Thesis (M. A. (African Languages)) -- University of Limpopo, 1999 / Refer to document

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published_or_final_version / Chinese / Master / Master of Arts

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This study is inspired by social discourse theory and sociocriticism of literature. it aims to describe an organizational system that informs theatre practice in Quebec and to go beyond aesthetic form, critical interpretation and institutional structure to reveal Quebecois theatre in its most synthesized form. / To comprehend the model's overall operation, three broad sectors of the theatre's sphere of activity were explored and juxtaposed: institution, reception and creation. For this purpose, a preliminary set of quantitative and discursive data was assembled from a study of the network of professional schools, associations, and festivals in the theatrical milieu. Following this, examination of a number of scholarly texts made it possible to observe the way in which these elements are linked together into a more comprehensive ideological structure, while analysis of a representative body of contemporary (1945--1990) Quebecois plays served to consolidate and refine these observations. / The central thesis of this work is that, at the level of the representation of the "world", there are a series of characteristics that may be thought of as the distinctive elements of Quebecois drama. In general, Quebecois theatre feeds off the denial of the theatrical in order to present itself to the spectator as a site of an impossible theatricality. This dynamic inscribes itself in sociocultural representation in general, and is perceived both in the spatio-temporal dimension of the play, and in the structure of dramatic character and dramatic conflict.

M.A. / Since 1983 there has been a revival in the publication of one-act plays in Zulu. The study attempts to examine a new aspect, namely theme, in one-act plays. In order to highlight the thematic shift in one-act plays, the themes in full-length plays are examined and a comparison is then made to see how the themes in one-act plays differ from these. The study is based on certain aspects of the theory of Semiotics and works with concepts proposed by Pfister (1988) namely: a) A-perspectival structure b) Open perspective structure c) Closed perspective structure There seems to be a change in what dramatists are focusing on in their plays. This change is discussed and it is established to what extent the shift has occurred.

M.A. (African Languages) / CHAPTER 1: INTRODUCTION The main aim of this study is to focus on conflict as a literary technique in general, and in particular on Matseke's drama, "Mmalonya". In this chapter the following observations with regard to Setswana drama have been made, viz. that succession has been a fertile ground for Setswana dramatists; that conflict has been treated in a somewhat general manner by literary critics and also that there are very few critical works written or published on this aspect in Setswana drama. CHAPTER 2: DEFINITIONS OF CONFLICT This chapter commences with some theoretical perspectives on conflict in general. These are followed by a detailed discussion of what conflict is, its nature and its relationship with other aspects of drama such as, actiorr, dialogue and characterization. CHAPTER 3: CONFLICT IN MMALONYA As was the case in chapter 2, this chapter also commences with an exposition of the nature of its principal subject viz. "Conflict in MmaLonya". This is followed by a discussion and a literary evaluation of the types of conflict in Matseke's play. It is observed that the evaluation of Matseke's drama in this regard revealed that this element constitutes the best area in his literary...