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.

Dissertasie ingehandig by die Faculty of Arts ter vervulling van die vereistes vir die graad Magister Artium in Afrikaans aan die Universiteit van Zululand, South Africa, 1999. / Hierdie studie behels ‘n ondersoek na jeugliteratuur, wat gesien word as verhale met eiesoortige kenmerke wat moet voldoen aan die sielkundige behoeftes van die tiener. Die doelwit is 'n ondersoek na die vernuwing van maatskaplike norme in Afrikaanse jeugliteratuur vanaf 1985 tot 1995. Hoewel maatskaplike norme ‘n sisteem vorm wat as gehee! deur die lede van die samelewing beheer moet word, kan die verhouding tussen verskillende rassegroepe uitgesonder word as die maatskaplike norm wat vir dekades ln groot bron van probleme in die Suid-Afrikaanse samelewing was, en nog steeds nie volkome opgelos is nie. Daar word dan in hierdie studie gekyk na die uitbeelding van die verhouding tussen verskillende rassegroepe in Afrikaanse jeugliteratuur, en die hipotese wat getoets word, is dat die veranderde norme in die samelewing gereflekteer sal word in literatuur vir jongmense ten einde hulle te help om as volwaardige volwassenes op te tree. Daar word tot die gevolgtrekking gekom dat daar nie in enigeen van die verhale wat ontleed is, enige negatiewe rassistiese voorstellings van swart of ander karakters op grand van rasseverskille voorkom nie. Die Suid-Afrikaanse samelewing word uitgebeeld as ongemtegreerd en daar word ook erkenning gegee aan die feit dat daar grense en ongelykhede bestaan tussen mense op grand van politieke en sosiale faktore. Daar word egter ook aan die ander kant erkenning gegee aan die nadelige gevolge van hierdie politieke stelsel, en dit is vera! belangrik dat karakters uit verskillende rasse- en sosiale groepe as innerlik gelykwaardig uitgebeeld word. Daar word klem gele op die sielsgenootskap tussen mense en die feit dat ons almal op die psigiese vlak dieselfde probleme en behoeftes het, en dat mense, ongeag hulle velkleur, mekaar kan help in die groeiproses tot groter lewenskennis en selfinsig.

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An unusual sensitivity to nature and an exceptional power of transforming that sensitivity into artistic expression are among the most frequently remarked traits of D.H. Lawrence's genius. But few critics have examined the individual phenomena so transformed. This study makes an effort to correct that neglect by focusing on Lawrence's treatment of flowers in his fiction. Daniel Stiffler has opened the way with his dissertation, "'Say It With Flowers': A Study of Floral Imagery in the Novels of D. H. Lawrence," but much work can still be done. Because Lawrence conceived of the flower as "the most perfect expression of life" and believed with Ursula Brangwen that art is "only the truth about the real world," my emphasis is upon Lawrence's fictional flowers as representatives of his philosophy of life, a philosophy of complementary opposites. Arguing that the female aspect of his philosophy is the "root" of unconscious awareness and that the male aspect is the "blossom" of language or "verbal consciousness," I describe the flower as a perfect expression of the union between the female and male aspects of life. But because such union is never fully achieved, the flowers in Lawrence's fiction demonstrate the dynamic tension between the female and male aspects, as they approach a moment of balance. Though H. M. Daleski argues that Lawrence's fiction records a struggle to heal the "breach" in his own nature as the "male principle" within himself separated from the more intrinsic "female principle," I try to demonstrate that Daleski's description is simplistic and that the very character of the flower as a symbolic model indicates that Lawrence's consciousness was by nature perennially growing away from itself, withering back to its "root" source, and then growing outward once more. / Master of Arts

梁珊珊. / "2006年8月" / 論文(哲學碩士)--香港中文大學, 2006. / 參考文獻(leaves 133-146). / "2006 nian 8 yue" / Abstracts in Chinese and English. / Liang Shanshan. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 133-146). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究對象 --- p.1 / Chapter 第二節 --- 硏究範圍 --- p.5 / Chapter 第三節 --- 他人硏究成果槪述 --- p.18 / Chapter 第四節 --- 女性主義敘事學理論簡介 --- p.20 / Chapter 第二章 --- “五四´ح時期書信體小說興起的源流及槪况 --- p.26 / Chapter 第一節 --- 客觀歷史條件的具備 --- p.27 / Chapter 第二節 --- 晚清以迄“五四´ح書信體小說的流變 --- p.31 / Chapter 第三節 --- 西方文學理論的影響 --- p.42 / Chapter 第三章 --- 書信體小說的文體特徵 --- p.46 / Chapter 第一節 --- 真實性 --- p.46 / Chapter 第二節 --- 私密性/封閉性 --- p.48 / Chapter 第三節 --- 對話性/公共性 --- p.53 / Chapter 第四節 --- 兼容性 --- p.56 / Chapter 第四章 --- 書信體小說的敘述視點及敘述層次 --- p.58 / Chapter 第一節 --- 敘述視點 --- p.58 / Chapter 第二節 --- 敘述層次 --- p.74 / Chapter 第三節 --- 小結 --- p.87 / Chapter 第五章 --- 書信體小說的女性主義敘事學硏究 --- p.88 / Chapter 第一節 --- 作者型敘述聲音 --- p.94 / Chapter 第二節 --- 個人型敘述聲音 --- p.100 / Chapter 第三節 --- 集體型敘述聲音 --- p.108 / Chapter 第四節 --- 小結 --- p.110 / Chapter 第六章 --- 書信體小說的衰落 --- p.113 / Chapter 第七章 --- 結論 --- p.118 / Chapter 第一節 --- 總結 --- p.118 / Chapter 第二節 --- 硏究意義 --- p.123 / [附錄一]“五四´ح女作家小傳 --- p.125 / [附錄二] “五四´ح女作家書信體小說(1917-1927)列表 --- p.131 / 參考文獻 --- p.133 / Chapter 一、 --- 作家作品 --- p.133 / Chapter 二、 --- 參考. --- p.135 / Chapter 三、 --- 學位論文 --- p.141 / Chapter 四、 --- 期刊論文 --- p.141

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This thesis is a contribution to the ongoing debate over standards of criticism for the novel in Africa. After reviewing the three main approaches, the 'Afro-centric', the 'Euro-centric ' and the 'syncretic', and highlighting their shortcomings, I hope to demonstrate that if the devices of point of view ' are used properly they may provide a valuable tool for a useful reading of the novels. Point of view is seen as a holistic device and not, as Lubbock and others suggest, a question of 'the relationship of the narrator to the story'. The views of Boris Uspensky, Gerard Genette and Susan Lanser on this subject are modified to suit the eclectic and comparative designs of the study. Point of view is thus seen as the means through which a given device operates in a specific context, what it reveals, and how it relates to other textual elements. Four main categories are proposed, namely the dramatized, the inward, the multiple and the communal perspectives. These categories demonstrate the flexibility of method which point of view allows and they show how novels from different backgrounds may be examined under one 'convention' without depriving such novels of their originality. Twenty novels by British, American and African novelists are subsequently divided into these four categories and each of the novels is described, allowing them to define one another. The communal perspective is found to be a unique feature of the five African novels examined in the last three chapters. These novels require the reader to modify his opinions about point of view, for the novelists seem to speak on behalf of their communities. The communal pose thus becomes a literary device. It is a device which manifests itself in the case of the novels of Chinua Achebe, Ayi Kwei Armah and Gabriel Okara through the skilful use of character, language and setting. The reader who comes to the novels with the conviction that character is a paradigm of traits will need to bear in mind that traits in these novels are what are normally known as characters in other novels and that in the novels, therefore, characterisation is largely transferred from the individual person to the communal personality. This is the contribution these African novelists have made to world fiction. It is nevertheless shown that this distinct feature need not deny a common ground from which the critic of the African novel can define the novels' themes and methods and that ultimately the isolation which the three main approaches seem to recommend is neither desirable, nor is it helpful as a way of making the reader aware of the form and content of the novels.