This thesis is an investigation of the thematic and stylistic similarities in three novels: Wuthering Heights, Moby-Dick, and Women in Love. The most outstanding similarity is that all the novels focus on the idea of the Unity behind all created things, a Being above, through and in all created beings. In Wuthering Heights this Unity is described in terms of the Eternity of Love; in Moby-Dick, it is Infinity; in Women in Love, it is the Reality which lies beneath the surface manifestations of all things. In each of these novels, also, the protagonist gains knowledge of this Unity through love. Inspired by love, he moves from perception of unity, through purgation of the self, to union with Being. The visionary novels express essentially the same ideas as many philosophic and religious works which deal with the union of man with the Infinite, or with man's attainment of the eternal Ideals. But the visionary novels contrast with such religious or philosophic works in that they present the way to union in purely human, purely material terms. In the visionary novels, also, characteristics of poetry, such as symbolic language and heightened rhythm, are used to focus the reader's attention on the infinite which shines through the finite world of the novel. In the visionary novel, both in theme and technique, the infinite and the finite become one. / Arts, Faculty of / English, Department of / Graduate

Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified. The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII). The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions: 1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre. 2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora. 3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives. 4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations. Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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

by Isabel Landreth Perkins / Typescript / M.A. Florida State College for Women 1935 / Includes bibliographical references (leaves 135-138)

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.

Text in Afrikaans / Die doel van hierdie verhandeling is om die opvoedkundige en artistieke waarde van klavierwerke, wat vir die Universiteit van Suid-Afrika (hiema UNISA) se musiekeksamens voorgeskryf is, uit te lig. Die eerste hoofstuk gee 'n beknopte oors1g van die geskiedenis van UNISAmusiekeksamens. In die tweede hoofstuk word geselekteerde werke ontleed en geevalueer. Daarna volg drie bylaes wat die volgende inligting bevat: Bylae 1 'n V olledige lys van alle werke wat tot 1990 gekomponeer is vlf UNISA se klaviereksamens, volgens komponiste gerangskik. W erke word alfabeties ingedeel volgens die komponis en datums word voorsien van wanneer die werk gekomponeer en voorgeskryf is. Werke wat nie in hierdie verhandeling ontleed is nie, word met 'n asterisk aangedui. Bylae 2 'n Volledige lys van alle werke wat tot 1990 gekomponeer is Vlf UNISA se klaviereksamens, volgens grade ingedeel. Komponiste word graadsgewys alfabeties gerangskik. Bylae 3 Kort biografiese sketse van die komponiste gedek in hierdie verhandeling ter inligting van leerlinge en onderwysers. Komponiste word alfabeties gerangskik. In hierdie verhandeling is slegs navorsing gedoen met betrekking tot die klavierwerke. W erke van ander instrumente is nie nagevors nie. Veertig komponiste se werke word gedek. Meer as eenhonderd en dertig stukke is versamel. Die ontleding van al hierdie werke sou te veel wees vir die omvang van hierdie verhandeling en is daar dus geselekteer. Seleksie het plaasgevind op grond van: Eksamengraad Daar word op laer grade gekonsentreer (V oorgraad 1 tot graad 5) omrede dit juis gedurende hierdie aanvangsonderrig is waar die liefde en belangstelling vasgele word vir die aanleer van werke uit eie bodem. Twee vorige verhandelings oor Suid-Afrikaanse klavierwerke ontleed oorwegend werke van hoer grade. Die navorser verwys hier na verhandelings van Rosemary YA Maritz en CL Venter (volledige verwysing in bibliografie). Moeilikheidsgraad Stukke wat makliker hanteerbaar is vir die leerling, het voorkeur geniet. Geen werke van graad 8 en die Onderwyslisensiaat of Voordraerslisensiaat word ontleed nie. Enkele werke van grade 6 en 7 word egter ook ontleed. Die ontleding en evaluering van die werke word alfabeties, volgens komponiste, ingedeel. In die ontleding word daar gelet op aspekte wat van opvoedkundige en artistieke waarde vir die jong leerling sal wees. Dit word ook bedoel as aansporing vir die onderwyser om van die werke aan die leerling te leer. Al die werke (voorgraad 1 tot graad 7) is bekombaar van die Argief in die biblioteek van die Universiteit van Suid-Afrika. Sommige onderwysers mag nog van die ou eksamenbundels in hul privaat versameling he. Dit sou egter 'n groot aanwins wees indien al hierdie musiek beskikbaar sou wees in een bundel. Onderwysers sou dan meer gereeld van die werke in die jong leerling se repertorium kon insluit. Die navorser vertrou dat die benadering van hierdie verhandeling, wat konsentreer op interessante opvoedkundige aspekte, die leerkrag sal voorsien van voldoende motivering om van die ryke erfenis uit eie bodem gebruik te maak, sodat dit nooit verlore mag gaan nie. / Art History, Visual Arts and Musicology / M. Mus.

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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