Vítězslav Novák wrote his second opus of choral ballads, Two Ballads on Words of Moravian Folk Verses Op. 23 Vražedný milý and Neščasná vojna, in 1900. He set Moravian folk song texts from contemporary song collections to music, the first version was for mixed choir and piano four hands, followed by an orchestration for symphony orchestra. The ballads were a great contribution to choir repertoire and have made their mark in choral concert life, as evidenced by the press. Despite such a great interest, the orchestral score has never been printed and is only available in manuscript. Even critical literature did not deal with this topic more specifically, so there is still some ambiguity, for example, concerning premieres or the state of the sheet music.

Bibliography: pages 242-266. / The general aims of this dissertation are: to study a form of literature traditionally disregarded by a text-bound academy; to argue that form is an important element in ideological analyses of the poetry under discussion; and, on the basis of this second aim, to argue for a comparative, rigorously critical approach to the poetry of Mzwakhe Mbuli. Previous evaluations of Mbuli's poetry are characterised by acclaim which, the author contends, is only possible because of under-researched criticism, representing a general trend in South African literary culture. Compared to Linton Kwesi Johnson's work, for instance, Mbuli's poetry does not emerge as the innovative and progressive art - in both content and form - it is claimed to be. Mbuli and his critics are thus read as a case study of a general trend. Johnson and Mbuli mainly perform their poetry with musical accompaniment and distribute it as sound-recording. This study's approach then differs from the approaches of general oral literature studies because influential writers on oral literature - specifically Walter J. Ong, Ruth Finnegan and Paul Zumthor - do not address the genre under investigation here. Nevertheless, their writings are explored in order to show why particularly Ong and Finnegan's approaches are inadequate. The author argues that using the orality of the poetry as an organising, theoretical principle is insufficient for the task at hand. On cue from Zumthor, this study suggests an approach through Cultural Studies and conceives of the subject matter as popular culture.

Bibliography: pages 217-232. / Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Old Testament & Ancient Near Eastern Studies / D. Litt. et Phil. (Biblical Studies)

ENGLISH SUMMARY This master thesis focuses on swan symbolism in Finnish poetry, from the oldest folk poems of oral tradition to the first decades of the 20th century. Firstly a swan is described from the zoological and etymological point of view, and its position in the contemporary Finnish culture is clarified. The next chapter is dedicated to swan symbolism in European culture, from antiquity till presence, and it focuses on mythology, folk traditions and the most common motives in visual art, music and literature. The key part of the thesis describes the swan symbolism in Finnish oral tradition and especially in poetry of the 19th and the beginning of the 20th century. The thesis focuses in particular on Johan Ludvig Runeberg's, Aleksis Kivi's, Elias Lönnrot's, Juhani Aho's, Eino Leino's, Otto Manninen's and Aarni Kouta's poetry. A special chapter is devoted to the myth of the Swan of Tuonela. Following the swan symbolism throughout literature and culture history, I have been looking for connections to Finnish national as well as European traditions and intertextual relations.

This thesis sets out to examine the role of the poems in Echo (a supplement to the Natal Witness) that were published between 1986 and 1994. I will be exploring these poems in the light of the political conflict that was taking place between Inkatha, on the one hand, and the United Democratic Front/Congress ofSouth African Trade Unions (UDF/COSATU), and later on the African National Congress (ANC), on the other. The introductory chapter will deal with the scope ofmy research. It will outline what it is that I will be researching and the direction of my research. I will also begin to introduce some of the key theoretical assumptions around izibongo (praise poetry) and some of its key definitions as a dominant tradition that influenced some of the Echo poets. Chapter Two will deal with the history of the Echo Poetry Corner itself. It looks at its early beginnings, who conceived the idea and why, and what the editorial policy of this page was. It will also shed some light on how complex issues, such as the originality and authenticity of the poems, were dealt with. The third chapter deals with the background to the political conflict in the Natal Midlands and in Pietermaritzburg in particular. It will be an analysis of violence, its origins and its interpretations, and will show how violence affected the people and the poets around Pietermaritzburg. In Chapter Four I will begin to critically analyse the poems, looking at various themes that were expressed in the poems. I will also define the role that these poems played in the political conflict, looking at whether they engaged with the reality of the time or tried to escape it. In conclusion, Chapter Five deals with my findings on the role that the Echo poems played during the political conflict. It will also address the issue of the role of the poet or poetry in a violent society. The positive role of poetry during war will also be dealt with. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Biblical and Ancient Studies / D. Litt. et Phil. (Biblical Studies)

<p>Циљ ове докторске дисертације је да<br />допринесе ученичким компетенцијама у<br />основној и средњој школи при читању,<br />доживљавању и тумачењу лирских народних<br />песама. Тема је актуелна јер садржај ове<br />поезије сублимира све аспекте културе<br />омогућавајући сагледавање и разумевање<br />традицијског и културолошког контекста<br />српске књижевности; пружа теоријски оквир;<br />критичку анализу, истраживања научног и<br />уметничког садржаја и иновативна решења<br />пренесена на дидактичко&ndash;педагошку праксу.<br />Полазећи од савремених научних<br />достигнућа, интердисциплинарности и<br />актуелних методичких приступа настави,<br />сагледане су специфичности ове врсте<br />народног стваралаштва. Очекује се<br />унапређивање наставе у области изучавања народних лирских песама кроз боље</p><p>разумевање обредног и обичајног слоја,<br />историјског и социјалног слоја у песмама.<br />Инсистирањем на претпоставкама савремене<br />наставе отвара се могућност да се<br />&bdquo;придобије&ldquo; ученик за читање, доживљавање<br />и тумачење, као и креативно стварање<br />засновано на пулсиру синкретичности,<br />формулативности, функционалности и<br />животворности народних лирских песама.<br />Акценат је стављен на значењској<br />димензији текста чији се вишеслојни и<br />вишезначни поетски свет доживљава и<br />критички вреднуј кроз истраживачко и<br />стваралачко приступање наставном процесу.<br />У раду су представљена свеобухватна<br />методолошка полазишта и осмишљени су<br />методички поступци који сведоче о<br />целовитости народне лирске поезије и њеном<br />сагласју које онемогућава чврсту<br />класификацију.<br />На конкретним примерима песама<br />заснивају се методичке интерпретације с<br />коментарима који показују како се са<br />ученицима основношколског и<br />средњошколског узраста може засновати<br />савремена, научно заснована наставна и<br />ваннаставна интерпретација народних<br />лирских песама.<br />Технички рад се састоји из шест<br />целина.</p> / <p>Cilj ove doktorske disertacije je da<br />doprinese učeničkim kompetencijama u<br />osnovnoj i srednjoj školi pri čitanju,<br />doživljavanju i tumačenju lirskih narodnih<br />pesama. Tema je aktuelna jer sadržaj ove<br />poezije sublimira sve aspekte kulture<br />omogućavajući sagledavanje i razumevanje<br />tradicijskog i kulturološkog konteksta<br />srpske književnosti; pruža teorijski okvir;<br />kritičku analizu, istraživanja naučnog i<br />umetničkog sadržaja i inovativna rešenja<br />prenesena na didaktičko&ndash;pedagošku praksu.<br />Polazeći od savremenih naučnih<br />dostignuća, interdisciplinarnosti i<br />aktuelnih metodičkih pristupa nastavi,<br />sagledane su specifičnosti ove vrste<br />narodnog stvaralaštva. Očekuje se<br />unapređivanje nastave u oblasti izučavanja narodnih lirskih pesama kroz bolje</p><p>razumevanje obrednog i običajnog sloja,<br />istorijskog i socijalnog sloja u pesmama.<br />Insistiranjem na pretpostavkama savremene<br />nastave otvara se mogućnost da se<br />&bdquo;pridobije&ldquo; učenik za čitanje, doživljavanje<br />i tumačenje, kao i kreativno stvaranje<br />zasnovano na pulsiru sinkretičnosti,<br />formulativnosti, funkcionalnosti i<br />životvornosti narodnih lirskih pesama.<br />Akcenat je stavljen na značenjskoj<br />dimenziji teksta čiji se višeslojni i<br />višeznačni poetski svet doživljava i<br />kritički vrednuj kroz istraživačko i<br />stvaralačko pristupanje nastavnom procesu.<br />U radu su predstavljena sveobuhvatna<br />metodološka polazišta i osmišljeni su<br />metodički postupci koji svedoče o<br />celovitosti narodne lirske poezije i njenom<br />saglasju koje onemogućava čvrstu<br />klasifikaciju.<br />Na konkretnim primerima pesama<br />zasnivaju se metodičke interpretacije s<br />komentarima koji pokazuju kako se sa<br />učenicima osnovnoškolskog i<br />srednjoškolskog uzrasta može zasnovati<br />savremena, naučno zasnovana nastavna i<br />vannastavna interpretacija narodnih<br />lirskih pesama.<br />Tehnički rad se sastoji iz šest<br />celina.</p> / <p>The aim of this doctoral thesis is to contribution<br />to student competence in elementary and<br />secondary school when reading, experiencing<br />and interpreting lyrical folk poems. The topic is<br />current because the content of this poetry<br />sublimates all cultural aspects, making it possible<br />to assess and understand the traditional and<br />cultural context of Serbian literature, and it<br />provides a theoretical framework, as well as a<br />critical analysis, of the exploration of the<br />scientific and artistic content and the innovative<br />solutions applied in didactic and pedagogical<br />practices.<br />The specifics of this kind of folk creativity are<br />analyzed, taking modern scientific<br />achievements, interdisciplinary and<br />contemporary methodical approaches to teaching<br />as the starting point. The expectation is that an<br />improvement of teaching will be achieved in the<br />field of the study of lyrical folk poems through a<br />better understanding of the ritual and customary<br />layer, and the historical and social layer in<br />poems. By insisting on assumptions of modern<br />teaching methods the possibility is created to<br />&ldquo;win over&ldquo; the student to reading, experiencing<br />and interpreting, and creativity based on the<br />pulsating of syncretism, formativeness,<br />functionality and life&ndash;giving quality of lyrical<br />folk poems.<br />The emphasis is placed on the semantic<br />dimension of the text whose poetic world, with<br />multiple layers and multiple meanings, is<br />experienced and critically evaluated through an<br />exploratory and creative approach to the teaching<br />process. The paper presents comprehensive<br />methodological starting points and designed<br />methodical procedures, testifying to the<br />comprehensiveness of lyrical folk poetry and its<br />harmony, which renders hard classification<br />impossible.<br />The methodical interpretations are based on<br />concrete examples of poems, with comments that<br />show how a modern, scientifically based<br />teaching and extracurricular interpretation of<br />lyrical folk poems can be established with<br />elementary and secondary school students.<br />Technically the paper consists of six sections.</p>