M.A. / An explanation of what I will be doing. how I will be doing. it, and why I will be doing this research is given below. The purpose of this subsection is to enable the reader to have greater clarity regarding the overall objectives of the thesis. Chapter 1: "Ezekiel the Tragedian" The objective of chapter 1 is to examine the link between apocalypse and tragedy as genre forms. The work of Ezekiel the Tragedian belongs to the world of both tragedy and apocalypse. Ezekiel, the Hellenistic Jew, was clearly influence by a Hellenistic genre form (namely Greek tragedy) in his work the "Exodus of Moses" (an inter-testamental work based on the Exodus of Moses as mentioned in the Old Testament). Ezekiel the Jew adapts his message towards his Hellenistic audience. The question one asks is "Could John, the Jew, likewise have adapted his message towards his Hellenistic audience? Could John have used Greek drama to communicate his prophetic-apocalyptic message to his Hellenistic audience?". 1.Biermann and I.Grabe, ibid,lff. "The Exodus of Moses" has significant points of comparison with the Revelation of John. These include a vision of a figure seated on a throne in heaven (a typically apocalyptic scene), seven plagues of judgement, a battle involving huge armies, the Exodus account of the deliverance of Israel, and a chorus who sings choral songs. Ezekiel adapts and develops the Biblical narrative and expresses it in the genre of Greek drama. Chapter2: "Tragedy and the Hellenistic World" The objective of chapter 2 is to examine the evidence of tragedy in Hellenistic times. This will include examining the influence of traaedy in the seven cities of Asia Minor to whom John writes, as well as the Jews and their association with the theatre. The popularity of tragedy will be researched. The use of tragedy in the Imperial cult will be also be examined. The question that needs to be asked is "Would John be influenced by Greek drama in his communicating with the seven churches of Asia Minor? And were his audience in the seven cities familiar with Greek drama?" Chapter 3: "The Elements of _Greek Drama in the 126 -v'@ation of John" The objective of chapter 3 is to examine research regarding the Revelation of John and Greek drama. The research shall be discussed in terms of certain features common to Greek drama (for example acts and scenes, the role of the chorus. the structure, the dramatic actors etc). Furthermore, my intention is to show that a number of reputable scholars have noted significant similarities between the Revelation of John and Greek drama, with some even arguing that the Revelation of John is written in the form of a Greek drama. The viewpoint that the Revelation is written in the szenre of Greek tragedy is a respectable viewpoint and has a noteworthy following. Chapter 4: The Form of the Revelation" The form of Revelation will be compared with the form of Greek drama in chapter 4. The purpose is to see whether noteworthy similarities of form exist between the Revelation and Greek drama. Chapter 5: The Function of the Revelation" The cathartic' function of Greek tragedy and the cathartic function of the Revelation will be examined. The question asked is: "does the Revelation have a cathartic function? and if so how does this cathartic function compare with Greek tragedy? Why would the revelation have a cathartic effect?" Chapter 6: "The Throne Scene" The "throne scene" of chapter 4 following is one of the most important scenes in the Revelation of John. "Throne scenes"are popular accounts in both prophetic and apocalyptic writings 63. In this chapter we shall examine the "throne scene" from the viewpoint of Greek drama, so as to see whether it would indeed be possible to communicate a throne scene effectively in Greek drama practice. `Catharsis means "healing" in lavmens terms. This is abundantly clear in the throne scenes of Isaiah and Ezekiel in the Old Testament, as well as an abundance of throne scenes in inter-testamental apocalyptic writings.

Mary Woodbery / Caption title / Typescript / M.A. Florida State College for Women 1908

MA (Tshivenda) / Senthara ya M.E.R. Mathivha ya Nyambo dza Afrika, Vhutsila na Mvelele / See the attached abstract below

MA (Northern Sotho) / Senthara ya M. E. R. Mathivha Dipopelong tsa Afrika, Bokgabo le Setso / See the attached abstract below

MA (ISiswati) / Sikhungo i-MER Mathivha Setilwimi Temdzabu, Buciko Nemasiko Inyuvesi yaseVenda / Lolu lucwaningo lolutsintsa sakhiwo semidlalo yemoya yeSiswati lelandzelako: Ngifela Wena nalotsi, Hawu babe. Umgudvu wesisekelo selucwaningo ugcila esihlokweni, singeniso, kukhuphuka nekwehla kwemdlalo kuye kufinyelelwe esiphetfweni semdlalo. Tincenye letibalulekile temdlalo kuba kudlaleka, tetsameli, inkhundla nebadlali. Kuvetwa kwebalingisi kukhonjiswa kubuye kuhlelwe ngekwetinhlobo netindlela labavetwe ngato. Kulemidlalo kulindzeleke kutsi tetsameli tilingisele bunjalo nesimo semphilo lapho kuboniswana, kwabelwana ngelwati etimeni nasetindzaweni letehlukene. Kuchunyanwa ngemagama, tento, nekulingisa. Tigameko temdlalo tesekelwe yingcoco yeluchumano lecuketse lokutsintsa liphimbo: imisho, kuphindza nekulingisa lokuletsa inchazelo yemagama. Luhlatiyo lukhombisa lwati, buhle belukhetfomagama, libintanamisho, silulumagama nenkhulumobuciko yebalingisi. Kudlaleka nekufundzeka kwemidlalo kusisekelo sayo. Luhlatiyo lwebunjalombhalo lwesekelwe imfundziso-njulalwati nesenekamcabango. / NRF

Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra. / The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation. / Afrikaans & theory of Literature / MA (Afrikaans en Algemene Literatuurwetenskap)

Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra. / The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation. / Afrikaans and theory of Literature / M. A. (Afrikaans en Algemene Literatuurwetenskap)

The main aim of the study is to make a historical-biographical analysis of four selected Northern Sotho dramatic texts. Chapter one illustrates that the texts we have selected are historical dramas since they deal with the life histories of historical characters. In order to comprehend these texts, it is important to view them as evidence of oral history. The chapter also discusses the approach used by Fleischman which consists of the following parameters: authenticity, intention, reception, social function, narrative syntax and finally narrator involvement. Chapter two discusses the play Marangrang as a reflection of the consequences of Shaka's imperialism and how this affected the Eastern Transvaal in 1820. The chapter illustrates that in order to understand the life history of Marangrang, it is important to discuss it in relation to this period, popularly known as difaqane. It is clear that information about Marangrang has been deliberately distorted because of fear. Chapter three deals with the destructive consequences of Western religion on the traditional African religion. The chapter is based on the life history of Kgasane, who was murdered in 1884, allegedly for his devotion to Christianity. The chapter shows the importance of the need to make a re-interpretation of missionary writings, specifically those surrounding the Berlin Mission Society in South Africa. Chapter four focuses on the role of formal education in the destruction of the Bakgaga ba GaMphahlele history. The chapter is based on the life history of Kgosi Mmutle Ill in bringing formal education to the people of Mphahlele and how this destroyed certain traditional institutions such as chieftainship. Chapter five deals with the problems experienced by mineworkers and also shows the sufferings of Africans at the hands of the government. The chapter is based on the life of Serogole Mathobela, who once worked in the mine. Chapter six is a conclusion where the findings of the previous chapters are made. The reasons why the authors of these texts suspended certain information while highlighting other information varies from fear to propaganda. In conclusion, it is observed that in order to do justice to oral history more financial support is needed. / African Languages / D.Litt. et Phil. (African Languages)

The aim of this research is to investigate cultural conflicts in Northern Sotho dramas. At the beginning of the work, reasons for the choice of the topic are given, and thereafter, the methodology to be adopted in analysing the plays is outlined. Various factors considered to be contributory to the acculturation of traditional Africans are discussed. Throughout this study, traditionalists oppose westernised Africans because of strange norms and practices they have adopted. The two parties disagree on issues like arranged marriage, remarriage and leadership. Christianity features prominently as the basic cause of conflict. Modernists oppose traditional practices on the ground that they are not in conformity with Christian principles. The plays are compared to determine how each playwright has attempted to resolve conflicts in his respective play. The study ends with a comment on findings where traditionalism, being a common enemy in the three plays, is overridden by modernity. / African Languages / M.A. (African Languages)

Thesis (MA)--University of Stellenbosch, 1991. / ENGLISH ABSTRACT: This study is based on the comparison of six Xhosa radio dramas spanning the period 1987 and 1988. The main objective is to investigate the strengths and weaknesses which manifest themselves in the dramas. The dramas are compared with respect to the six structural elements of drama viz., theme, plot, characterization, time and space, and the techniques of production.Themes are studied to establish whether there have been any developments as far as the choice of themes is concerned in Xhosa radio dramas or whether there has been stagnation. Also given is a brief literary history of the themes broadcast in the Xhosa radio. The analysis of the plot structure is also done to identify the areas where they met the requirements successfully as well as where they failed to. The dramas are analysed according to the traditional approach Le. the exposition, complication, climax and the denouement.With regard to characterization, the characters are classified according to the function they perform viz., the protagonist, antagonist, tritagonist and confidante. They are also analysed according to their individual nature Le. whether they are static or dynamic, mono- or multidimensional etc. Techniques that the playwrights have used in the portrayal of their characters are also examined.The aspects of time and space are also discussed, to investigate the artistic skills of the different dramatists in handling the time and space relations. Time is viewed with respect to the following: order, duration, frequency, tempo and the presentation of the time structures. Space is discussed with respect to the following: type, function, and the techniques of localisation.A critical comparison of the production techniques used by these different playwrights is explored, the focus being on the microphone, sound effects and music. The examination conducted in the study basically revealed that there is little development in Xhosa radio dramas.The themes that are broadcast are mainly for entertainment and consequently have little intellectual depth. There is also a lack of innovation which is shown by the repetition of the same themes.The playwrights also lack skill as far as plot construction is concerned. The plays are devoid of conflict The absence of conflict in the dramas has an effect on characterization. It has given rise to weak antagonists in the dramas. Lack of focus regarding the main character is one of the faults that is evident in the dramas. Because of the fact that all characters are on the level of importance, it becomes difficult to pin-point who the focal character is. Finally, the Xhosa radio dramas discussed in this thesis revealed that there is latent potential in the Xhosa dramatists and the producers. It is therefore necessary that they should be motivated towards research on the subject and consultation with people who are knowledgeable in this sub-genre. Such actions could be of assistance towards the improvement of skills and techniques needed in the writing of the radio drama / AFRIKAANSE OPSOMMING: Hierdie studie is gebaseer op die vergelyking van ses Xhosa radio dramas wat strek oor die tydperk 1987-1988. Die hoofdoelstelling is om die sterkpunte en swakpunte te ondersoek soos dit na vore kom in die dramas. Die dramas sal vergelyk word met betrekking tot die ses strukturele elemente van die drama, naamlik, tema, intrige, karakterisering, tyd en ruimte, en die tegnieke van produksie. Die temas van die dramas is ondersoek om vas te stel of enige ontwikkelings wat betref die keuse van temas plaasgevind het, en of daar stagnasie was in hierdie verb and. Voorts sal 'n kort ootsig gegee word van die liter ere temas in radio Xhosa dramas. Die analise van die intrige van die dramas word gedoen om vas te stel waar daar suksesvol of onsuksesvol voldoen is aan vereistes. Die dramas word ontleed volgens die tradisionele benadering van uiteensetting, verwikkeling, klimaks en die afwikkeling. Betreffende karakterisering, word karakters geklassifiseer volgens die funksie wat hulle vervul, naamlik die protagonis, die antagonis, die tritagonis, en die vertroueling. Karakters kan ook ontleed word volgens hulle individuele karakter, dit is, in welke mate hulle staties of dinamies is, enkel- of multi-dimension eel, ens. Tegnieke wat die skrywers gebruik het in die uitbeelding van hulle karakters word ook ondersoek Die aspekte van tyd en ruimte word bespreek ten einde die artistieke vaardighede van die verskillende skrywers te ondersoek in die hantering van tyd en ruimte verbande. Tyd word ondersoek ten opsigte van volgorde, duur, frekwensie, tempo en die aanbieding van die tyd strukture. Ruimte word bespreek met betrekking tot die aspekte van tipe, funksie en die tegnieke van lokalisering. 'n Kritiese vergelyking word gedoen van die produksietegnieke wat aangewend is deur die verskillende skrywers, met die fokus op mikrofoon klankeffekte en musiek Die ondersoek in hierdie studie toon aan dat daar geringe ontwikkeling is in die Xhosa radio dramas. Die temas van die dramas wat uitgesaai word is hoofsaaklik van 'n vermaaklikheids aard met geen intellektuele diepte nie. Daar is ook 'n tekort aan vernuwing, soos aangedui deur die herhaling van dieselfde temas. Die skrywes toon ook 'n tekort aan vaardigheid wat betref die konstruksie van die struktuur van. intrige. Die dramas toon weinig konflik Die afwesigheid van konflik het ook 'n invloed op die krakterisering, wat aanleiding gee tot swak antagoniste in die dramas.'n Gebrekkige fokus betreffende die hootkarater is een van die foute wat opvallend is in die dramas. Omdat byna al die karakters op dieselfde vlak van belangrikheid is, is dit moeilik om te bepaal watter karakter die hootkarater is. Laastens, die Xhosa radio dramas wat ontleed is in hierdie studie toon dat daar latente potensiaal is in die Xhosa skrywers en regiseurs. Dit is nodig dat hulle aangemoedig word om navorsing te doen oor die onderwerp. Konsultasie met kundiges op hierdie sub-genre kan 'n hulp wees in die verbetering van vaardighede en tegnieke wat nodig is vir die skryf van radio dramas.