The study addresses the problem, already identified in 1986 by Msimang that definitions such as Bascom's (1965) fail to differentiate clearly between historical narratives and legends. To evolve a more accurate definition, this study considers two Sepedi dramas: Make's Sello sa Tonki le Pere and Moloma's Marangrang (1972). The qualitative approaches (explain, interpret and compare) used in this study show that legends and historical dramas/narratives can be investigated by comparing them to identify differences between these genres. A narratological model suggested by Marggraff (1994) is used, considering three strata (layers) of a text: content, plot and style of writing. The topic, theme and atmosphere are explored, in that order, in the selected texts. The analysis suggests that the differences between a legend and a historical drama/novel arise from two elements: characters and their actions. In a legend, there are three important pillars: the exposition, the body and the conclusion. The exposition of a legend has five formulaic features: Kgalekgale [long, long ago ], Keleketla [Give us more!], E rile e le nonwane [It is a tale ], and a reference to the narrator (Nonwanenonwane!) and the listeners (Keleketla!). Some sentences/phrases are repeated slightly or without a reply. The action ends with a concluding formula: Se seo sa mosela seripa! [That is the end of the tale]. The action focuses on a main character, and there may be some repetition of actions (a cycle). The time technique may be used. There is often symbolism. Other features include a song (repeated several times), which brings pleasure and/or pride, and sometimes sorrow. A song may play a role bigger than the narrative. The presence of these factors suggests a legend rather than a historical narrative. The investigation shows that Make does not follow these rules for a legend, but elides actions he thinks the audience/reader already knows, inviting the audience/reader to participate in the narration. That implies that both the narrator and the audience know the 'rules' of a legend Make seems aware that the exposition and conclusion of a legend are based on the use of repetition of formula (a clause, sentence or sentence cluster). In legends, the characters tend to be flat (not rounded) they are interpreted focusing on one idea only (using a phrase or short sentence), which is not a complete depiction of the character. Often the author exaggerates to create humour. This study confirms that flat characters are typical of legends, adding to the artistic structure of this genre. Make successfully uses three techniques (the cycle and journey techniques, and symbolism) in constructing Sello sa Tonki le Pere. A cycle is visible in the repetition of the prosecution of Tonki and Pere to illuminate their case, strengthening and simplifying the sentencing of those animals. Make compares life to a linear journey with a beginning (birth) and a conclusion (death). The phases of the journey symbolise stages of a human life. Make used animals as symbolic characters in this drama to represent real people. Tonki and Pere represent criminals. Kgomo and Nku fight for justice for those mistakenly judged guilty of witchcraft, and they represent the accused. Tau's household represents the capital (Judgement), while Kubu's household represents medicine. A legend should end with a concluding formula: 'Mpho se seo sa mosela seripa!', showing readers/listeners that they can relax, as the narration/fable has come to an end. Make does not use this formula, but ends his fable with 'Pula! Pula! Pula!!'. To explore the structure of a historical drama/narrative, Maloma's drama Marangrang was considered, focusing on the exposition, development, climax and denouement of the drama. In the exposition of Marangrang conflict between Mapulana's children Lethoke, T iane and Madikgake (Mokone of Ma a) who argue over traditional healing (and bravery). This plot suggests the presence of the shadow technique (a shadow focuses on the actions of a character which are similar to actions of another character to be introduced later in the play) (Mojalefa, 1997:35). As a traditional healer Lethoke is a shadow for Marangrang; he stands for Marangrang's actions. By contrast, Madikgake stands for all the tribes. This foreshadows conflict between Marangrang and the Bakgatla, Ma abela, Magolego, Mphahlele tribes. This conflict appeals to the audience/readers, who want to unravel these issues/themes. / Dissertation (MA)--University of Pretoria, 2016. / African Languages / MA / Unrestricted

Scholars who have written about local history hold no consensus on the purpose, value, and even definition of local history narrative. This thesis seeks to move the discussion away from territorial definitions of the term local history narrative and provide a framework for thinking about the field. It argues for a broad interpretation of United States local history narrative and proposes the field of local history be integrated into the academic history curriculum. Drawing on a variety of local history scholarship, the thesis first delineates the development of local history writing from the early colonial narratives, through the nineteenth-century heyday of amateur history writing, across the complicated relationship between amateur and professional history during the twentieth century, to the current spectrum of writings that include those which defy the traditional distinction between amateur and professional history. Turning next to the reflective scholarship of local history, the essay discusses issues that arise in the practice of local history such as community pressure to censor work and the challenges of sharing authority. Finally, this thesis provides a working draft of public local history narrative in a chapter investigating a suffrage convention attended by Lucy Stone and Julia Ward Howe held in 1881 in Cummington, Massachusetts, a small remote hilltown in the foothills of the Berkshires. Seeking to provide a history that engages a nonacademic local audience while exploring historical questions, this story of Henrietta S. Nahmer and the suffrage movement in Cummington demonstrates the challenges and opportunities of contemporary local history narrative.

Magister Artium - MA (History) / The aim of this mini-thesis is to interrogate an incident that happened in Lesotho in 1982, where the South African Defence Force (SADF) invaded the capital, Maseru, under the guise of searching for ANC operatives and killed 42 people thirty of whom were South Africans, while the remaining 12 were Basotho citizens. A particular concern is how traumatic events are represented by witnesses, how they remember or, rather talk, about the event, and the secrets and silences which may arise. A lack of literature on this period of Lesotho's history and the Raid itself has necessitated a wider engagement with Raid as it is the first raid that involved the SADF, perpetrated in Lesotho. The first chapter draws out and highlights the complicated relationships between Lesotho and South Africa and their respective main opposition political parties, namely, the Basotho Congress Party and the overall South African liberation movements including the African National Congress and the Pan Africanist Congress. This brings me to conclude that the 1982 Maseru Raid and subsequent ones took place on the back of a period that was burdened with gross human rights violations in Lesotho and, this can be argued to explain why the Raid is not particularly spoken about.

The aim of the thesis is to examine how a group’s self-image is created, sustained and if necessary changed during the revolutionary 20th century. The study takes its point of  eparture in the idea that a self-image is essential for an organisation’s cohesion and collective identity. The study object is the Pentecostal Philadelphia church in, Sweden, established in 1910. In concrete terms, the thesis examines the self-image of the church as it is expressed in its narratives and activities from 1910 to 1980. The lf-image is analysed with the aid of the concepts ‘boundaries’ and ‘symbols’ and in relation to social and organisational change processes. In the main the empirical material  onsists of official documents such as jubilee publications, annual reports and the weekly newspaper Evangelii Härold. The main contribution of the thesis is an analysis of the church’s historical narrative. In this narrative the overall theme appears to be the small and faithful group that due to God’s influence and despite opposition became a major  nd significant church -- a success story. The theme also remains the same when the circumstances change. Narrative theory emphasises that the narrative has to be changeable order to be serviceable. However, my study shows that the narration, at least at the level highlighted in the thesis, is inert. The self-image seems to be difficult to change but is not necessarily static. The narrative is shown to include strategies for dealing with internal change processes and changes in society.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2015-01-30T11:00:53Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - José Fábio da Silva - 2014.pdf: 2238616 bytes, checksum: 8264e1d8f9bf2523f0e49bf199e63aef (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-30T13:32:03Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - José Fábio da Silva - 2014.pdf: 2238616 bytes, checksum: 8264e1d8f9bf2523f0e49bf199e63aef (MD5) / Made available in DSpace on 2015-01-30T13:32:03Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - José Fábio da Silva - 2014.pdf: 2238616 bytes, checksum: 8264e1d8f9bf2523f0e49bf199e63aef (MD5) Previous issue date: 2014-08-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / We seek to trace the ways in which the process of modernization was interpreted and understood, between the 1930s and 1950s, the city of Anápolis-GO. Our intention is not aimed properly narrate or discuss the process of urbanization and industrialization o ccurred in the region, but to understand, through the discourses produced in this context, how modernization was interpreted and used as a way of building sense of local historical narratives. With this objective we address how the local press has used the category of progress as a way of appropriation and understanding of the changes that the city passed. From the perspective of the alien (foreign individuals to start to local cultural horizon), we revisit the same time, in order to check other ways to build the image of the city that was changing. Finally, we turn to other forms of interpretations built on this same time, cut this time, but from the perspective of historical narratives developed by the local journalism not only during the analysis period, but later, during the 1970s. With this we aim to demonstrate how the process of modernization has become not only a historical event experienced locally, but also a form of articulation and understanding of own temporal experience / Buscamos rastrear as formas como o processo de modernização foi interpretado e compreendido, entre as décadas de 1930 e 1950, no município de Anápolis-GO. Nosso intento não visa propriamente narrar ou discutir o processo de urbanização e industrialização o corrido na região, mas compreender, por meio dos discursos produzidos nesse contexto, a maneira como a modernização foi interpretada e utilizada como um modo de construção de sentido das narrativas históricas locais. Com esse objetivo abordamos a maneira como a imprensa local se utilizou da categoria de progresso como forma de apropriação e entendimento das mudanças pelas quais a cidade passava. Sob a ótica do estrangeiro (indivíduos a princípio estranhos ao horizonte cultural local), revisitamos o mesmo momento, com o intuito de verificar outras formas de construção da imagem da cidade que se modificava. Por fim, recorremos a outras formas de interpretações construídas sobre este mesmo recorte temporal, desta vez, porém, na perspectiva das narrativas históricas desenvolvidas pelo periodismo local não só durante o período analisado, mas também posteriormente, no decorrer da década de 1970. Com isso visamos demonstrar como o processo de modernização se tornou não só um evento histórico vivenciado localmente, mas também uma forma de articulação e compreensão da própria experiência temporal.

The following study aims to analyze expressions of postcolonial and gender theoretical conditions of power in Quentin Tarantino’s film Django Unchained. The method of analysis is the one of discourse analysis. The analysis is used as a means to distinguish the expressions of value which will aim to depict the gender theoretical- and postcolonial structures of power the film mediates.  Furthermore, the results given by the analysis will be discussed in relation to creation of prosthetic memory. Considering the prosthetic memory’s impact on the viewers subjectivity, and outlook on both present and future values, the theory will adequately be discussed in relation to the representation this pop-cultural medium mediate. This study does not aim to analyze the historical authenticity of the film but rather to identify which postcolonial and gender theoretical values that are projected through the historical narrative. However, Django’s hero status will be discussed in relation with the mid-19th century American setting. As for the results of the analysis they were both in line with, and contradictive to, what the previous studies has shown. In correlation with the preceding studies the film did not seem to address the psychological issue of the different positions of power a slave could have. However, the position of Django was in fact a subject of problematization. The configuration of gender was less nuanced, which gave rise to a one-sided function and power stature for the depicted women of the film. In contrast to this, the power hieratical position for men were highly fluid and dependent on several factors.

Nana Qian Abstract After the collapse of the communist rule, how to collectively-memorize and narrate its Communist past in the contemporary context has been an urgent and critical mission for the Czech Republic. Interpretations and portrayals of the communist state have experienced a fluctuating path, from complete rejection to indifference and empathy. An examination of the re-interpretation of the Czech communist history to its younger generation could be an effective approach for a clearer and overall understanding of Czech communist history narration. Meanwhile, history textbooks are, to a great extent, representations of the authoritative narrative. Therefore, while drawing on the rich literature on both the studies of historical narrative and especially Czech communist history, the interpretation of Czech communist history narration in this research is focused on the close examination of a Czech secondary education textbook. This thesis argues that in addition to stating and explaining the general historical facts, the textbook utilizes emotionally descriptive expressions, selective depiction, and an indictive comparison to highlight a narrative of discontent and distrust towards the communist regime and the Soviet oppression while endorsing democratic values and the market economy of the West.

Ybor City is a historical neighborhood in Tampa, Florida, and a tourist attraction known for its immigrant roots and once-thriving cigar industry. This thesis places Ybor City into the context of the burgeoning heritage tourism market, examining how cities financially reliant on tourism often sanitize their public historical narrative. I identify the main actors involved in Ybor City's marketing and preservation by investigating contemporary newspaper articles and multiple National Park Service documents, thereby uncovering the motivations and decisions that led to Ybor's cultural image of a bustling, relatively peaceful early 20th-century "Latin" community. To correlate Ybor's aestheticized public image with the official record, I review and contrast historical primary sources, academic literature, tourism advertising material, and Ybor's physical historical markers designated to its landmarks. My main argument is that embellishing local memory with overt celebratory overtones and a patriotic message not only fosters a misleading narrative, but it also sidelines traditionally marginalized racial and ethnic groups: Ybor's working-class families, as well as its Jewish, Black Cuban, and African American heritage. This thesis seeks to advance a more authentic interpretation of Ybor City history by proposing a reinvestigation into literary sources and applying both GIS and mobile technology to update the existing scholarship.

The term telemedicine is broadly defined as the use of information and communication technology to deliver health care at a distance. However, the concept of ‘telemedicine’ still lacks consensus both in the literature and in practice. Generation of telemedicine knowledge and evidence for clinical practice is still controversial within the telemedicine scholarship and among decision-makers as telemedicine objectives remain ill-defined and outcomes vary in time. In Ontario, despite the fast pace of information and communication technology change and the increased interest in its health applications, telemedicine is not a mainstream model of care delivery within the medical system. This study empirically investigates the social construction of telemedicine technologies to understand how telemedicine expectations shaped telemedicine in Ontario (Canada) from 1993 to 2017. Drawing from the Social Construction of Technologies framework (SCOT) and historical narrative analytical techniques, it identifies the shared understandings of what telemedicine is (and is not) and what role telemedicine plays in the health care system. I used grounded theory methodology to develop a narrative theory of how the future of telemedicine in Ontario has been constructed over the last 24 years from national newspaper articles, stakeholder documents, service provider websites, and semi-structured interviews with relevant telemedicine stakeholders. Findings show that the development of telemedicine narratives in Ontario is a multi-storied process of conflicting and overlapping visions and expectations among stakeholders and interests. Telemedicine expectations focus mostly on the process of innovation, the provideroriented approach to telemedicine, and the advantages and risks of adopting consumercontrolled telemedicine in a publicly insured health care system. The telemedicine visions result fragmented among different stakeholders and practices, overall inhibiting telemedicine’s future agenda. These findings intend to help researchers, policy makers, private vendors, and health care providers to create a vision of telemedicine that accommodates competing expectations among the clinical, technical, political, and commercial worlds. / Thesis / Doctor of Science (PhD) / Telemedicine delivers health care at a distance by letting doctors talk to patients or other doctors via video, email, or text messages. However, as simple as this idea is, researchers, physicians, policy-makers, and entrepreneurs have speculative, overlapping, and conflicting views about what it should be. These differing views create ambiguity and often confuse the aims of health policy decision-makers and end-users limiting telemedicine’s development. I intend to clarify telemedicine’s shared and diverging understandings of what telemedicine should be by analyzing how stakeholders in Ontario have told and tell stories about telemedicine’s future over the last three decades. I view stories of the technology’s future as persuasive policy arguments that stakeholders adopt to shape and use telemedicine according to their visions and goals. These findings will help researchers, policy-makers, doctors, and businesspeople understand what telemedicine is (and is not) to help them define policies and guidelines for its adoption and implementation.

Situated within a global context of political unease over Russia’s involvement in Ukraine, this thesis challenges views of Russian foreign policy as enigmatic and unpredictable. It examines the relationship between identity politics, conceptions of security, and the foreign policy preferences of the Russian political elite. It shows how particular aspects of Russian identity that are dominant in different international contexts work to structure policy preferences. This contributes to the pursuit of apparently contradictory objectives across these settings, and to inconsistencies between the rhetoric and reality of Russian security policy. Previous studies have looked into the impact of Russian identity on its policy preferences, but most have taken a limited, instrumentalist view of identity as a tool that is mobilised by political elites to further their existing policy preferences. By contrast, this thesis argues that conscious elite mobilisation of identity provides only part of the picture. Visions of Russian identity (and consequently of its international role) are constrained by institutional factors. These include the linked historical development of the Russian military, economy and education/research sectors. Following a discursive understanding of institutions, they also include the limited number of ways in which identity has previously been represented. These factors produce subconscious constraints on the imagining of Russian identity. This limited conceptualisation of Russian identity has become even more specific in the Putin era, due to the political elite’s frequent repetition of one, highly restrictive, narrative of a ‘usable’ history, presented as the factual background to policy discussion. This narrative foregrounds favoured events, associating them with preferred identity themes. Resultant ‘truths’ of Russian identity then provide a framework for foreign policy. Particular elements of this framework dominate Russia’s relationships with different multinational bodies, impacting on the type of policy cooperation pursued. In relations with the EU, focus on Russia’s equal contribution to European civilisation brings normative incompatibilities between the parties to the fore and acts as a barrier to compromise. With contrasting visions of their identities in their shared region, of what security there should look like, and of how it should be achieved, Russia-EU cooperation has been most effective when undertaken in a specific, sectoral manner. Anticipating the ‘West’s’ relative decline in global influence, Russia has gradually downgraded EU relations whilst pursuing a ‘multivector’ foreign policy that emphasises alternative partners. Capitalising on its identity as one of the BRICS rising powers, Russia has been able to pursue a joint challenge to the contemporary structure of the international order, facilitated by members’ shared convictions of the inequities of the existing system, and of their subordinate positions within it. Here, Russia’s identity as a cultural bridge has been emphasised, giving it a unique possibility to negotiate between the old and the new global powers. Most recently, Russia has built upon its identity as a continent-straddling regional leader, and a supposedly natural representative of Eurasia. In developing the Eurasian Union, Russia seeks to use its privileged regional role to ensure continued global relevance during an anticipated, and desired, transition to global multipolarity. This is a new reading of Russian ‘great power’, in which Russia’s multiple international roles are combined to give it the greatest possible level of influence in determining new global structures.