Thesis (doctoral)--Université François Rabelais, Tours, 2003. / Includes bibliographical references (p. 357-376) and index.

Thesis (M.A.)--University of Wisconsin--Madison, 1984. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 99-102).

Th. / Contient en appendice des extraits d'une interview de Blanche V. La Guma, dirigée par Balasubramanyam Chandramohan, le 6 mars 1988 à Londres. Notes bibliogr. Bibliogr. p. [246]-275. Index.

Magister Artium - MA / The minithesis provides a detailed socio-political and literary analysis of A Walk in the Night: Seven stories from the streets of Cape Town. It investigates and systematically compares each short story to the novella or compares the short stories with each other and shows their thematic and formal similarities and differences. The results of the study will provide a valuable contribution to the study of African literature. It will complete what other critics have left out. No one among La Guma’s scholars has analysed the anthology as a single entity; most critics have analysed the novella and have not analysed the accompanying short stories. As a result, the relationships between the novella and the short stories are unknown to many readers. I argue that this needs to be corrected. In order to situate the thesis, the study also presents a selected list of critics who have studied the novella and the short stories, and indicates their achievements and their shortcomings. The study will be carried out from a Marxist perspective, and will explore the use of realist and naturalist literary styles. Marxism will provide the socio-political and theoretical framework. Naturalism and realism are the two main literary genres that occur in the anthology. / South Africa

Projektet är baserad på en specifik cirkusrörelse, en fysisk rörelse som definierar rum. Cirkus har olika aktiviteter och olika typer av rörelser på marken och i luften. Cirkusartister rör sig annorlunda än vad vi vanliga människor är vana vid och det är i min föreställning intressant att utgå ifrån för mitt projekt. Byggnaden består av halvrör volymer som ligger på två bärrande väggar. En sådan typ av konstruktion skapar ett stort öppet rum på nedre plan som kan användas väldigt flexibellt. Halvrör volymer fungerar som träningslokaler och nedre plan anväds för andra aktiviteter i form av kontor, förvaring, café och mm.

In this essay I point out that the presence of  ”Otherness” plays a key role in the novel The Beach by Alex Garland, and that the text relates to a colonial literary tradition. I’ve mainly used the distinction of Otherness and cultural representation presented by the postcolonial theorist Edward W. Said to guide me. In my examination of the text the presence of Otherness, how it is described and the effects that it has on the story’s central group of characters, has been my focus point. I’ve investigated the occurrence of different elements in the text which creates the sense of Otherness and identified the two most prominent opposition groups in relation to the protagonist of the story. On the story’s setting level aside, a colonial and imperialist theme can also be found on an intertextual level by made references to American war movies like Apocalypse Now, a specifically good example as the script of that movie is based upon the colonial themed novel Heart of Darkness by Joseph Conrad. I will summarize how the opposition between the Self and the Other throughout The Beach effects the plot’s outcome, and present my conclusion: that the author Alex Garland intentionally places his novel in a tradition of colonial storytelling to give a critical comment on the modern world’s similarities with its colonial past, especially when it comes to contemporary tourism. In my opinion the novel is also questioning the human’s civilized state and social evolvement.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T07:17:22Z (GMT). No. of bitstreams: 1 Biscalquin_JulianaMariaNascimento_M.pdf: 19280910 bytes, checksum: 024454f2616a1f9cb1d93b17803f6b83 (MD5) Previous issue date: 2013 / Resumo: A Arte se redescobre, hoje, como substrato privilegiado das culturas humanas e como testemunha de suas diversas expressões e representações. Paralelamente, a Antropologia (visual, em especial) se dá conta de que as imagens não existem sem nosso imaginário e que, por sua vez, as sociedades não poderiam emergir sem as artes. É neste horizonte que, ao lado de autores como Hans Belting, Alfred Gell e, principalmente, Georges Didi- Huberman (exegeta privilegiado do pai da iconologia moderna, Aby Warburg), pretendemos participar de um questionamento mais amplo sobre o papel das Artes (e das imagens) em uma reconfiguração do discurso antropológico. É a partir deste pano de fundo, interativo e vivencial, que procuramos investigar as obras de Alex Flemming. Com ele, tratou-se de repensar as dimensões políticas das imagens e aprender a reconhecer o que elas dizem sobre nossa condição humana no mundo contemporâneo / Abstract: Art rediscovers itself, today, as a privileged substract of human cultures and as witness of their diverse expressions and representations. In parallel, Anthropology (especially Visual Anthropology) finds that images do not exist without our imaginary and, in its turn, societies could not emerge without the arts. It is through these horizons that, among other authors such as Hans Belting, Alfred Gell and, mainly, Georges Didi-Huberman (privileged exegete of the father of modern iconology, Aby Warburg); we intend to participate in a wider questioning about the role of the Arts (and images) in a reconfiguration of the anthropological speech. It is from this interactive and experience based starting point that we investigate the work of Alex Flemming. With him, we seek to rethink the political dimensions of images and learn to recognize what they say about our human condition in the contemporary world / Mestrado / Multimeios / Mestra em Multimeios

Thesis (M.A.)--University of South Africa, 2002.

I was watching the tele the other night and a commercial came on exclaiming that scientists have found a way to translate waveforms into text to help the deaf. I realized at that moment; I am as much a scientist as I am an artist. In this regard, composition is deemed a scientific recipe. Ingredients such as conveying the rhythm of linguistic discoveries to further guide fragmented responses of memories. Analyzing frequencies emerging upon application of colors adjacent as well as finding the visual balance that coheres with a particular tempo as relating to sound and vibration to exploit the untold conversations between traditional means and contemporary constructions. There’s a sync button for everything we do, finding that button is the test. I do not confine myself as a scientist, tomorrow I may think I’m a surgeon. But only after I’ve exhausted every theory for my actions, after I’ve become synchronized within the realm of my creations, will I then be able to determine why I’ve governed myself to evolve with what it is that I am becoming.

This thesis sets out to examine social realism in Alex La Guma's longer fiction by using Georg Lukacs's Marxist theory as a point of departure. Tracing the development in La Guma's novels in terms of a shift from critical realism to gestures towards socialist realism I argue that this shift is informed by Lenin's "spontaneity/consciousness dialectic" in terms of which workers begin by engaging in spontaneous actions before they are ultimately guided by a developed political consciousness. I am quite aware that linking La Guma's work to socialist realism might raise some eyebrows in some circles but I am nonetheless quite emphatic about the fact that socialist realism in La Guma's fiction is not in any way tantamount to the Stalin-Zhdanovite version of what Lukacs calls "illustrative literature". Rejecting Lukacs's conception that socialist realism is a prerogative of writers in the socialist countries, I argue that gestures towards socialist realism made in La Guma's last novels are rooted in South African social reality. One of the claims being made in this study is that La Guma's novels render visible his attempt to create a South African proletarian literature. For this reason I make a case for Russian precedents of La Guma's writing by attempting to identify some intertextual connection between La Guma's novels and Gorky's work. Where realism is concerned I argue that although La Guma seems to draw extensively on Maxim Gorky in redefining his aesthetics of realism, Lukacs's theory of realism is useful in contextualising his fiction. The first chapter is largely biographical, examining La Guma's father's influence in shaping his political ideology and his literary tastes. Chapter two focuses on La Guma's aesthetics of realism. In chapter three I examine La Guma's journalism as having provided him with the subjects of his fiction and argue that there is a carry-over in terms of La Guma's style from journalism to fiction. Accordingly, I provide evidence of this carry-over in the next chapter on A Walk in the Night in which I argue that while La Guma's style is naturalist the novel is critical realist in perspective. Chapter five contextualizes the shift from And A Threefold Cord, to The Stone • Country as providing evidence of La Guma's use of "the spontaneity/consciousness dialectic". In chapter six I read In the Fog of the Seasons' End in relation to Gorky's Mother as its intertext in terms of its gestures towards socialist realism as seen for example in its "positive heroes", Beukes and Tekwane. There are further elements of socialist realism in Time of the Butcherbird which are nevertheless brought into question by some ideological contradictions within the text this is the central thrust of my argument in chapter seven. I conclude this study with a brief discussion of La Guma's craftsmanship. / Thesis (Ph.D.) - University of Natal, Pietermaritzburg, 1998.