The dissertation focuses on the mapping of the southern African urban spaces and how it is linked to the urban dwellers' constitution of their identities, agency and subversion of the obtaining bleak and hegemonic conditions as represented in current fiction set in South Africa and Zimbabwe. Chapter 1 of the dissertation gives an overview of the social and historical developments characterising the construction of the southern African city from the colonial up to the current global city. The subordinate and marginal identities inscribed upon the Southern Africans as well as early forms of agency and subversion of the Western social, political and economic hegemony that has defined the city through out history will be looked at. Michael de Certeau's (1993) ideas showing the hegemonic Western socio-economic agenda's creation of ordinary urban dwellers' invisibility and fragmentation, which they later subvert by renaming and remapping the alienating urban spaces of New York to improve their own lives, will be taken into consideration in this chapter's definition of the construction of the city and urban identities. In Chapter 2, the representation of the southern African urban spaces' cartography in the fiction is discussed. The characteristic spaces ranging from the socially and morally decayed inner-city, the well-built postmodern and elite Central Business District, the affluent low-density suburbs and the far-away impoverished highdensity suburbs will be explored. The discussion attempts a complex unpacking of linkages between the mapping of Harare and Johannesburg with the hegemonic western social and economic agenda as well as the current urban dwellers' state of individual and psychological fragmentation. Chapter 3 examines the way in which the current southern African urban social dislocation is represented in the fiction. The complexity of the urban dislocation signified by the prevalence of violence, xenophobia and HIV/AIDS is discussed. There is also a dialectical analysis ofhow the depicted urban dislocation is located within the legacy of colonialism and apartheid, the western global cultural and economic influence as well as individual effort and decision-making in the chapter. Chapter 4 explores the ways in which gendered urban spaces are portrayed in the fiction. The subordination of primarily women, as well as the weak and dependent irrespective of gender is discussed. The resultant anxieties, alienation, marginalisation of women and the subservient are viewed from the traditional and colonial patriarchy's construction of the city as a predominantly masculine space excluding women. The western global cultural and economic hegemony's creation of a new gendered ideology characterised by the exclusion and feminisation of the poor, invisible and dependent is also discussed in this chapter. Nevertheless, the chapter ends with a discussion of the existing possibilities of female empowerment notably inscribed in the city's open education system, informal trade space as well as the provision of a social space encouraging pragmatic female decision-making especially in relation to HIV and AIDS. Finally the dissertation's concluding note is based on an evaluation of the postcolonial condition of southern Africa in relation to the mapping of the urban spaces and various identities represented in the fiction. An attempt is also made to place the research within the problematic of whether the mapping is based on postcolonialism or postmodernism. The objective here is to offer the importance of a cross-reading between the two as enabling a more meaningful conception of the region's current urban space. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.

The study has been prompted by the gap that exists regarding gender and land in Zimbabwean fiction. The study therefore seeks to interrogate the gender and land ownership discourse in Shona fiction in relation to the current conflict of access to land by race, class and gender. The study therefore examines the following fictional works; Feso (1956), Dzasukwa-Mwana-Asina-Hembe (1967), Pafunge (1972), Kuridza Ngoma Nedemo (1985), Vavariro (1990) and Sekai Minda Tave Nayo (2005). Of significance is the fact that the selected fictional works traverse the different historical periods that Zimbabwe as a nation has evolved through. Apart from analysing the selected fictional works, the study also collected data through open-ended interviews and questionnaires to triangulate findings from the fictional works. The selected fictional writers present the different experiences of black Zimbabweans through land loss and the strategies taken by the indigenous people in trying to regain their lost heritage, the land. The exegesis of the selected fictional works is guided by Afro-centred perspectives of Africana Womanism and Afrocentricity. Findings from most of the selected fictional works reveals the selective exclusion of blacks, both male and female, from accessing land and other vital resources from the colonial right up to post-independence periods in Zimbabwe. The study observes that Shona traditional culture accorded both genders the requisite space in terms of land ownership in the pre-colonial period. The study also establishes that colonialism through its numerous legislations stripped black men and women of the fertile land which they formerly collectively owned. The study also establishes that disillusioned black men and women worked extremely hard to regain their lost land as reflected in the unsanctioned land grabs as well as the government sanctioned Fast Track Land Reform Programme. Recommendations for future research include the expansion of such research to include works of fiction in other languages as well as different genres. Future land policies stand to benefit from the inclusion of women in decision making since women the world over have been confirmed as workers of the land. This is likely to deal with the gender divide regarding land ownership patterns both within and outside Zimbabwe. / African Languages / D. Litt. et Phil. (African Languages)

This thesis is an in-depth study of Shona fiction about the liberation war in Zimbabwe. It looks at the way Zimbabwe’s liberation war is portrayed in Shona fiction and focuses on the factors that shaped writers’ perspectives on that war. It is argued that Shona war fiction writers romanticised the war and in the process simplified and distorted history. The researcher postulates that writers’ perspectives on this liberation war were shaped by factors that include the mood of celebration and euphoria, the dominant ideology of the time, the situations of independence and freedom, and literary competitions. The thesis further raises and illustrates the point that writers produced romances of adventure because they were writing on the theme of war, and if one writes on the theme of war one ends up writing an adventure story. However, it is also acknowledged that because authors were writing on a historical event they could not ignore history completely. Some aspects of history are incorporated into the fiction, thereby retaining a semblance of historical realism. The post-independence period is also seen as a time of cultural revival and this is considered as the reason behind the authors’ tendency to celebrate Shona traditional institutions and culture. The celebration of Shona traditional religion and culture introduced into the fiction the element of the supernatural that strengthened the romance aspect of the novels. Shona war fiction writers also perpetuate female stereotyping. Female characters are depicted as everything except guerrilla fighters. It is argued that there are no female characters that play roles of guerrilla fighters because during the actual war women were not visible at the war front, fighting. The thesis argues that men, who were pioneers of the guerrilla war and writers of the war stories, excluded women from liberation war discourse and ultimately from literary discourse as well. A few writers who comment on the quality of Zimbabwe’s independence and freedom show the disillusionment and despair of the peasants and ex-combatants as they struggled to settle down and recover from the war. / African Languages / D.Litt. et Phil.

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

This study is a comparison of female characters portrayed by different authors in selected Venda novels. Chapter One comprises the aim of the study, approach, life history of authors, comments on their work, a short summary of the selected novels, cultural fulfilment of a Venda woman, and the scope and composition of chapters. Chapter Two deals with characterization. The definition and methods of characterization are discussed in this chapter. The merits and demerits of various methods of character portrayal are also examined in some detail. Chapter Three discusses the different female characters portrayed in the selected novels. Chapter Four comprises a comparison of female characters in the selected novels. Chapter Five is the general conclusion to this study / African Languages / M.A. (African languages)

Thesis (MA)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: This study examines the presentation of race relations in two Sesotho novels written after 1994. The purpose of the study is to establish whether or not post-apartheid Sesotho novels present race relations as they were presented during the apartheid era. The novels of focus are, N.S. Zulu's Nonyana ya Tshepo (The bird of hope) (1997) and T.W.D. Mohapi's Lehfaba fa fephako (The pain of hunger) (1999). The manner in which the authors who wrote during the two distinct eras presented the issue of race and presented race relations will be the focal point. At the end of this study it should be clear whether or not authors after 1994, that is, after the apartheid era continue to present race relations in an idealistic manner. During the apartheid era authors such Lesoro (1968) and Mophethe (1966) were very cautious when presenting race relations in their novels. The common factor in these novels is the portrayal of the white Afrikaner characters by the authors. White characters were portrayed as very merciful, good Samaritans and their relationship with their black counterparts were often harmonious and crisis free. Attributes of race such as racial discrimination, racial hatred, racial conflict and racial intolerance were seldom spoken about in those novels. This is reminiscent of the notorious apartheid laws, which prohibit freedom of press. White characters in some novels published during the apartheid era were not characters derived from real life. In N.S. Zulu's novel, Nonyana ya Tshepo we examine the portrayal of the characters from the two distinct races, black Africans and white Afrikaners. The author portrays the two groups of characters to be what Scholes (1981 :11) calls characters representative of a social class, race and a profession. Black characters are portrayed as the exploited, which are always inferior, submissive and subjected to racial discrimination by their white counterparts. White Afrikaners are portrayed as the exploiters, who are superior, oppressors and the ones who further the policy of apartheid. This state of affairs prompted the black Africans to develop hatred towards the Whites. Instead of idolizing their masters, Blacks do the opposite. Our main character, Tshepo who is said to be fathered by the white Afrikaner, is marginalized by his fellow Blacks and declared an outcast. In T.W.D. Mohapi's novel, Lehlaba la lephako, the main character, Seabata who lusts for power and wealth is seen struggling for both at the expense of his fellow black Africans. Seabata is used by his white boss, Sepanapodi, to maintain the legacy of apartheid. The narrator portrays Seabata in such a way that he could carry out his boss' mission. Seabata is power hungry and always likes to please his boss to attain that, even if that means creating enmity with his own black people. Seabata's socio-economic status makes him vulnerable to manipulation by Sepanapodi. Seabata was advised by his father that he should always strive to please his master in order to gain glory and wealth. He followed the advice slavishly and that left him devastated. He found himself at loggerheads with his colleagues, with the pastor, Nkgelwane, with a local teacher, Mohanelwa and with his wife, Mmabatho. Conflict between Seabata and the community is caused by the pain of hunger. / AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om ondersoek in te stel of die twee Sesotho novelles wat na 1994 geskrywe is, die verhouding tussen verskillende rasse behandel. Die doel van die studie is om uit te vind of die Sesotho novelles wat gedurende die tydperk van apartheid die aanbieding van rasse-verhouding dek, soos wat dit aangewys was gedurende die tydperk van apartheid. Die ondersoek sal gedoen word met die vergelykking van twee novelles wat na 1994 geskrywe is, d.w.s. N.S. Zulu se Nonyana ya Tshepo en T.W.D. Mohapi se Leh/aba /a /ephako . Die manier waarop die twee skrywers wat gedurende die twee afsonderlike tydperk, die kwessie van rasse behandel, en hoe hulle dit aangebied het, sal die fokuspunt wees. Aan die einde van hierdie studie moet dit duideliker word aan die lesers tot watter mate die skrywers wat na 1994 geskryf het, d.w.s na die apartheid tydperk, nog die rasse-verhouding op 'n idealistiese manier aangebied het. Die skrywers wat gedurende die apartheid tydperk geskrywe het, soos Lesoro (1968) en Mophethe (1966) was baie versigtig toe hulle die rasse-verhouding in hulle novelles aangebied het. Die gewone faktor van hierdie novelles is die uitbeelding van die wit Afrikaners se karakters deur die skrywers. Wit karakters is altyd as baie barmhagtig, en as goeie Samaritane beskrywe, en hul verhouding teenoor hulle swart teenhangers is dikwels eensgesind en vry van krisis uitgebeeld. Die hoedanigheid van rasseonderskeiding wat rassehaat, rasse in stryd met mekaar, en rasse onverdraagsaamheid, is in daardie tyd seide van geskryf in die novelle. Dit herinner die leser aan die ongunstige apartheidswette wat nie vryheid van die pers toegelaat het nie. Wit karakters, in sommige novelle wat gedurende die tydperk van apartheid gepubliseer is, is nie karakters wat van die ware lewe afgelei is nie. In N.S. Zulu se novelle, Nonyana ya Tshepo word 'n uitbeelding gemaak van karakters van die twee afsonderlike rasse, die swart Afrikaners en die wit Afrikaners. Die skrywer beeld die twee groepe van karaktes as die wat Scholes (1981 :11) noem die wat verteenwoordigend van 'n sosiale klas, rasse en beroep is. Swart karakters is beskrywe as diegene wat geeksploiteer word, wat altyd as minderwaardige, onderworpe en mindere rasse beskou word. Hulle word gediskrimineer deur hulle wit landgenote. Wit Afrikaners is beskou as die eksploiteerders, wat die voortreflike onderdrukkers is en wat wat die beleid van apartheid laat voortgaan. Hierdie toestand het die swart Afrikaners gelei om haat te ontwikkel teenoor die Wittes. In plaas van om hulle meesters eer te bewys, het die swart Afrikaners die teenoorgestelde gedrag. Die hoofkarakter, Tshepo, wat geglo is dat hy kind van die wit Afrikaner is, is deur sy mense verban en as verworpeling verklaar. In T.W.D. Mohapi se novelle, Lehlaba la lephako het die hoofkarakter, Seabata, begeertes van mag en rykdom. Hy word opgelei as 'n stryder op koste van sy medemense, swart Afrikaners. Seabata is deur sy wit meester, Sepanapodi misbruik om die nalatenskap van apartheid te handhaaf. Die verteller beeld Seabata af op so 'n manier dat dit duidelik is dat Seabata sy baas se opdrag sou voortdra. Hy, Seabata het 'n wens om mag te he en bo alles om sy baas tevrede te stel op koste van ander swart Afrikaners, al maak dit hom 'n vyand van sy mense. Seabata se sosiale status het hom laat kwesbaar ge stel teenoor Sepanapodi se manipulasie. Sy vader het hom advies gegee dat hy altyd sy meester moes bevredig ter wille van glorie en rykdom. Hy het toe die advies van sy vader slaafs nagevolg, daarom het dit hom in 'n neerdrukkende gevoel laat eef. Aan die einde is hy in 'n konflik met andere soos sy kollegas, die plaaslike predikant, Nkgelwane, die onderwyser, Mohanelwa en sy vrou. Die stryd wat Seabata met al die mense in die gemeenskap het, is die oorsaak van hongersnood.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This study examines the aspect of culture and gender in N.S. Zulu's novel Nonyana ya tshepo (The bird of hope) (1997). The approach shall be based on the study of culture and gender representation of male and female characters as viewed by scholars such as Payne (1997), Ruthven (1984), Bauerlin (1997) and Brooker (1999). However, because character is closely linked to plot, the study also outlines plot and character. The study emphasizes the portrayal of male and female characters in terms of culture and gender stereotypes because patriarchy in society dictates that men are seen as superior and women as inferior, women as the dispossessed and men as owners, women as child bearers and men as leaders. The study aims to find out whether or not this modern novel, Nonyana ya tshepo, portrays patriarchal images of men and women. In most of thE! Sesotho older novels sexism was enforced, and sexual inequalities in such novels were taken as universal and therefore normal. The issue of sexual difference and inequality is basically rooted in the tradition of patriarchy that advocates the subjection and oppression of women. Women characters are always subjected to ill-treatment, abuse, torture and suppression as a result of patriarchy and other related factors. In Nonyana ya tshepo women characters are portrayed as being submissive, powerless and easily manipulated by their male counterparts. They are victims of circumstances as they have no power and control. Male characters do not treat female characters with dignity. For example, when Mokwena arrives at his home in the night being drunk, he wakes up his wife Dijeng and swears at her. He accuses her of hiding a man in his bedroom and he finally beats her up. Women characters in Nonyana ya tshepo are also portrayed as victims of sexual abuse by male characters. Mokwena sexually abuses Dikeledi and impregnates her. The same abuse happens to Sebolelo who is sexually abused by her male employee. Sebolelo and Dikeledi become victims of the circumstances. Male characters in the novel are dominant, abusive, manipulative and oppressive. Male and female characters are portrayed in terms of culture and gender stereotypes in Nonyana ya tshepo. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die aspek van kultuur en gender in N.S. Zulu se novelle Nonyana ya tshepo (die voël van hoop) (1997). Die benadering tot die studie is gebaseer op die studie van kultuur en gender representasie van manlike en vroulike karakters soos gesien deur navorsers soos Payne (1997), Ruthven (1984), Bauer1in (1997) en Brooker (1999). Omdat karakterisering egter gekoppel is aan intrige, ondersoek die studie ook intrige en karakter. Die studie beklemtoon die uitbeelding van manlike en vroulike karakters in terme van kultuur en gender stereotipes aangesien patriargie in die gemeenskap voorskryf dat mans as meerderes en vroue as minderes is, vroue as die nie-besitters en mans as besitters, vroue as voortbringers van kinders en mans as leiers. Die studie ondersoek of, in die novelle, Nonyana ya tshepo daar 'n uitbeelding is van patriargale voorstellings van mans en vroue. In die meeste ouer Sesotho novelles, is stereotipes geforseer, en gender ongelykhede is beskou as universeel in hierdie novelles, en dus normaal. Die vraagstuk van gender verskille en ongelykheid is gewortel in die tradisie van patriargie wat die onderwerping en verdrukking van vroue voorstaan. Vroue karakters word altyd onderwerp aan mishandeling en verdrukking as gevolg van patriargie en ander verwante faktore. In Nonyana ya tshepo word vroue karakters uitgebeeld as onderdanig, magteloos, en maklik-manipuleerbaar deur hulle manlike eweknieë. Hulle is slagoffers van omstandighede en het nie mag of kontrole nie. Manlike karakters behandel nie vroulike karakters met respek nie. Byvoorbeeld wanneer Mokwena besope opdaag by die huis mishandel hy sy vrou. Vroulike karakters in Nongana ya tshepo word ook uitgebeeld as slagoffers van seksuele teistering deur manlike karakters. Mokwena word byvoorbeeld seksueel geteister deur Dekeledi. Soortgelyke teistering word ondervind deur Sebolelo wat deur haar manlike werkgewer geteister word. Manlike karakters word as dominerend en manipulerend uitgebeeld. Sowel manlike as vroulike karakters word l.t.v, kulturele en gender stereotipes uitgebeeld in Nonyana ya tshepo.

This study is primarily concerned with the formulation of Thackeray's theory of the novel through a thorough investigation of his various reviews and critiques of Victorian fiction which appeared in periodicals and by a careful examination of his letters, By evaluating the numerous comments on particular works of fiction and on the art of "novel-spinning" in general which came from Thackeray's pen, this study investigates the various Thackerayan ideas as to how novels should be written with regard to the function of the novel, the formulation of plot and character, realism and morality, the presentation of description, and the style in which novels were to be written. This investigation concludes that Thackeray's theory of the novel was that novels were to be written in a simple, straightforward style and were to present "living" characters who performed realistic, believable actions within tightly unified, logical plots in such a manner as to provide entertainment and to reaffirm the Victorian moral code.

This study is an assessment of the topics of religion and fantasy in several novels of Ram6n Sender which various critics have characterized as being particularly concerned with one or both of the topics. Both published and unpublished works of criticism and history have been, consulted. The "Introduction" provides biographical and critical information. Chapter II documents in the characterization and the observations and actions of characters significant reflections of the author's attitude toward religion. In Chapter III the primary emphasis is upon the illogical, the absurd, and the grotesque, The "Conclusion" states that in the opinion of critics, in the significance of characterization, and by his own admission, Sender is liberal, anticlerical, humanistic, and occasionally attracted to the fantastic.

by Lau Kam Fung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 106-114). / Chapter Chapter One --- The Self in Comparative Perspectives --- p.1 / Chapter Chapter Two --- Emergence of the New Chinese Self and Ideological Changes in Modern China --- p.18 / Chapter Chapter Three --- "Body, Self and Subjectivity in ffang Anyi's Love in a Small Town" --- p.44 / Chapter Chapter Four --- Re-assertion of Self and the New Woman in Zhang Jie's The Ark --- p.60 / Chapter Chapter Five --- "The Loss of Self in Zhang Xinxin's ""On the Same Horizon""" --- p.78 / Chapter Chapter Six --- Constructions of the Female Self in Contemporary Chinese Fiction --- p.93 / Notes --- p.102 / Works Cited --- p.106