek is gedoen binne die raamwerk van die postkoloniale literêre teorie, met spesifieke verwysing na die werk van Homi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra en Bob Hodge. Konseptuele apparatuur rakende postkoloniale herkonstruksie van kulturele identiteit in reaksie op diskoerse van kolonialisme, is toegepas op bepaalde Afrikaanse kortverhale om vas te stel in watter mate hierdie tekste beskou kon word as 'n terugskrywing teen die koloniale diskoers van Afrikanernasionalisme en apartheid. Die navorsing het gefokus op tekste wat gepubliseer is na 1994, die datum van die eerste demokratiese verkiesings in Suid- Afrika, maar het ook hul verhouding ondersoek tot sekere literêre tradisies wat hierdie datum voorafgegaan het. Uit die Afrikaanse kortverhale wat gelees is binne 'n postkoloniale raamwerk, is daar tot die gevolgtrekking gekom dat die Afrikaanse letterkunde na 1994 steeds gelees kan word in terme van wat Mishra en Hodge (1994) 'n "saamgestelde postkolonialisme" genoem het, 'n tipering wat volgens Viljoen (1996) toepasbaar was op die Afrikaanse letterkunde van voor 1994. Die kulturele identiteit wat gekonstrueer is in hierdie tekste toon ooreenkomste met die twee momente van kulturele herkonstruksie waarna Hall (1992) verwys, naamlik enersyds 'n strategiese essensialisme van die gekoloniseerde subjek en andersyds 'n gehibridiseerde kulturele identiteit as die gevolg van 'n voortgaande, dinamiese proses van onderhandeling in wat Bhabha (1994) 'n Derde Ruimte genoem het. 'n Diskoers van weerstand teen wat ervaar word as nuwe vorme van kulturele imperialisme, voortspruitend uit 'n breër ontnugtering met wat beskou word as 'n distopiese post-koloniale Suid-Afrika, kon ook afgelei word uit sekere Afrikaanse kortverhale wat sedert 1994 verskyn het. Wat betref 'n hernieude ondermyning van imperialiserende tendense kan hierdie tekste daarom gesien word as 'n voortsetting van die tradisie van weerstand wat die Afrikaanse literatuur dekades lank reeds kenmerk.

Luis Cernuda (1902-1963) was exiled from Spain in 1938 due to the outbreak of the Spanish Civil War. He lived in Great Britain, America and Mexico and he never returned to his homeland. Until the mid-1960s, he was considered by the Spanish literary establishment to be an evasive and astringent poet. Since then, critics have recognised and praised the ethical quality and nature of his work and he is now considered to be one of the most profound and influential Spanish poets of the twentieth century. Despite the growing body of critical work on Cernuda, the salient role played by memory in his poetry has received little sustained critical attention. Critics have tended to stress the nostalgic and the evasive rather than the ethical and contemplative role played by memory in his work both before and after his departure from Spain. The objective of this thesis is to provide a more balanced view of the poet’s use of memory in his early and mature poetry. Rather than limiting his concept of memory to nostalgia for his youth or his homeland, it argues that he deploys memory as an instrument of self-analysis, self-discovery and self-criticism. The first chapter concentrates on his pre-exilic poetry in order to show that memory plays a fundamental role in his poetics prior to the experience of physical exile. The central body of the thesis examines the increasingly analytical and philosophical role played by memory in a selection of his mature prose and verse texts written outwith Spain.