This dissertation seeks t o achieve three objectives: (1) to draw attention to the genre of the "Dorfgeschichte," (2) to examine "Dorfgeschichten" which were highly acclaimed in nineteenth century Germany, but are dismissed by literary scholarship today, (3) and most importantly, to adjust decades of inveterate and misleading critical responses with regard to the writers Berthold Auerbach and Jeremias Gotthelf. Although Auerbach's Schwarzwalder Dorfgeschichten were received with great enthusiasm by the literati in nineteenth century Germany, his contribution to the genre is diminished by literary critics and historians today. Some, such as Hermann Boeschenstein, claim that the author "was merely ... sugar-coating the realities of peasant life , while having no real contacts with it . "On the other hand, although the majority of Gotthelfs shorter narrative works receive little scholarly attention , the consensus of critical opinion in regard to the author is that he possessed an "unexcelled insight into the peasant's inner life ." On the basis of my close analysis of Auerbach's and Gotthelfs respective texts : Schwarzwalder Dorfgeschichten (1843-1854), and Kleinere Erzahlunaen (1838-1852), [More abstract follows] / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

In the following study, the writer has considered the figure of the knight as it appears in Eichendorff'a narrative prose works, particularly the two novels, "Ahnung und Gegenwart" and "Dichter und ihre Gesellen", and two Märchennovellen, "Die Zauberei im Herbste" and "Das Marmorbild". The knight is not necessarily good: he may embody evil principles, or, through weakness, succumb to the daemonic forces in nature. Generally, however, the knight possesses strong religious faith and its attendant virtues of loyalty, patriotism, and service to others. Whereas Eichendorff's strong religious stand varies from the usual Romantic pattern, his association of art and metaphysics is typically Romantic: the knight may also be a poet or become a priest. The knights of the Napoleonic era, that is, those in "Ahnung und Gegenwart", turn away from society, but those in the later works participate actively in mundane affairs. Indeed, in the end, Eichendorff comes to acknowledge the incidence of chivalrous behaviour in persons not born to knightly estate. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

It is the purpose of this paper to outline the development of O'Neill's characterization of women from the loving, submissive Mother in the early plays to the Mother turned Destroyer in the later plays. This is accomplished through a chronological examination of the women characters in eight of O'Neill's major plays--Beyond the Horizon, The Staw, Anna Christie, Welded, Desire Under the Elms, The Great God Brown, Strange Interlude, and Mourning Becomes Electra.

With the exception of To Have and Have Not, the novels of Ernest Hemingway are set outside the United States; all, however, contain American characters. These Americans might be divided into three categories: American tourists; Americans who live abroad, but either do not like it or are not completely adjusted to it; the Hemingway heroes, characteristically American expatriates who are completely adjusted to and accepted in their alien environments. Toward the tourists, he maintains an attitude of contempt; toward the middle group, his attitude varies from disgust to sympathy; the heroes are, in various guises, Hemingway the expatriate, himself.

This collection of essays includes a preference that investigates the role and importance of setting and character in a nonfiction narrative. The preface assesses the writings of four great authors, examining how each author use setting and characterization to further the purpose of their story. This collection focuses on four different issues that the author has wrestled with for two decades. While “Desperado” is an investigation into the problems within her own family, “Being Black Me” highlights the authors struggle against the racial inequality her hometown. “Voices In The Dark”, the author analyze how the abuse she suffered as a child has influenced her life and contributed to a drinking problem that is explored in a later essay “Alors On Danse”.

The study addresses the problem, already identified in 1986 by Msimang that definitions such as Bascom's (1965) fail to differentiate clearly between historical narratives and legends. To evolve a more accurate definition, this study considers two Sepedi dramas: Make's Sello sa Tonki le Pere and Moloma's Marangrang (1972). The qualitative approaches (explain, interpret and compare) used in this study show that legends and historical dramas/narratives can be investigated by comparing them to identify differences between these genres. A narratological model suggested by Marggraff (1994) is used, considering three strata (layers) of a text: content, plot and style of writing. The topic, theme and atmosphere are explored, in that order, in the selected texts. The analysis suggests that the differences between a legend and a historical drama/novel arise from two elements: characters and their actions. In a legend, there are three important pillars: the exposition, the body and the conclusion. The exposition of a legend has five formulaic features: Kgalekgale [long, long ago ], Keleketla [Give us more!], E rile e le nonwane [It is a tale ], and a reference to the narrator (Nonwanenonwane!) and the listeners (Keleketla!). Some sentences/phrases are repeated slightly or without a reply. The action ends with a concluding formula: Se seo sa mosela seripa! [That is the end of the tale]. The action focuses on a main character, and there may be some repetition of actions (a cycle). The time technique may be used. There is often symbolism. Other features include a song (repeated several times), which brings pleasure and/or pride, and sometimes sorrow. A song may play a role bigger than the narrative. The presence of these factors suggests a legend rather than a historical narrative. The investigation shows that Make does not follow these rules for a legend, but elides actions he thinks the audience/reader already knows, inviting the audience/reader to participate in the narration. That implies that both the narrator and the audience know the 'rules' of a legend Make seems aware that the exposition and conclusion of a legend are based on the use of repetition of formula (a clause, sentence or sentence cluster). In legends, the characters tend to be flat (not rounded) they are interpreted focusing on one idea only (using a phrase or short sentence), which is not a complete depiction of the character. Often the author exaggerates to create humour. This study confirms that flat characters are typical of legends, adding to the artistic structure of this genre. Make successfully uses three techniques (the cycle and journey techniques, and symbolism) in constructing Sello sa Tonki le Pere. A cycle is visible in the repetition of the prosecution of Tonki and Pere to illuminate their case, strengthening and simplifying the sentencing of those animals. Make compares life to a linear journey with a beginning (birth) and a conclusion (death). The phases of the journey symbolise stages of a human life. Make used animals as symbolic characters in this drama to represent real people. Tonki and Pere represent criminals. Kgomo and Nku fight for justice for those mistakenly judged guilty of witchcraft, and they represent the accused. Tau's household represents the capital (Judgement), while Kubu's household represents medicine. A legend should end with a concluding formula: 'Mpho se seo sa mosela seripa!', showing readers/listeners that they can relax, as the narration/fable has come to an end. Make does not use this formula, but ends his fable with 'Pula! Pula! Pula!!'. To explore the structure of a historical drama/narrative, Maloma's drama Marangrang was considered, focusing on the exposition, development, climax and denouement of the drama. In the exposition of Marangrang conflict between Mapulana's children Lethoke, T iane and Madikgake (Mokone of Ma a) who argue over traditional healing (and bravery). This plot suggests the presence of the shadow technique (a shadow focuses on the actions of a character which are similar to actions of another character to be introduced later in the play) (Mojalefa, 1997:35). As a traditional healer Lethoke is a shadow for Marangrang; he stands for Marangrang's actions. By contrast, Madikgake stands for all the tribes. This foreshadows conflict between Marangrang and the Bakgatla, Ma abela, Magolego, Mphahlele tribes. This conflict appeals to the audience/readers, who want to unravel these issues/themes. / Dissertation (MA)--University of Pretoria, 2016. / African Languages / MA / Unrestricted

This study will be an investigation of character, therefore an investigation of the salient characters which have stirred the interest that has made Ayn Rand such a popular novelist.

Studies in the 1970's reporting the occurrence of fossil pollen types in the Cretaceous, coupled with surveys of extant pollen morphology of primitive flowering plants, laid the foundation for proposing a Lower Cretaceous origin of angiosperms. Over the last 30 years, morphological, ultrastructural, and ontogenetic studies of both extant and fossil pollen have provided an array of new characters, as well as greater resolution in defining character polarities. Moreover, a range of fossil pollen types exhibiting angiosperm characters occur in low frequency within Triassic and Jurassic sediments. The pollen data provide evidence of a pre-Cretaceous origin of angiosperms. Speciation and extinction rates were likely equal during the Triassic and Jurassic, resulting in the paucity of angiosperm pollen types from different geographic areas in the Atlantic - South American/African rift zone. It was not until the Lower Cretaceous that origination rates exceed extinction rates, resulting in the subsequent diversification of angiosperms and the origin of the eudicots.

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No description available.