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La fiction néobaroque aux Amériques, 1960-1970 : littérature carnavalisée et aliénation narrative chez Hubert Aquin, Guillermo Cabrera Infante et Thomas PynchonMalcuzynski, M.-Pierrette January 1981 (has links)
No description available.
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The portrayal of a coward in the war prose of G. Baklanow, Ju. Bondarev, V. Bykov /Gagné, Patricia A. (Patricia Adèle) January 1982 (has links)
No description available.
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La nouvelle Babel : langage, identite et morale dans les oevres de Emil Cioran, Milan Kundera et Andrei MakineRey, Catherine, January 2006 (has links)
The subject of this thesis is an examination of the acquisition in language of a new country for three Eastern European writers exiled in France. For such writers, art and life become inseparable: just as the experience of geographical displacement liberates the writer so it liberates his language. This new language becomes a field of experimentation, in which the conflicts that precipitated exile are resolved. Departure necessitates the abandonment of the mother tongue: for Cioran, Romanian; for Kundera, Czech; for Makine, Russian. For each of these three writers, studied in this thesis, the adoption of French as the language of literary expression was a decisive act. Geographically and spiritually he and his text are redefined. Separated from familiar landmarks, each finds a new terrain in the language of the creative text, a place, a private space, in which to express the realities of his new self. On the one hand this new paradigm is the expression of a rejection of a past and a tradition; on the other hand it is essential in the process of coming to self-understanding. For Cioran, Kundera and Makine the French language provides a foil to their own ruptured, fragmented, traumatised or guilt-ridden native identities. In each case the adoption of French with its concomitant stereotypical qualities and values constitutes a dialectical process of coming to a clearer sense of self.
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Global and local identities: screening the body (politic) in the medical drama seriesSwanepoel, Jan-Hendrik 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This dissertation investigates the medical drama series as a television phenomenon which
foregrounds the body as central narrative device. By considering House M.D. and Jozi H as
global and local manifestations of this genre, transnational, spatial and metafictional
categorisations of the body are traced to reveal its nature as social spectacle, and meaningbearing
corporeal text. The body and its concomitant identities are exposed as continually and
continuously screened inside, outside and, moreover, in relation to the hospital. As an
institutional space, the hospital is (re)positioned in national and transnational discourses as
nexus for personal and public, individual and societal, as well as local and global truths about the
body (politic). Michel Foucault’s understanding of the human body, its position as part of the
larger body politic, and its control by the state is employed to foreground the bio-political
classification of the (ab)normal body. Both the hospital, as space for healing, controlling and
containing the body, as well as the body, as a corporeal and a psychic space itself, are
signified as heterotopic spaces: part of, but also outside other places and bodies. / AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die mediese dramareeks as televisie-fenomeen wat die
liggaam as sentrale narratiewe middel aanwend. Deur House M.D. en Jozi H as globale en
plaaslike uitbeeldings van hierdie genre in oënskou te neem, word transnasionale, ruimtelike
en metafiksionele kategoriserings van die liggaam nagespoor om die aard daarvan as sosiale
verskynsel en betekenisdraende liggaamlike teks te onthul. Die liggaam en sy verwante
identiteite word aaneenlopend en aanhoudend beskou binne, buite en, verder, in verhouding
tot die hospitaal. Die hospitaal as institisionele ruimte word (her)posisioneer in nasionale en
transnasionale diskoerse as skakel tussen persoonlike en openbare, individuele en sosiale,
asook plaaslike- en globale waarhede oor die (staats)liggaam. Michel Foucault se beskouing
van die liggaam en die groter staatsliggaam, asook die staat se beheer daaroor beklemtoon die
bio-politiese klassifisering van die (ab)normale liggaam. Sowel hospitaal, as helingsruimte,
ruimte van beheer en inperkende ruimte, as die liggaam, as ’n materiële en ’n psigiese ruimte,
word voorgestel as heterotopias: deel van, maar ook verwyder van, ander ruimtes, plekke en
liggame.
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Generic engineering : a study of parody in selected works of Oscar Wilde, James Joyce and Tom StoppardVan der Merwe, Stephen Gareth 04 1900 (has links)
Thesis (MA)-- Stellenbosch University, 2004. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: The following thesis develops a theory of parody as a multifunctional practice in
relation to selected works of Oscar Wilde, James Joyce and Tom Stoppard. The study
discusses parody as a mode of generic engineering (rather than a genre itself) with
ideological ramifications. Based on an understanding of literary and non-literary
genres as social institutions, this thesis describes the practice of parody as one of
engineering generic or discursive incongruity with a particular cultural purpose in
mind. In refiguring generic conventions, the parodist simultaneously reworks their
implicit ideological premises. Parody hence comes to serve as a means of negotiating
with "the world" through generic modification, and the notions of parodic social
agency and cultural work are consequently central to this thesis.
Focusing on The Picture of Dorian Gray and The Importance of Being Earnest
respectively, Chapters Two and Three discuss Wilde's use of parody, and especially
parodic "word-masks", for subverting the aesthetic and social conventions of
Victorian England, and covertly propagating a gay subculture through parodic injokes.
Word-masks - central to Wildean parody - entail the duplicitous use of an
object text / genre as a cover under which a parodist hides other meanings.
If Wildean parody might be described as claiming a covert agency, Joycean parody
must, in contrast, be acknowledged as expressing deep-seated political ambivalence.
Chapters Four and Five of this thesis discuss Joyce's Ulysses with specific reference
to his use of parody to conflate, relativize and problematize the dominant aesthetic
and Irish nationalist discourses of the early twentieth-century. Joycean parody also demonstrates parodic ambivalence and this is especially evident in what might be
called his "parodic patriotism".
In contrast to Wilde's and Joyce's use of parody for the expression of subversive or
progressive political views, Stoppard's parodies confirm conservative English values
not only in their reification of the English canon but also in terms of the ideological
premises with which they invest their hypotexts. Chapters Six and Seven examine
how parody can serve as one of the ways in which modem artists have managed to
come to terms with tradition. Focusing on Stoppard's Rosencrantz and Guildenstern
Are Dead and Travesties respectively, these chapters explore parody's capacity to
function as tribute or homage to the writers of the past being parodied.
Ultimately this thesis aims to demonstrate the continuum of parodic cultural work or
effects of which parody, as a mode of generic engineering, is capable. / AFRIKAANSE OPSOMMING: In hierdie tesis word daar - met verwysing na geselekteerde werke van Oscar Wilde,
James Joyce en Tom Stoppard - 'n teorie van parodie as multi-funktionele praktyk
ontwikkel. Parodie word bespreek as 'n vorm van generiese manipulasie (eerder as 'n
genre op sigself) met ideologiese implikasies. Op die basis van 'n vertolking van
literêre en nie-literêre genres as sosiale instellings, beskryf hierdie tesis die praktyk
van parodie as die bewerkstelling van generiese en diskursiewe ongelyksoortigheid
met 'n besondere kulturele oogmerk in gedagte. In die herfigurering van generiese
konvensies is die beoefenaar van parodie terselfdertyd besig om hulle geïmpliseerde
ideologiese aannames te herbewerk. Parodie word dus 'n metode om met behulp van
generiese modifikasie in omgang met "die wêreld" te verkeer; en die idee van die
sosiale agentskap en kulturele aksie van parodie staan dus ook sentraal tot hierdie
tesis.
Hoofstukke Twee en Drie fokus onderskeidelik op The Picture of Dorian Gray en The
Importance of Being Earnest. In hierdie twee hoofstukke word Wilde se gebruik van
parodie bespreek, met besondere aandag aan sy parodiese "woordmaskers" om die
estetiese en sosiale konvensies van Victoriaanse Engeland te ondermyn, asook sy
bedekte propagering - deur middel van parodiese binne-grappe -- van 'n gay subkultuur.
Sentraal tot Wilde se parodie is woordmaskers wat 'n dubbelsinnige gebruik
van teks en genre inspan as 'n dekmantel waaronder die beoefenaar van parodie ander
betekenisse verskuil hou.
As Wilde se parodie beskryfkan word as bedekte bemiddeling oftussenkoms (covert agency), moet Joyce se parodie - as teenstelling - identifiseer word as 'n uitdrukking
van diepliggende politiese ambivalensie. In Hoofstukke Vier en Vyf word Joyce se
Ulysses bespreek met spesifieke verwysing na sy gebruik van parodie om dominante
estetiese en Ierse nasionalistiese diskoerse van die vroeë twintigste eeu saam te voeg,
te relativiseer en te bevraagteken.. Joyce se parodie illustreer ook parodiese
ambivalensie - 'n aspek wat duidelik blyk uit wat sy "parodiese patriotisme" genoem
kon word.
In teenstelling met Wilde en Joyce se gebruik van parodie as uitdrukking van
ondermynende of pregressiewe gesigspunte, bevestig Stoppard se parodie
konserwatiewe Engelse waardes nie net in hulle vergestalting van Engelse kanoniese
tekste nie, maar ook in terme van die ideologiese aannames wat hulle aan hul
hipotekste toeskryf. Hoofstukke Ses en Sewe ondersoek hoe parodie kan dien as een
van die weë waarlangs moderne kunstenaars daarin geslaag het om hulleself te
versoen met tradiese. In Hoofstukke Ses en Sewe - waar daar onderskeidelik op
Rosencrantz and Guildenstern Are Dead en Travesties gefokus word - word ook
aandag geskenk aan die vermoë van parodie om te funksioneer as huldeblyk of
eerbetoon aan skrywers wie se werke geparodieer word.
Hierdie tesis poog om die kontinuum van parodiese kulturele werk te illustreer
waartoe parodie, as 'n vorm van generiese manipulasie, in staat is.
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Boundaries in cyberpunk fiction : William Gibson's Neuromancer trilogy, Bruce Sterling's Schismatrix, and Neal Stephenson's Snow crashToerien, Michelle 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: Cyberpunk literature explores the effects that developments in technology will have on
the lives of individuals in the future. Technology is seen as having the potential to be of
benefit to society, but it is also seen as a dangerous tool that can be used to severely limit
humanity's freedom. Most of the characters in the texts I examine wish to perpetuate the
boundaries that contain them in a desperate search for stability. Only a few individuals
manage to move beyond the boundaries created by multinational corporations that use
technology, drugs or religion for their own benefit.
This thesis will provide a definition of cyberpunk and explore its development from
science fiction and postmodern writing. The influence of postmodern thinking on
cyberpunk literature can be seen in its move from stability to fluidity, and in its insistence
on the impossibility of creating fixed boundaries. Cyberpunk does not see the future of
humanity as stable, and argues that it will be necessary for humanity to move beyond the
boundaries that contain it. The novels I discuss present different views concerning the
nature of humanity's merging with technology. One view is that humanity is moving
towards a posthuman future, while some argue that humanity is not discarded, but that
these characters have merely evolved to the next step in the natural development of
humankind. Both these views deal with constant change, a notion advocated by both
postmodernism and cyberpunk. / AFRIKAANSE OPSOMMING: "Cyberpunk" literatuur ondersoek die uitwerking wat tegnologiese ontwikkeling in die
toekoms op die lewens van individue sal hê. Tegnologie word gesien as tot moontlike
voordeel vir die samelewing, maar dit kan ook 'n gevaarlike wapen wees wat gebruik kan
word om die mens se vryheid in te perk. Die meerderheid van die karakters in die romans
wat ek bespreek verkies om die grense wat hulle inperk te handhaaf in 'n desperate
strewe na stabiliteit. Slegs 'n paar individue kry dit wel reg om verby die grense te breek
wat deur multinasionale organisasies geskep word vir hul eie gewin.
In hierdie tesis kyk ek na 'n definisie van "cyberpunk" en ek ondersoek die invloed van
wetenskapsfiksie en postmodernisme op die ontwikkeling van die beweging. Die invloed
van postmodernistiese denke kan gesien word in "cyberpunk" se fokus op
veranderlikheid eerder as stabiliteit. "Cyberpunk" sien nie die toekoms van die mens as
stabiel nie, en die argument is dat dit nodig is vir die mens om verby die grense te
beweeg wat vryheid inperk. Die romans wat ek bespreek bevat verskillende sieninge oor
die tipe samesmelting wat die mens en tegnologie sal hê. Sommige voel dat die kategorie
"mens" permanent agterlaat gaan word, terwyl ander argumenteer dat individue slegs sal
ontwikkel tot die volgende stap in die natuurlike ontwikkeling van die mens.
Voortdurende verandering is die fokus van beide hierdie standpunte, en dit is ook die
belangrikste fokus van beide "cyberpunk" en postmodernisme.
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A deeper "Well of English undefyled" : the role and influence of Anglo-Saxon in nineteenth- and twentieth-century poetry : with particular reference to Hopkins, Pound and AudenJones, Chris January 2002 (has links)
This thesis challenges the assumption that Chaucer is the father of the living English poetic tradition. Nobody would deny that poetry existed in a form of English before the fourteenth century, but it is commonly assumed that linguistic and cultural changes have made Anglo-Saxon poetry a specialist area of concern, of no use or interest to modern poets. It is demonstrated that during the nineteenth century, advances in linguistic and textual scholarship made Anglo-Saxon poetry more widely available than had been the case, probably since the Anglo-Norman period. Knowledge of Anglo-Saxon literature is subsequently communicated to poets, particularly after the subject is institutionalized in English departments at British and American universities. Chapter One charts this rise in awareness of Anglo-Saxon poetry and considers its effects on several nineteenth-century poets (William Barnes, Henry Longfellow, Alfred Tennyson and William Morris). Major studies then follow of Gerard Hopkins, Ezra Pound and W. H. Auden and the uses that they make of Anglo-Saxon in their own poetry. It is argued that through these writers Anglo-Saxon has had a more important impact on modern poetry than has been thought previously. Moreover, Anglo-Saxon is often included as part of a poetics that might be called 'modernist'. For each of the three poets under study, the nature of their contact with Anglo-Saxon poetry is determined from documentary evidence (whether at university, or via secondary literature), and different stylistic debts are examined by close readings of a number of poems. No previous work has attempted a detailed analysis of the uses to which these three writers put Anglo-Saxon poetry. This thesis offers such an analysis and synthesizes the different approaches to Anglo-Saxon in order to provide an overview of this phenomenon in nineteenth- and twentieth-century poetry.
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Changing social consciousness in the South African English novel after World War II, with special reference to Peter Abrahams, Alan Paton, Es'kia Mphahlele and Nadine GordimerPaasche, Karin Ilona Mary 11 1900 (has links)
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)
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“The stranger at home” : representations of home and hospitality in three South African post-transitional novelsDass, Minesh January 2014 (has links)
This thesis examines the representation of home and hospitality in Zoë Wicomb’s Playing in the Light, Ishtiyaq Shukri’s The Silent Minaret, and Ivan Vladislavić’s Double Negative. It attempts to trace the un-homeliness of the central characters and to account for their feelings of discomfort. As such, it argues that the home is incapable of being inviolable because the invasion of the public is always a possibility. The implication is that master narratives such as race, history and politics are always entering the space one constructs as private. That said, this study also argues that the home and those things with which it is most closely associated, such as belonging, comfort and safety, may actually hide a form of violence. By this I mean that in the desire for homeliness, one may exclude others from one’s home. Consequently, this argument draws on Jacques Derrida’s writings on the aporia of conditional and unconditional hospitality to investigate what ethical possibilities might, somewhat unexpectedly, be created by the un-homely home. The study is therefore an exploration of the potentials that inhere in a certain kind of un-homeliness, the most important of which is the chance to respond ethically to the alterity of the other. In sum, there is a necessity to extend hospitality beyond condition and beyond limit, and this ethical imperative is at odds with the desire for comfort and safety. The way in which post-transitional novels explore these issues of hospitality and home is the primary focus of this study.
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The haunted bedroom: female sexual identity in Gothic literature, 1790-1820Rae, Angela Lynn January 1999 (has links)
This thesis explores the relationship between the Female Gothic novel of the late eighteenth and early nineteenth century and the social context of women at that time. In the examination of the primary works of Ann Radcliffe, Mary Wollstonecraft and Mary Shelley, this study investigates how these female writers work within the Gothic genre to explore issues related to the role of women in their society, in particular those concerned with sexual identity. It is contended that the Gothic genre provides these authors with the ideal vehicle through which to critique the patriarchal definition of the female, a definition which confines and marginalizes women, denying the female any sexual autonomy. The Introduction defines the scope of the thesis by delineating the differences between the Female Gothic and the Male Gothic. Arguing that the Female Gothic shuns the voyeuristic victimisation of women which characterizes much of the Male Gothic, it is contended that the Female Gothic is defined by its interest in, and exploration of, issues which concern the status of women in a patriarchy. It is asserted that it is this concern with female gender roles that connects the overtly radical work of Mary Wollstonecraft with the oblique critique evident in her contemporary, Ann Radcliffe’s, novels. It is these concerns too, which haunt Mary Shelley’s texts, published two decades later. Chapter One outlines the status of women in the patriarchal society of the late eighteenth century, a period marked by political and social upheaval. This period saw the increasing division of men and women into the “separate spheres” of the public and domestic worlds, and the consequent birth of the ideal of “Angel in the House” which became entrenched in the nineteenth century. The chapter examines how women writers were influenced by this social context and what effect it had on the presentation of female characters in their work, in particular in terms of their depiction of motherhood. Working from the premise that, in order to fully understand the portrayal of female sexuality in the texts, the depiction of the male must be examined, Chapter Two analyses the male characters in terms of their relationship to the heroines and/or the concept of the “feminine”. Although the male characters differ from text to text and author to author, it is argued that in their portrayal of “heroes and villains” the authors were providing a critique of the patriarchal system. While some of the texts depict male characters that challenge traditional stereotypes concerning masculinity, others outline the disastrous and sometimes fatal consequences for both men and women of the rigid gender divisions which disallow the male access to the emotional realm restricted by social prescriptions to the private, domestic world of the female. It is contended that, as such, all of the texts assert the necessity for male and female, masculine and feminine to be united on equal terms. Chapter Three interprets the heroine’s journey through sublime landscapes and mysterious buildings as a journey from childhood innocence to sexual maturity, illustrating the intrinsic link that exists between the settings of Gothic novels and female sexuality. The chapter first examines the authors’ use of the Burkean concept of the sublime and contends that the texts offer a significant revision of the concept. In contrast to Burke’s overtly masculinist definition of the sublime, the texts assert that the female can and does have access to it, and that this access can be used to overcome patriarchal oppression. Secondly, an analysis of the image of the castle and related structures reveals that they can symbolise both the patriarchy and the feminine body. Contending that the heroine’s experiences within these structures enable her to move from innocence to experience, it is asserted that the knowledge that she gains, during her journeys, of herself and of society allows her to assert her independence as a sexually adult woman.
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