Thesis (M. A. (English Studies)) -- University of Limpopo, 2020 / The study explored essay writing errors of English First Additional Language (EFAL) FET rural learners. The aim of the study was to analyse essay writing errors of the EFAL FET learners in rural schools. EFAL Grade 11 learners together with their educators from 4 circuits in Mopani West District of Limpopo Province (LP), South Africa (SA), participated in the study. The learners’ 40 essays were analysed. Additionally, the learners and educators were interviewed and the data generated were analysed. A qualitative Content Analysis (CA) research method was used to collect data. The sample was made up of 3 instruments; an essay checklist for the 40 essays, EFAL learners’ group interviews that consisted of 4 equal groups made up of 10 learners per school, and interviews with 4 educators from each of the school represented. N – Vivo was used for data transcription, storage and analysis. Errors populated in the checklist were arranged into smaller units, identified, analysed, described and reported. Data obtained through semi-structured interviews with EFAL learners and educators were transcribed and analysed thematically. The analysis of the EFAL FET rural learners’ essay writing errors revealed weaknesses pertaining to choice of essay topics, proofreading, spelling, punctuation and grammar.

Teenage Mutant Ninja Turtles (TMNT) is a massive ongoing franchise that began as a 1984 self-published comic book created by Kevin Eastman and Peter Laird. Its history is intertwined with the creators' rights movement and the Creator's Bill of Rights (CBR), which rejected work-for-hire contracts, wherein creative laborers—creative authors—cede authorial control of their labor. Because the production of comic books and their franchises is highly collaborative, intellectual property (IP) rights are often consolidated in a single rights holder—a corporate author—via work-for-hire contracts. Eastman and Laird, as both creative and corporate authors, initially maintained strict control of TMNT licensees, but allowed their employees to retain IP rights over creative contributions to TMNT. However, in 1992, Eastman and Laird sent retroactive work-for-hire contracts to all current and former employees. This TMNT case study illustrates how the CBR represented the conflicting interests of publishers and creative laborers and ultimately reinforced the individualistic view of authorship that undergirds work-for-hire doctrine. Additionally, because IP legal infrastructure uses individualistic discourse to consolidate control of media franchises in one entity that allows authorized individuals access to a shared database of creative expressions that workers can borrow from or add to, media franchises resemble folklore and are made via a database mode of production. The romantic vision of authorship (and authorial control) upon which the CBR was founded ultimately went on to serve publishers rather than creators working for media properties, repeating a pattern that has existed since the inception of copyright and authorship.

Comment donner à voir l’irreprésentable, la contradiction et le paradoxe — et pourquoi le faire ? Pour Marguerite Duras, dont l’œuvre est porteuse d’apories, la réponse à cette interrogation fondamentale se trouve dans l’écriture littéraire. Dans ce mémoire, nous interrogerons la notion de souveraineté (Menke) du littéraire, qui permet de penser la mise en tension des discours non esthétiques (soit historiques, judiciaires, journalistiques, par exemple) dans l’œuvre de Duras, ainsi que l’engagement de l’auteure par son écriture, qui seule peut porter ses prises de positions contraires et violentes, mais aussi « le deuil noir de toute vie, le lieu commun de toute pensée ». Dans un premier temps, nous étudierons la singularité de l’engagement de Duras ; si l’engagement politique dans sa vie publique est marqué par de nombreux remous, nous pourrons observer, à partir de l’analyse du texte « Sublime, forcément sublime Christine V. » (1985), comment apparaît en contrepoint un engagement (Sartre, Barthes) par la littérature dans l’écriture de l’auteure. Cette écriture est également porteuse d’une certaine faculté oraculaire, instaurant la voyance est aux sources de la souveraineté de la littérature. Par l’étude du texte « La mort du jeune aviateur anglais » (1993), nous traiterons dans un deuxième temps de la particularité de la posture et de l’énonciation (Meizoz) de Duras, ainsi que de la possibilité de la confrontation de l’aporie que lui offre le discours littéraire. L’appropriation de la parole de l’autre et de la parole du mort se fait dans ce texte au profit du récit mythique, évacuant les dimensions historiques et documentaires du témoignage afin de tendre plutôt vers une parabole universalisante. Enfin, à travers une analyse de La douleur (1985) et de son paratexte, nous verrons comment la réécriture de ses textes avant leur publication permet d’y inscrire un engagement affirmé, correspondant davantage au projet d’engagement littéraire que Duras tisse dans les dix dernières années de sa carrière. L’écriture de Duras dans cette œuvre montre comment le discours littéraire peut représenter la faillite de la pensée et des autres discours. Cette mise en crise des discours et de la pensée, que l’on retrouve au sein des trois textes à l’étude, nous permettra de penser la souveraineté du littéraire dans l’écriture de Marguerite Duras. / How can one show the unspeakable, contradictions and paradoxes — and why would one attempt to do so ? For Marguerite Duras, whose work carries aporias, the answer to this fundamental question lies in literary writing. In this dissertation, we will question the notion of literary sovereignty (Menke), which allows us to think the crisis of non-aesthetic discourses (historical, judicial, journalistic, for example) in Duras' work, as well as the engagement of the author through her writing, which alone can bear her opposing and violent positions, but also "the black mourning of life, the commonplace of all thought". First, we will study the singularity of Duras' engagement ; if the political engagement in her public life is marked by many upheavals, we will be able to observe, from the analysis of the text "Sublime, forcément sublime Christine V." (1985), how an engagement (Sartre, Barthes) through literature appears in the author's writing. This writing also bears a certain oracular capacity, establishing clairvoyance as one of the sources of literary sovereignty. Through the study of "La mort du jeune aviateur anglais" (1993), we will then explore the particularity of the posture and enunciation (Meizoz) of Duras, as well as the possibility of the confrontation of aporia that literary discourse offers. The word of the other and the word of the dead is appropriated for the benefit of the mythical narrative, evacuating the historical and documentary dimensions of testimony in order to move towards a universalizing parable. Finally, through an analysis of La douleur (1985) and its paratext, we will see how the rewriting of texts before their publication inscribes them in an strong commitment, more akin to the project of literary engagement that Duras weaves in the last ten years of his career. Duras' writing in this work shows how literary discourse can represent the crisis of thought and of other discourses. This crisis of discourse and thought, which can be found in the three texts studied in this dissertation, will allow us to think about literary sovereignty in Marguerite Duras' writing.

The application of PCG to generate puzzles offers great value since their replayability is severely limited, requiring any game that employs them to produce many different puzzles. In this paper we propose a modified version of the progressive content generation approach to function as a mixed-initiative system, to create puzzles for the novel partially physics-based game \textit{Everyone Must Die}. Thus exploring the adaptability and usefulness of the progressive content generation approach for a unique type of puzzle game. Further the mixed-initiative system is explored in relation to how effectively it can generate puzzles with a specified difficulty, an issue many papers exploring puzzle generation neglect. This is explored by implementing and incorporating a PCG system by extending an existing puzzle editor featured in the game. The analysis is conducted with the help of a user study on the developers of the game by testing qualitative experiences with the system. The promising results are then discussed and concluded with suggestions for future work and improvements to the described system and its used approach.

This study aims to define the area that fall in-between predetermined and emergent narratives and pitches the term of “co-authorial narrative” to describe it. Co-authorial narratives are defined by their design of splitting the responsibility of authorship between the developer and the player. The purpose of the study is to prove this concept, with the overall goal of broadening the understanding of emergent narrative.

This dissertation examines the confluence of ideas about classicism, commerce, and authorship in Britain in the final decades of the eighteenth century, when the commercial potential of classical forms and, conversely, the artistic potential of ‘mechanical’ forms of production both seemed greater, and yet more vulnerable, than they had ever been. While classical antiquity was a crucial source of artistic authority in this period, the emergence of a model of individual, inwardly generated, original authorship provided a different opportunity for commercial classicists to distinguish themselves in a crowded and competitive marketplace. In successive chapters of the dissertation, I discuss four makers whose works were produced in the context of competing models of authorship and authority: the architect, Robert Adam; the potter and manufacturer, Josiah Wedgwood; the painter and printmaker, Angelica Kauffman; and the sculptor and designer, John Flaxman. Each of these authors straddled the worlds of the mechanical and liberal arts, using a self-consciously classical artistic vocabulary in conjunction with highly commercial production and marketing strategies. They increasingly shaped and presented their works and style as their own proprietary creations, capitalising on emerging concepts of original genius and individual authorship: the very concepts that seem to be at odds both with academic classicism and with reproductive practices. Adam, Wedgwood, Kauffman, and Flaxman demonstrate how classicism, the idea of genius, and commercial, industrial modernity were mutually constitutive, resulting in the creation of artistic styles that are still associated with their authors today.

The question of the authorship of the plays, poems, and sonnets traditionally attributed to the pen if William Shakespeare of Stratford-on-Avon has now been before the public for over one hundred years. Many of the most noted poets, playwrights, and nobles of the sixteenth and seventeenth centuries have been assigned the authorship of these works. The controversy can be compared to the controversy over Homer’s authorship. In 1975, Friederick Augustus Wolf proposed that Homer did not write The Iliad and The Odyssey. By 1900, Wolf had been disproven, but the question was one of great importance when it was first introduced. The anti-Shakespearean contention has never actually been proven or disproven, and it remains important in the field of English literature. However, from the time the question first came before the public in 1856 until this study was first begun, no extensive and readily available history of the subject had been written. It is the purpose of this study to make a historical survey of the major theories of the controversy and put them under one cover. A further purpose is to evaluate them wherever necessary, although many of the theories refute themselves.

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This dissertation asserts that women’s anonymity in seventeenth-century devotional texts functions as a performance to be understood rather than a mystery to be solved. Anonymity has long been framed as merely a protean form of authorship or a barrier to the recovery of a lost literary history. The archive frequently renders anonymity invisible or reveals anonymity at the moment of its undoing; however, this study of women’s anonymity contends that, although women applied anonymity to avoid the stigma of print, their anonymity functions less as a blind than as a frame to emphasize those traits they wished most to expose. In my first and second chapters, I demonstrate how the anonymous Eliza’s Babes (1652) and the nearly anonymous An Collins’s Divine Songs and Meditacion (1653) use the anonymous text to replace the signification of sick, infertile, and therefore volatile female bodies with an imitative production of devotion that constitutes the text as a divinely-restored, alternatively-productive body through which they relate to God and reader. Readers’ positive reception of this devotional re-signification of the body’s productivity countermands stereotypes readers hold against women writing, affirms the woman writer as faithful, and reincorporates both reader and writer in a corporate body of believers through their mutual participation in devotional practices. My third chapter affirms the perceived authority of anonymity’s corporate voice through the exploration of George Hickes’s retroactive attribution of several late seventeenth-century anonymous devotional texts to Susanna Hopton. I argue that the derivative nature of the anonymous devotional collections invests them with a corporate voice Hickes finds to be a valuable asset in his defense of Hopton’s devotional acumen. Drawing together scholarship on seventeenth-century relationality and intersubjectivity, readership, devotion, and women’s health, this study reconsiders the signification of women’s anonymity and their unoriginality as a tool that facilitates agentive reading and rehabilitates women’s claim to corporate belonging. / Thesis / Doctor of Philosophy (PhD)

This thesis seeks to respond to the existing dearth of work on practical matters of intersemiotic translation in translation studies thus far by turning to other disciplines that have explored comparable phenomena in greater depth. In particular, in the current atmosphere of media convergence and transmedia production, characterized by the ubiquity of adaptations, remakes, spin-offs, and sequels in the entertainment industry, cross-media adaptation represents one of the most common and prominent forms of intersemiotic translation. Therefore, the various fields of inquiry related to current phenomena of intersemiotic translation, including adaptation studies, film studies, fan studies, and media studies in general, offer relevant and informative models for expanding our understanding of success in intersemiotic translation. The methodology employed involves an interdisciplinary descriptive approach, using examples of cross-media adaptation found in the works of one successful intersemiotic translator, Joss Whedon. Acknowledging the contextually contingent nature of any such case study, the findings of this thesis identify all three participants in cultural production—form, producer, and audience—as active contributors in the successful production and perpetuation of intersemiotic translations. In particular, this thesis explores possible causes of success in relation to specific cross-media adaptations, proposes attributes of the successful intersemiotic translator, and examines how the reiterative behaviors of active audiences, such as rereading, reinterpretation, and rewriting, help to extend a work’s success. The capacity to inspire a continuing tradition of translation is itself a key contributing factor to the success of an intersemiotic translation and is most often performed with the collaboration of a community of interpreters. Achieving success is therefore a collective endeavor and a continual process of sustaining a work’s presence in the collective consciousness by renewing its value across temporal, cultural, and semiotic systems. Based on these findings, notions of form, production, and reception in intersemiotic translation are understood by proposing a model of convergent translation, the notion of the auteur-translator, and a collaborative understanding of the construction of a text and its significance through the afterlife of translation.