According to Chiwome, ' ... a writer's social vislon is a soclo-spiritual and historical product. A response to a complex process of Indoctrination' (1996: 16).The response can be a reaction depending on whose interests the issue is considered. The Ndebele novelist finds himself caught in the crossfire between two great traditions. He tries to be true to his background while still having to do justice to his newly acquired skill of graphically presenting his thoughts, feelings, and experiences He is a Victim of socio-political systems bent on giving education which moulds the mind to built-in- choices. Both poilitical eras use the printed word to further their ideologies . The Ndebele novelist finds himself having to remould his artistic genius if he is to fit in. In the process the goals of novelistic practice are missed. The novel will not communicate effectively since it has to answer to particular external forces. These forces derive,' ... from the urge of power to protect itself, to perpetuate itself, to prevail' (Chiwome 1996 :22). On the threshold of the two eras, the novel becomes a political statement. It Is this political aspect of the novel which continues to create what Chiwome (1996) has called creative timidity and mediocrity. / African Languages / M.A. (African Languages)

The middle of the 19th century marks a stage in the development of childhood portrayal in German literature. But to take Keller as a starting point rather than Gotthelf, is to recognize in the former the deliberate selectiveness of the artist, and the importance given by him to the whole period of childhood. The wealth of present-day literature dealing with children and childhood would seem to make the drawing of any line of demarcation something of an arbitrary matter. Yet the name of Carossa not only establishes a link with Keller in the poetic interpretation of childhood, but points to a culmination of artistic achievement within our own times.

M.A. (African Languages) / During the past few decades the short story as a literary genre has attracted much attention. Languages such as Russian, English, French, German and later Afrikaans have produced outstanding writers in this genre, whereas writers in relatively younger languages such as Northern-Sotho are- still grappling with complexities such as form and structure in this art-form. Up to the present, the North-Sotho writer I.T. Maditsi has produced three short story collections, namely Mogologolo, Monyane and Dipheko. A number of selected short stories were selected from the three anthologies for a literary analysis, with special emphasis on characterization, which is one of the most important elements of. a successful short story. Few similar attempts have been made so far in Northern-Sotho. Therefore this study will hopefully make a valuable contribution to a better understanding of the short story in general and the Northern-Sotho short story in particular.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Een van die fundamenteelste en belangrikste aspekte van 'n roman is die verteller. Die verhouding waarin die verteller tot die verhaalstof staan, die verteller se perspektief op die gebeure, die soort verteller en die manier waarop die verteller sy implisiete leser deur die organisasie van die verhaal definieer en betrek is almal bepalende faktore vir die struktuur, die styl en die ontwikkelingsgang van die roman. Joseph T. Shipley (1966:144) stel die saak so: "In die analysis of a speech or literary composition, nothing is more important than to determine precisely the voice or voices presented as speaking and the precise nature of the address (i.e. specific direction to a hearer, an addressee); for in every speech reference to a voice or voices and implication of address (i.e. reference to a process of speech, actual or imagined) is a part of the meaning, for the interpretation of which it supplies an indispensable control ".

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M.A. (African Languages) / Please refer to full text to view abstract

There is a marked difference of purpose discernible in representative European, American and English novels of the Great War. The European war novel depicts the brutality and the horror of war; the American novel deals with the soldier's rejection of war; the English novel investigates the society from which the British soldier emerges. This thesis examines certain of the English war novels with a view to proving that they are effective social commentaries. The novels examined are Ford Madox Ford's Some Do Not ..., No More Parades. A Man Could Stand Up and The Last Post, all of which are published as the tetralogy Parade's End, Henry Major Tomlinson's All Our Yesterdays, Charles Edward Montague's Rough Justice and Richard Aldington's Death of a Hero. In Rough Justice and in Death of a Hero the English public school is discovered to be incapable of producing thoughtful, imaginative leaders. The Great War reveals the serious intellectual shortcomings of teacher and student alike, each of whom is a victim of a traditional insistence upon scholastic and recreational standardization. The Great War also reveals that the marriage institution in England is weak and decaying. Death of a Hero tells of the marriages in three generations of the same family and shows that neither the Victorian marriage tradition nor the reaction which grew up against it and took the form of free-love relationships is valuable. In Parade's End three marriages representing three social levels are shown to be insufficiently strong to withstand modern social pressures. A further instance of low standards revealed by wartime behaviour in England is revealed in the degree to which sexual immorality motivates certain people. The ugliness of sexuality appears clearly in such figures as George Winterbourne's mother and her paramour Sam Browne in Aldington's Death of a Hero. It also appears in Sylvia Tietjens, young Brownlie and General Campion, in Ford's Parade’s End. Further examples of moral ugliness come to light in the actions of Mrs. Macmaster in Parade's End and of Sir George Roads in Rough Justice. Each is ambitious; each is ruthlessly determined to succeed financially and socially. Materialism on the grand scale is depicted in Tomlinson’s All Our Yesterdays with the story of Jim Maynard's trip into Africa and of the intense jealousy shown by vested interests over useless jungle territory. Selfishness of massive proportions appears in the war novels in the form of imperialism. Kipling's influence on the growth of imperialistic attitudes is noted. Aldington hates imperialism with a bitter hatred but finds it not surprising considering that public school graduates have the responsibility of formulating British policy. Tomlinson is less bitter but equally devastating in his examination of imperialism. He feels that war results from imperialistic policies. Tomlinson shows how wide the gulf is, in wartime, between the soldier and his government and his society. Tomlinson, Aldington and Ford are all particularly bitter over the inept leadership provided by British officials. Each author attacks with determination the interference by government official and civilian in military affairs during critical times. Self interest is again examined, this time as it manifests itself in class hatred and intolerance, particularly in Rough Justice. All Our Yesterdays expresses extreme disillusionment with the irreligious attitudes held by lay people and even by certain clergymen. Parade's End discovers society to be so thoroughly disenchanting that life in the trenches is preferred by at least one soldier to life with civilians. The criticism of society launched by the veteran writer is, in general, valid. Evidence of social historians and of educationists supports the criticism of the school system. Statistics show a heavy increase in divorces. Investigating bodies agree that new attitudes to the marriage conventions are setting in. Sexuality, personal ambition, materialism and other attributes of people cannot be verified factually but the criticism of them which is found in the war novels is assumed to be valid in the absence of any disproving factors. Imperialism is shown by historians to have existed as a well defined nation policy at the turn of the century, one which enjoyed great public support. The general tenor of the soldier writers' criticisms of society is accurate and often provable and the novels are proven to be significant social commentaries. / Arts, Faculty of / English, Department of / Graduate

Bibliography: pages 174-184. / This thesis examines the 'New Wave' in British science fiction in the 1960s and early 1970s. The use of the terms 'science fiction' and 'New Wave' in the thesis are defined through a use of elements of the ideological theories of Louis Althusser. The New Wave is seen as a change in the ideological framework of the science fiction establishment. For oonvenience, the progress of the New Wave is divided into three stages, each covered by a chapter. Works by the four most prominent writers in the movement are discussed.

Bibliography: pages 198-207. / In this dissertation, a study is made of two bodies of fiction documenting the South African soldier in Angola. The fiction was limited to Afrikaans short stories, as this genre is believed to best reflect the fragmentary, explosive experience of combat. This demarcation also served as a way of limiting the body of fiction for the study. A cut-off year of 1990 was taken. The rationale for this is that the late seventies and eighties was the golden age for the publication of border fiction, and that Southwest AfricaNamibia gained independence in 1990 with a SWAPO (South West Africa People's Organisation) government, thus largely defeating the purposes of South African military involvement in Namibia and Angola. The collections of short stories that were analyzed in this study, were divided into two categories. The stories published in popular family magazines such as Die Huisgenoot were considered to be popular fiction. These stories are overtly accepting of South Africa's involvement in Namibia and Angola, and are highly propagandistic. The collections Ses Wenverhale (1988) by Maretha Maartens and others, and Verby die wit brug (1978) by Johan Coetzee, were analyzed as examples of this category. In the category of literary short stories, Wie de hel het jou vertel? (1988) by Gawie Kellerman and 'n Wereld sonder grense (1984) by Alexander Strachan were analyzed. It is important to note that the texts were selected thematically i.e. the criterium was that they had to have the South African soldier in South West AfricaAngola as main theme. Analyses of the texts are based on the thesis formulated by H P van Coller in his article "Afrikaanse literatuur oor die gewapende konflik in Suider-Afrika sedert 1963 - 'n voorlopige verslag". In this report, Van Coller mentions that studies comparing the literary border fiction with the popular border fiction, have been left behind. The study aims at examining this unexplored territory and looks extensively at how these two bodies of fiction differ. It was found that two radically different images of the border war emerge from the two bodies of fiction: the popular fiction is uncritical, war is presented more as an exciting game in the popular fiction, whereas it is presented as deadly, yet addictive, in the literary fiction. The ideological backgrounds from which the stories are written, are fundamentally opposed: the popular fiction often sees the war as a continuation of the white man's struggle for survival on a violent continent, and God is assumed to be on the South African side. The literary fiction documents a loss of God and criticises the government, censorship and apartheid. The literary fiction also fulfills a function of reporting - that which has not been said in the media due to censorship by government. The scope of the popular fiction is much narrower than the literary fiction, ignoring issues such as homosexuality in the army, torture and atrocities. Finally, the conclusions differ, with a sentimental "all will be well" in the popular fiction, as opposed to the fundamental pessimism in the literary fiction.