Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This study examines the portrayal of characters in four Xhosa novels of the 1990s. The objective is to found out whether or not characterization in the Xhosa novels of the 1990s improves. This is done with the view that past studies of characterization done before 1990 by Jafta (1978; 1996), Satyo (1978), Sirayi (1989) and Dlali (1992) gave the picture that a high percentage of writers portray characters as archetypes because of thematic concerns. This often renders characterization poor in the sense that the reader is able to predict the outcome of events through the actions of the characters. However, Zulu (1999:3) argues that with the inceptor of democracy in South Africa in 1994, African Languages literature was liberated as well from several constraints, and reveals some signs of maturing. This study is thus conducted to confirm or refute Zulu's (1999) claim that there are signs of improvement in the way writers portray characters. The study concentrates of four selected Xhosa novels published in the 1990s. The novels are selected on the criteria that they have won literary prizes and are written by prolific writers. It is found that in all four novels, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? and Ukhozi Olumaphiko the novelists have succeededin creating realistic, live, dynamic, complex and multidimensional characters. The change and development of characters are influenced by environmental change as a result of social, political and economic factors. However, the study also shows that some events in Ukhozi Olumphiko are implausible. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die voorstelling van karakters in vier Xhosa novellas in die 1990s. Die hoofdoelstelling is om te bepaal of daar 'n verbetering in kwaliteit is in die Xhosa novellas in die negentiger jare. Hierdie ondersoek word gedoen in die lig van voorafgaande studies soos Jafte (1978, 1996); Satyo (1978); Sirayi (1989) and Dlali (1992) wat bevind dat 'n groot aantal skrywers, karakters in Xhosa novellas as stereoptipes voorstelop grond van die "telematiese" oorwegings at hulle het. Dit het dikwels die gevolg dat karakterisering swak is in die sin dat die leser die uiteinde van gebeurtenisse kan voorspel deur die handelinge van die karakters. Zulu (1999:3) argumenteer egter dat met die verkryging van demokrasie in Suid Afrika, is die letterkunde van die Afrikatale ook bevry, en dit vertoon tekens dat die literêre wasdom bereik. Hierdie studie word dus onderneem om Zulu (1999) se aanspraak te ondersteun of te weerlê dat daar tekens van verbetering is in die wyse waarop skrywers karakters voorstel. Die studie konsentreer op vier geselekteerde Xhosa novelles wat in die 1990s gepubliseer is. Die novelles is geselekteer volgens kriteria dat hulle literêre pryse gewen het en deur erkende skrywers geskryf is. Daar word bevind in die studie dat die skrywers in al vier die novelles, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? en Ukhozi Olumaphiko suksesvol was in die skep van realistiese, lewendige, ekonomiese komplekse en multi-dimensionele karakters. Die verandering en ontwikkeling van karakters word beïnvloed deur omgewingsverandering, sowel as deur sosiale, politieke en ekonomiese faktore. Dit word egter bevind dat sommige handelinge in die novelle Ukhozi Olumaphiko ongeloofwaardig is. / INTSHWANKATHELO ISIXHOSA: Lo msebenzi uphonononga ukuvezwa kwabalinganiswa kwiinoveli zesiXhosa ezine ezibhalwe ukususela kumnyaka ka-1990 ukuya ku-1999. Injongo yalo msebenzi kukuqwalasela ukuba ikho kusini na impucuko kwindlela abazotywa ngayo abalinganiswa kwezi noveli zesiXhosa zibhalwe ngomnyaka ka-1990 ukubheka phambili. Oku kwenziwa phantsi koluvo lokuba izifundo zamandulo ezimalunga nokuzotywa kwabalinganiswa ngokubhalwa nguJafta (1978;1996), uSatyo (1978) uSirayi (1989) noDlali (1992) zibonakalisa ukuba uninzi Iwababhali luveza abalinganiswa njengemizekelo esisiseko ukuzama ukubanxulumanisa nomxholo wenoveli leyo. Oku ke kubeka ukuzotywa kwabalinganiswa kwizinga eliphantsi nanjengoko umfundi aye akwazi lula ukuthelekelela iziphumo zezehlo ngokujonga iintshukumo ezi zabalinganiswa. Ukanti ke, uZulu (1999:3) uveza ukuba ukususela mhla kwamiselwa ulawulo lukawonkewonke okanye inkululeko eMzantsi Afrika ngomnyaka ka-1994, uncwadi IweeLwimi zaseAfrika Iwaye Iwakhululeka nalo, Iwaze Iwabonakalisa iimpawu zokuvuthwa. Lo msebenzi ke ujolise ekuqinisekiseni okanye ekuphikiseni ingcamango kaZulu (1999) yokuba kukho iimpawu ezibonakalisa ukuphuhla kwindlela ababhali abaveza ngayo abalinganiswa. Lo msebenzi ke uza kuqwalasela kwiinoveli zesiXhosa ezine ezikhethiweyo nezishicilelwe kwisithuba sika-1990 ukubheka phambili. Ezi noveli zikhethwe phantsi komgomo wokuba ziphumelele amabhaso oncwadi yaye zibhalwe ngoomakhwekhwetha bababhali abavunyiweyo. Kuye kwafunyaniswa into yokuba kwezi noveli zone, Iqhina lomtshato, Kazi Ndenzeni na?, Koda Kube Nini na?, kunye noKhozi Olumaphiko ababhali beenoveli baphumelele ekwakheni abalinganiswa ababonisa izinto ngobunjalo bazo, abaphilayo, abanentshukumo, abantsonkothileyo nabambaxa. Utshintsho nokuphuhla kwabalinganiswa lubangelwa kukutshintsha kweendawo abahlala kuzo ngokudalwa ziimeko zokuhlala, ezopolitiko, nezoqoqosho. Ukanti ke, ezinye zezehlo kuKhozi Olumaphiko aziqondakali ngokugqibeleleyo.

Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: The issues of culture and gender are not a well researched subject in Xhosa literature. So far there is one doctoral research study by Mtuze (1990) conducted on prose works of 1909 - 1980. This study aims to investigate culture and gender in Mayasi's novel, Iqhina lomtshato (1995). The main reason for this research is that Xhosa culture has been viewed in literature to be patriarchal, which means that it is organised in such a way that it depicts male domination. Women on the other hand are being regarded as inferior or subordinate. Findings in this research are that the character Sindiswa is presented here as a victim of male domination and oppression when she is forced into a relationship without her consent. The fact that Max, who is a much older man and unsuitable as her lover, leaves her with no choice but to accept what we may call "his induced proposal" of love. Sindiswa's oppression is also intensified by the urban culture that is new to her. / AFRIKAANSE OPSOMMING: Die vraagstukke rakende kultuur en gender is tot nog nie goed ondersoek vir die Xhosa letterkunde nie. Tot dusver is daar een studie, deur Mtuze (1990), wat gedoen is oor prosawerke in Xhosa vanaf 1909-1980. Hierdie studie het as doelstelling die ondersoek van die verband en aard tussen kultuur en gender in Mayosi se novelle Iqhina lomtshato (1995). Die doelstelling van die navorsing is dat Xhosa kultuur dikwels in die letterkunde as patriargaal uitgebeeld is, met ander woorde, dit is op 'n wyse uitgebeeld wat manlike dominering weergee terwyl vroue as ondergeskik of minderwaardig weergegee word. Bevindinge van die studie is dat die karakter Sindiswa hier uitgebeeld word as 'n slagoffer van manlike dominering en verdrukking wanneer sy ingedwing word in 'n verhouding sonder haar toestemming. die feit dat Max 'n veelouer man as sy is wat ongeskik is om haar geliefde te wees, laat haar met geen keuse as om sy 'gedwonge huweliksvoorstel' te aanvaar nie. Sindiswa se onderdrukking word ook vergroot deur die stedelike kultuur wat nuut is vir haar.

Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: The study examines issues of culture in Mcani's drama Uhambo Lwenkululeko (Journey of Freedom). Following Bauerlein (1997:63), it is argued that the study of women in literature forces a critical examination of the way women in literature have been portrayed in the past because of male domination. The study aims to establish what the progress is in the portrayal of women characters after the introduction of the new dispensation in South Africa. This study shows in the discussion of the theoretical aspects of culture in Chapter 2 that culture is an elusive concept because it has different definitions. Culture is that complex whole which includes knowledge, belief, art, law, morals, customs and all other capabilities and habits acquired by man as a member of society. This implies that culture entails everything that contributes to the survival of man, comprising both physical and social factors. In Chapter 3, it is established that the author has excellently handled both characterisation and the plot in Uhambo Lwenkululeko (Journey of Freedom). The plot structure of Uhambo Lwenkululeko (Journey of Freedom) in particular, has been handled successfully by the author. For example, by opening his drama with conflict, in the exposition, the author has managed to show is that conflict is the source of action in drama. It is the aspect that triggers characters to respond either positively or negatively to a particular opposing force. We have established in Chapter 4 that societies have certain basic needs or requirements that must be met if they are to survive. For example, a means of producing food may be seen as a functional pre-requisite since without it, members of society could not survive. This might have been one of the reasons why the boys are busy fishing in the drama. According to the findings in this study, men and women are portrayed equal with regard to reason. We established that the belief that women lack the capacity to fully exercise the powers of human reason is a deeply rooted prejudice. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek vraagstukke oor kultuur in Mcani se drama Uhambo Iwenkululeko. In navolging van Bauerlein (1997:63), word daar aangevoer dat die studie van vroue in die letterkunde 'n kritiese ondersoek noodsaak van die wyse waarop vroue in die verlede voorgestel is in die letterkunde op grond van dominering deur mans. Die studie poog om vas te stel wat die vordering is in die voorstelling van vroue in die letterkunde na die invoer van In nuwe demokratiese bestel in Suid-Afrika. Die studie toon aan in die bespreking van die teoretiese aspekte van kultuur in hoofstuk 2 dat die kultuur In ontwykende konsep is wat verskillende definisies het. Kultuur is 'n komplekse geheel wat insluit aspekte soos kennis, geloof, kuns, regsisteem, morele sieninge, gewoontes en ander vermoens wat deur mense verwerf word as lede van In gemeenskap. Oit impliseer dat kultuur alles behels wat bydra tot die oorlewing van rnense, insluitende fisiese sowel as sosiale faktore. In hoofstuk 3 word dit bevind dat die skrywer die karakterisering sowel as die intrige in Uhambo Iwenkubuleko meesterlik hanteer. Veral die intrige is op 'n uitstaande wyse hanteer deur die skrywer. Oeur in die begin van die drama konflik in te voer, het die skrywer daarin geslaag om aan te toon dat konflik die bron van aksie in die drama is. Oit is die aspek wat karakters aanspoor om of positief of negatief te reageer op In spesifieke opponerende krag. Oaar is bevind in hoofstuk 4 dat gemeenskappe sekere basiese behoeftes en vereistes het waaraan voldoen moet word indien hulle wil oorleef. In Wyse vir die produksie van voedsel is In vereiste, aangesien In gemeenskap nie daarsonder kan oorleef nie. Oit kon In moontlike rede wees waarom die skrywer verwys na die seuns wat visvang in die drama. Volgens die bevindings van die drama, word mans en vroue gelykwaardig voorgestel wat betref redeneringsvermoe. Oaar word bevind dat die siening dat vroue 'n onverrnoe het om die magte van redenering te beoefen 'n diepgewortelde vooroordeel is.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study examines gender relations in four Xhosa drama books. It aims at establishing the influence of culture on gender representations of female and male characters. Culture is observed in the context of patriarchy, which influences the way men and women are portrayed in the dramas. Men and women in the dramas are portrayed as cultural stereotypes. They behave in similar and predictable ways. These characters illustrate a moralistic theme thus conveying a patriarchal message. In this study, culture is viewed as too comprehensive, a concept to be forced into definition that will be acceptable to everyone. Culture can be used to refer to a general process of intellectual, spiritual and aesthetic development. It might be to suggest a particular way of life, whether of people, a period or a group. Storey (1993 : 20) "Culture" embraces everything, which contributes to the survival of man. According to Payne (1997 : 190) "gender" refers to the ensemble of cultural forms, meanings, and values conventionally associated with women and men. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the four dramas. A critical evaluation of the dramas is undertaken. Chapter 3 deals with a man and a woman as character in Xhosa drama under a study. A detailed analysis of the main male and female character in each drama is undertaken. Furthermore, a critical summary of how the male and female character has been portrayed in the dramas is presented. Chapter 4 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 5 summarizes the findings of the study. / AFRIKAANSE OPSOMMING: Die studie ondersoek die verhoudings tussen geslagte in vier Xhosa drama boeke. Die doel is om die invloed wat kultuur op die manlik en vroulike karakters teenwoordig, vas te stel. Kultuur word waargeneem in die konteks van patriargisme, wat die manier waarop mans en vrouens in die drama uitgebeeld word, beïnvloed. Mans en vrouens word in die dramas as kulturele stereotipes uitgebeeld. Hulle tree op dieselfde en voorspelbare maniere op. Die karakters illustreer In moralistiese tema en dra sodoende In patriargale boodskap oor. In die studie, word kultuur as te omvattend beskou, In konsep wat aanvaar word deur almal. Kultuur kan gebruik word om na In algemene ontwikkelingsproses wat intellektueel, spiritueel en asteties is te verwys. Dit mag wees om In sekere soort leefwyse uit te beeld, hetsy van mense, In periode of In groep. Storey (1993:20) beskryf "kultuur" as alles wat tot die oorlewing van die mens bydra. Volgens Payne (1997: 190) verwys "geslag" na die samestelling van kulturele vorms, menings en waardes wat konvensioneel met mans en vrouens geassosieer word. Die tesis is as volg uiteengesit: Hoofstuk 1 stel die doel, die omvang, die teorie en metodes van die studie voor. Hoofstuk 2 handeloor die ontwikkeling van die komplot binne episodes van die vier dramas. In Kritieke evaluasie van die dramas word gedoen. Hoofstuk 3 handeloor die karakters van In man en In vrou in die Xhosa dramas. In gedetailleerde ontleding van die dominante manlike en vroulike karakters van elke drama word gedoen. In Kritiese opsomming van hoe die manlike en vroulike karakters uitgebeeld word, word ook gedoen. Hoofstuk 4 stel die tipiese uitbeelding van die Xhosa kultuur in die Xhosa dramas voor. Vanuit elke drama word sekere selektiewe aspekte van kultuur ondersoek en In inspeksie van die uitbeelding van die aspekte word gedoen. Hoofstuk 5 bevat die bevindinge van die studie.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2006. / During an interview, the author Rudolf Herter in Harry Mulisch’s novel Siegfried states that Hitler would only be comprehended if an imaginative experiment is conducted by capturing him in a net of fiction. This is indeed what Mulisch does in this novel. The combination of historical and fictional data resulting from this strategy is typical of the conventional historical novel, while Siegfried also manifests modernist characteristics. In this study, however, special attention is paid to aspects such as metafictionality, selfreflexivity, subjectivity and an emphasis on ideology which Siegfried shares with other postmodern historical novels, with specific reference to Linda Hutcheon’s view on historiographic metafiction and Lies Wesseling’s definition of uchronian fiction. The focus in this study lies, inter alia, on the ways in which Mulisch utilizes open spaces in history and fits the fictitious data like pieces into the puzzle of the history of the Second World War in general and specific events surrounding Hitler in particular. Mulisch’s play with autobiographical data in the novel further diminishes the boundaries between fact and fiction. Of particular importance is the metafictional statements about the nature of history which Mulisch delivers in the process. Not only the political side of history, but also its subjective and one-sided nature is emphasised. Finally a question is posed about Mulisch’s intentions and aspirations in writing another novel about Hitler, who as a character in this novel awakens sympathy on the one hand and on the other is demonized as inhuman with superhuman qualities. This demonstrates the problems involved in gaining insight into the real Hitler. My opinion is that, in the final instance, Mulisch intentionally magnifies the enigma surrounding Hitler in his characterization of the man who can be regarded as one of the most destructive people of the 20th century.

My thesis begins with the rapid tracking down of a word that demands the acknowledgment of a territory in its own right: Aztlan. I trace this term from prehispanic times up to the present in order to formulate the mythical, historical, cultural, and literary characteristics of a conglomerate that is currently identifiable and recognizable as the Chicano people of Aztlan. The main hypothesis of this work, which is to establish a coherent starting point for the study of the Aztlanese novel written in Spanish, is set within a historical-literary context. As a consequence, this thesis cannot encompass all the Aztlanese narratives written in Spanish; instead, it focuses specifically on two works--from the 19th and 20th centuries, respectively--that I consider the first and foremost historical-literary links. El hijo de la tempestad (1892), by Eusebio Chacon, and Peregrinos de Aztlan (1974), by Miguel Mendez, are the first texts that exhibit a clear literary awareness. I have what such concepts imply within an artistic framework. I am fully convinced that these two narrative texts are the first and foremost links in the Aztlanese novel as it currently exists, particularly in those novels written in Spanish. In some fashion, these two trail blazing novels constitute concrete examples that can help to establish and systematize, on the basis of specifically literary formulations, the literary tradition of the complex and heterogenous literary phenomenon which is Aztlan. My approach is restricted to a method that recognizes a literary work as a semi-autonomous structure--that is, one which exhibits structural relations with other facts and phenomena outside itself. The second chapter traces the meaning and location of the concept Aztlan, and it notes that the said concept is a myth and a spiritual rallying point among Chicanos. The chapter also comments on the principal aspects of the history of people of Mexican origin in the United States, as well as the so-called "Chicano Movement". The third chapter discusses the principal literary tendencies with regard to esthetic phenomena. It delimits the concept of the novel, the parameters of Aztlanese expression--particularly of works written in Spanish--and, of course, my approach. Each of the two following chapters is devoted to one of the two novels at issue. Each chapter studies the concept and function of literature held by its novel’s author, as well as the structural process exemplified by each of the texts. Significantly, both novels display characteristics that allow them to be classified with modern and contemporary Latinamerican novels, respectively: El hijo de la tempestad clearly fits in with Naturalism, Peregrinos de Aztlan in with Superrealism.

'n Ondersoek na die armoede-diskoers en die uitings patriargie, bloedskande en apartheid in Triomf van Marlene Van Niekerk.

This is a study of some of the works of the Japanese novelist, Ozaki Koyo (1867-1903). The aim has been to identify the legacy that the fiction of the Tokugawa period (1600-1868) left in his work, so comparatively little attention has been paid to his life or to works that throw no light on this question, such as his adaptations and translations of western literature. Koyo's fiction was influenced by two distinct literary traditions from the Tokugawa period. His interest in ninjobon, a genre of romantic novel, spanned his creative life and imparted to his works a tendency towards complex romantic plots and a concern for realistic dialogue. For a few years, however, this source of influence yielded to another: Koyo was involved in the revival of the works of Ihara Saikaku which took place in the years around 1890, and this profoundly affected his language and style for several years. Attempts to imitate Saikaku's fiction also enabled him to experiment with uses of the narrator that were foreign to ninjobon writers, and he became progressively more interested in probing the minds of his characters. He took these developments further in his last two novels, stimulated both by the western fiction he had read and by current literary fashions. In Tajo takon he used the narrator to express his rejection of views of marriage imported from the West; in Konjiki yasha he combined the qualities of ninjobon with a study of usury. Apart from revealing some of the areas in which Meiji fiction was indebted to tradition, Koyo's works show that the influence of Tokugawst fiction was not always as harmful as it is often supposed to be.

The purpose of this study was to investigate if there is a difference in the way male and female authors of contemporary realistic fiction for young adults portray decision making by their male or female protagonists. Questions asked in the study were: (1) Do female writers of contemporary young adult realistic fiction employ an ethic of justice or an ethic of care for male protagonists involved in moral decision making? (2) Do female writers of contemporary young adult realistic fiction employ an ethic of justice or an ethic of care for female protagonists involved in moral decision making? (3) Do male writers of contemporary young adult realistic fiction employ an ethic of justice or an ethic of care for male protagonists involved in moral decision making? and (4) Do male writers of contemporary young adult realistic fiction employ an ethic of justice or an ethic of care for female protagonists involved in moral decision making? Content analysis was used as the method of collecting data. The sample consisted of 194 novels written from 1989 to 1998, 53 of which contained a moral dilemma. A discussion of the novels included examples of moral dilemmas, alternative solutions, dilemma resolutions, and resolutions based upon care or justice. Analysis of the data revealed: (1) Female writers employ an ethic of care and an ethic of justice for male protagonists involved in moral decision making. (2) Female writers prefer an ethic of care for female protagonists involved in moral decision making. (3) Male writers prefer an ethic of justice for male protagonists involved in moral decision making. (4) Male writers prefer an ethic of justice for female protagonists involved in moral decision making.

Much of what has been researched on Shona fiction has been limited to literature published before independence. The current research endeavours to assess the treatment of socio-economic issues as conveyed through fiction published since 1990. This fiction focuses on socio-economic issues in both pre-colonial and independent Zimbabwe. The study endeavours to establish if writers who focus on these issues in the pre-colonial era have been able to reclaim a complicated picture of the African pasts. It also discusses fiction that focuses on post-independence experiences; such as extent of the impact of empowerment brought about by independence, continued poverty among Africans, emancipation of the female being and the HIV and AIDS pandemic. Here, it strives to ascertain if the writers have identified the causes and offer meaningful solutions to these. The study observes that contemporary novelists on the Shona pasts have reclaimed more realistic ‘worlds’ when compared to their predecessors who have largely presented distorted images of these pasts. On the outcome of independence, two groups portray it as a total success and a total failure respectively, whilst the third and more successful group gives a balanced exposition. Fiction on poverty among contemporary Africans falls into two classes, namely rural and urban. The former still suffers from the heavy influence of colonial myths as it only highlights the effects of poverty without situating them in their tension-ridden historical context. The latter provides important sociological information on the plight of the characters but is lacking when it comes to suggesting ways of alleviating such poverty. On female empowerment, it emerges that while some writers are for women empowerment, others are against it. Women writers are better at explaining problems of women. However, both groups are still unable to identify the root cause of the incapacitation of women. On HIV and AIDS, whilst male writers demonstrate a wider social vision on the factors that disempower society against the spread and curbing of the virus, female authors still fall in the trap of blaming both men and Shona traditional customs. Overall, it emerges that contemporary Shona writers reveal contradictory modes in articulating these issues. / African Languages / Thesis (D. Litt et Phil. (African Languages))