This is an adaptation of 'Fiesta: The Sun Also Rises'. The story is changed in form and function from a book into a screenplay. And so, Hemingway's vivid source material is transposed from its origin as a literary work into a pictorial outline of a film. An adaptation of Ernest Hemingway's novel. A screenplay by Kate Erwin.

Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / A collection of poems / 2999-01-01T00:00:00Z

Includes bibliographical references (leaves 115-118). / In this dissertation the poetic voice in the collection Nadoodse ondersoek is investigated. A "poetic autopsy" is "performed" to define the poet's relation to words and images in thematic - and metaphoric implications. The development from impulse to final poem is discussed. The role of form and content and the tension between emotion and intellect is explored. Guidelines for aspiring poets by Ottone M. Riccio (The intimate art of writing), Rainer Maria Rilke (Letters to a young poet), Richard Hugo (The Triggering Town), A.P. Grove (Woord en wonder), T.T. Cloete (on J.H.Leopold's "dromende denke") and Dorothea Brande (Becoming a writer), amongst others, are applied. The definitions of desire and the death drive as formulated by Jacques Lacan, as well as Julia Kristeva's definitions of the semiotic chora and the abject are used as theoretic criteria in an investigation of psychoanalytic processes in the creative writing process.

Includes abstract. / In 1981 Sizwe Magona a 17-year old South African goes into exile in Europe. He is assigned to work with Graves Kumalo, prominent member of the ANC and responsible for investigating the apartheid government's nuclear weapons' programme. At that time, Kumalo meets Slimkop de Vriess, nuclear scientist in charge of South Africa's (secret) uranium enrichment plant. This provides the back story for Yellow Cake, a political eco-thriller set in contemporary South Africa. Written in a terse lean style with interrupted plot lines and multiple points of view, it uses the genre to explore complex relationships and themes of a country in transition. Global and local power dynamics play out in the choices that the characters make.

Rania, a young introverted woman, lives in a traditional Muslim family. It is a working class family, of Indian and Cape Malay heritage. Her parents married each other against her paternal grandmother's plans for her son, and because of their disapproval of Rania's mother, it caused a rift isolating both Rania and her mother from them. Rania feels stuck in an environment where she doesn't fit in and feels that she doesn't belong. Feeling like this, she escapes into a dream world of books and art to survive her overbearing mother, Shazia, who is both emotionally repressed and verbally abusive toward her. Her father, Ismail (Miley) Ahmed, fuels the drama with his obsessive control which Rania questions, yet obeys. Shazia, heartbroken from a previous love lost, pretends not to be interested in the silliness of love, and feigns disinterest in her husband's suspected extramarital affairs, yet does everything she can to hold onto him. Until he humiliates her beyond her capacity to forgive and she throws him out, but still secretly holds onto a hope that he will want to come back to her. Amara is Shazia's daughter from her previous husband, Rania's stepsister, and Shazia's favourite. Shazia has great plans for her, but she is a strong and free spirited young woman, and rebels against her doting mother by following her own bliss. She chooses happiness over security, even if it means defying her mother's wishes and breaking her mother's heart. Rania, obedient and lonely, yearns to meet someone she can connect to, someone who can save her from the world she believes her parents are keeping her trapped in, but she may be the one blocking herself. It is a coming of age story where three women struggle to find happiness amid difficult circumstances. The events which unfold, change their lives forever.

Rainbow Beach is the story of a family that escapes to a faraway place to forget the past and the past that follows them there. It is the story of a landscape, at times serene, at times explosive, that mirrors them and that they come to adore and yet resist. And it is the story of a father struggling under the weight of his memories and the daughter who loves him fiercely and senses the coming collapse and whose own memories take root in a part of the soul too deep to be erased.

Includes bibliographical references (leaves 151-152). / The action of The History predominantly occurs in a fictitious town on the West Coast of South Africa. The town, Soutbek, is distinctly divided into the upper and lower town and these divisions represent the division between wealth and poverty. The poor are relegated to the upper town, while the wealthy live in the lower town and have the benefit of a view of the bay. The main characters of The History are Pieter Fortuin, the mayor of Soutbek and former upper towner; his wife Anna Fortuin; and then to a lesser extent, Sara, a teenage runaway and Willem, a young man from the upper town. The relationships between these four characters form the bulk of the narrative. Mayor Fortuin's great hope and aim for Soutbek is to make it famous and 'put it on the map.' In order to achieve this goal, the mayor decides to compile a history of the area with the assistance of retired history professor, Terence Pearson. The subsequent account of the Soutbek region calls into question the standard history of the early colonisation of South Africa. Pages of The History of the Soutbek Region are interspersed throughout the novel proper, with the consequence that interesting parallels and relationships become evident to the reader. The result is a novel which explores notions of identity, history, myth and reality, as well as the way that human beings choose to treat each other. Much research has been put into both the pages of The History of the Soutbek Region and the novel proper.

In Sweisbril het ons te make met die middelklas en submiddelklas wereld van die voorstede onder andere Springs, Vereeniging en Kroonstad: die fisiek en geestelik gestroopte wereld van scrapyards, Seven Elevens, karavaanparke en plotte. Die karakters is onteiendes, sukkelaars en dromers; haarkappers, petroljoggies, bankklerke, ensovoorts. Algar produkte van hul omstandighede, gelyktydig slagoffers en slagters; in hierdie wereld is daar geen ware good guys of bad guys nie. Die optrede van die karakters is bloot simptomaties van iets wat veel dieper strek as wat hulle self besef, iets wat ontstellend en onherstelbaar is: 'n onhoudbare uitsigloosheid, waarteen blink planne, vol whisky-flesse en selfs 'n sweisbril maar min verweer bied.

Includes bibliography. / In the month before the outward fleet arrived there came into the bay a giant whale. There it lay, its dark bulk floating just off the shore, watching. The people watched it back. From the bastions of the castle the soldiers trained their guns upon it. All were struck silent by the presence of this great beast; all felt the eye of the devil upon them. So many sins were recalled then, the prayers rose like smoke above the Valley hamlet.

Although there are no apparent structural links between these nine stories, they were conceived of as belonging to a particular mood or being variations of a particular theme. This theme, I suppose, is South African Disappointment. The scope of this abstract does not allow a full explain what I mean by this term, but Stephen Watson's immortal essay A Version of Melancholy expresses it beautifully; as does some of Damon Galgut's writing, Don Maclennan's poetry, Johannes Kerkorrel's music, and David Goldblatt's photography. A serviceable definition might be that feeling of anxious exhaustion one feels when dealing with a world that refuses to live up to one's best expectations of it. My aim with this collection is to give this feeling its first sustained South African fictional rendition and to show how ordinary people may endure it with their dignity still intact.