This dissertation focuses on the praise poem, Chief Molefi K. Pilane which appears in the following texts namely Boka Sentle (1970) which is a collection of poems by Seboni and Lekhela and Praise Poems of Tswana Chiefs (1965) by Schapera. The poem by Seboni and Lekhela discusses some of the events which are to a larger extent discussed in Schapera's poem, known as Molefi Kgafela. This is the reason why the investigation highlights specifically Schapera's poem which is broadly elaborated. The message of this poem focuses on the implementation of law and order within the Community. Although it is one of the oldest traditional praise poems, no detailed investigation has been made with regard to this poem except for a few comments by Schapera. The aim of this investigation is to focus on three levels of text. The topic concept is indicated in line 7 - 12 which highlights on the theme of this poem. There are however other extracts from the poem that are used as examples. This. investigation also focuses on the narratological model, which states that a text work has three levels namely content, plot and style. The concepts, narrative poetry, epic, ode, ballad, sonnet and praise poem also receive attention. Content is also examined. When the content is summarised to the minimum then one refers to the topic. Topic is therefore important in literary work. The four elements of the plot structure namely exposition, development, climax and denouement are discussed. Techniques employed in exposition are viewpoint, conversation, symbolism and apostrophe. These techniques focus on the message carried by this poem. Repetition is used more often in the development stage of this literary work to emphasise lack of law and order in Molefi's Community. The techniques, namely apostrophe and conversation, are employed in the climax. They are also of value as they highlight the message of the poem. Techniques employed in the denouement are elision, synecdoche and exaggeration. Their importance is shown to be their relevance to the message of the poem. The following elements, are also examined: characters, events, time and place. The characters in the plot are described in relation to specific functions which reveal both -their good and bad behaviour. Their importance is explained to be due to their responsibility with regard to the continuation of events. The events are described in such a way that the conflict between the antagonist and the protagonist is revealed and time and place are discussed to highlight the events of the poem. The third level of this literary work deals with style and meter. Style highlights the author's mood and intention. The mood in this poem is related to the advice given to Molefi with regard to good leadership. Meter is discussed on the basis of two rules namely the rule of division and the rule of symmetrical harmony. The rule of division deals with metrical devices known as pause and caesura while the law of symmetrical harmony is concerned with the number of syllables, the number of penultimate summits and repetition. In the poem, Molefi Kgafela there are stanzas and words which have similar meanings. The poem, though being a traditional poem, is characterised by a modem instrument, which is writing by using meter. Meter is therefore important in this literary work. / Dissertation (MA (Setswana))--University of Pretoria, 2006. / African Languages / unrestricted

The topic of this research is to explore various aspects pertaining to the tuba and its role in music. The role of the tuba in modern performance practice is greatly dependent on the history of the tuba and the different roles that were fulfilled in the various eras. The study begins with an investigation into the most important predecessors of the tuba – the most prominent thereof being the ophicleide. The next field of study includes the role of the tuba in orchestras in different countries as well as the role that the tuba fulfills in various ensembles. There is a wide variety of brass instruments that were manufactured in the past and are still being produced today. Various improvements and adaptations of the tuba are listed and studied. Next the tuba is considered in its capacity as a solo instrument and the fact that the tuba can exist as a solo instrument is motivated. Even though it might not be evident that there are a large number of composers for this instrument, some of the most respected and influential composers of tuba music of all time are sighted in this study. Several famous and celebrated tuba players are mentioned and their accomplishments listed. Finally the three practical music examination institutions in South Africa are studied. Lists are compiled to assess the quality of the different examination options between these institutions and provide a suggestion of a preferred option.

It is commonly felt among literary and theatre-going people today that the Theatre of the Absurd is making a comment on the meaninglessness and formlessness of contemporary life. The way the Theatre makes its comment is new and exciting: it simply places before our eyes meaninglessness and formlessness. And the Absurd is left at that. Directors can concentrate on the bizarre, making the plays, even The Caretaker, into three-hour runs of pointless juxtapositions that leave sophisticated audiences complacent. Too often the plays of Beckett, Pinter and Ionesco are treated as slices of life, without beginning or end. This paper was undertaken in an effort to discover whether there was not more to the Absurd play than imitation of life's daily chaos. Strong ritualistic elements had been noticed during a first random reading of some Absurd plays. A later discovery of Genet and his open experimentation with rituals, led me to suspect that the ritual so obvious in his plays also played a part, though a more furtive one, in the works of Pinter and Beckett. The following close examination of texture and structure has convinced me that the formal element, which distinguishes ritual, makes up the fabric of the Absurd play; and that this studied use of ritual makes the plays of the Absurd the most precise dramatic statements to have been seen on western stages since medieval days. Rather than exemplifying formlessness, the Absurd play often stands witness to the stark purity of formality. . / Arts, Faculty of / English, Department of / Graduate

Cette étude porte essentiellement sur quelques auteurs représentatifs de la nouvelle littérature française en Afrique. Nous avons limité le champ aux seuls écrivains ethniquement africains rejetant les Européens nés dans ce continent et les auteurs métro-politains. Les recherches ont porté sur le problème de la langue: adoption suivie ou non de l'assimilation de la culture française. L’autre niveau d'étude comprend l'examen des différentes solutions apportées aux problèmes d’assimilation de la culture occidentale par des personnes dont la culture est essentiellement orientale. Le premier auteur, Kateb Yacine, démontre brillamment qu'il est possible pour un Africain d'utiliser la langue française tout en traitant de sujets et de thèmes uniquement arabes et, qui plus est, de la faire avec une aisance qui rend son oeuvre littérairement unique. Les livres de Chraibi que nous avons analyses portent sur les deux aspects du problème. Les Boucs démontrent la difficulté inhérente dans l’assimilation d'un Arabe au contexte européen. Succession Ouverte nous montre l'impossibilité pour l'Oriental qui a vécu en France de se réadapter à son milieu d'origine. Son retour lui montre combien il est devenu occidental et lui fait constater que les nouveaux pays s'éloignent à pas de géants des chemins tracés par leur tradition. Leur futur incertain semble s'orienter vers des solutions extrêmes rendues plus dangereuses par le vide dû à l’abandon de I'ancienne civilisation. Les élites disparaissent et sont remplacées par des hommes pratiques qui agissent au jour le jour avec l’energie accrue que donne le manque de barrières traditionnelles. Agar de Memmi est le récit d'un échec: celui d'un essai d'assimilation d'une Européenne dans le corps de la vieille tradition judéo-arabe. Memmi insiste beaucoup sur sa qualité de Juif et ses oeuvres sont un reflet de l'avenir de cette minorité en pays arabe. Seule la fuite, une fois de plus, semble être la solution. L'analyse dépeint trés bien les conséquences psychologiques d'un tel échec. Pour l'Européenne c'est l'amertume de n'avoir pas, malgré ses efforts, été acceptéeau sein de ce peuple; pour le Juif c'est un effondrement de son amour propre. II en vient à se mépriser lui-même de n'avoir su opter entre sa femme et sa famille, entre l'Occident et l'Orient. II est devenu une nonentité suspendue entre ces deux irréconciliables. Sembene Ousmane a une attitude délibérément optimiste. Pour lui les problèmes d’assimilation de l'Européen au pays noir sont mineurs et facilement surmontables. De la civilisation occidentale il a une vue pragmatique: point besoin de l'assimiler: il s'agit seulement de l'analyser en vue d'en utiliser les éléments applicables à l'Afrique. L'optimisme de Sembene Ousmane va jusqu'à la vision de son pays dépassant l'Europe en cinquante ans. Deux adoptions lui semblent essentielles pour le succès de l'Afrique: celle des machines et techniques d'une part et d'autre part d'un système social qui insisterait surtout sur la forme coopérative pour les exploitations et sur les syndicats pour les salariés. Notre conclusion constate la disparité des solutions apportées aux problèmes posés au début de l'étude et fait ressortir l'apport original de cette nouvelle littérature dans le courant général de la littérature française. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This study purports to explain why French Canadians, in spite of their heritage of French culture and literature, have failed over the past four centuries, to create one single masterpiece, to give birth to one literary genius. In examining the various productions of the literature of French Canada, whether they be poems, novels or plays, one cannot but notice that they are almost completely devoid of those analyses of love, of the great passions which constitute the basis of life, and consequently of the great world literatures. It is generally conceded that literature faithfully mirrors the customs and habits of a nation. The first French colonists, who settled along the Saint Lawrence River, had not brought to the New World only Civilization and Christian faith, but also French culture and literary genius. In spite of frontier conditions, there gathered together in Quebec a small, but witty, gay and brilliant society, and the masterpieces of Racine, Corneille and even Moliere were performed. The first works written about Canada appeared by and by, almost all of them of a considerable literary value. However, in spite of the strong influence of France and of the French spirit, there was another influence slowly growing in the scattered settlements and villages, and struggling with all its might and resolution to get control over the spiritual and temporal life of the population: the influence of the Church that was far more concerned with the souls of its flock than with a national literature, which, after all, might even become dangerous. The Catholic Church did not lose its dominating influence over the French Canadians after the British conquest; on the contrary, the Clergy became their virtual leader. Thus, for almost two centuries after the English victory on the Plains of Abraham, Quebec lived behind a spiritual and intellectual iron curtain dropped by the ecclesiastics who controlled the colony’s thinking, acting, writing until the first decades of the twentieth century. French Canadian literature, of course, bears the indelible imprint of this clerical domination, and nowadays, when the Church has lost a great deal of its former power and influence, the change in French Canadian literature, is obvious. Literature - for the Canadian Clergy - was nothing but a handmaid of their religion. It follows that history, the novel, poetry, criticism and drama, became a means, and a means only, for religious propaganda. History - less dangerous from the moral point of view - was, in consequence, the most popular. French Canadians can boast of many "Histoire du Canada", where their historians reveal with few exceptions, of course, their own philosophy which is essentially religious. The novel, so much read and admired in Europe, was considered in French Quebec as a "weapon forged by Satan himself to destroy Mankind". It was almost non-existent until the beginning of the twentieth century. Only two types were allowed: the historical novel and the "propaganda novel". Poetry was tolerated, yet the poets were not allowed to sing of anything else but of the soil, the race, the glorious past, God and the altar, simple piety, idyllic country and community life and nature... All other objects - love and passions generally, were condemned as immoral. The rôle of "criticism" - if we can speak of criticism - , was decidedly militants the Canadian "official" critics fought against "liberal ideas", against "Voltairiens", "philosophes"… A French Canadian National Theatre was allowed in Quebec but recently. Thus, the internal struggle between Free Thought and a rather narrow-minded "Canadian Catholicism" is perhaps one of the most interesting aspects of French Canadian literature, and can, to a certain point, give some inkling of its future development. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

As delineated in the Introduction, the central direction of this thesis is that of determining the nature and purpose of Harold Pinter's-drama, of tracing his relationship to contemporary drama and dramatists in general, and the theatre of the Absurd in particular. Contrary to the popular belief that the concept of the Absurd suddenly burst upon the literary scene within the last decade, the emphasis of the first chapter lies on the evolutionary process of its development. The idea of the Absurd, or better, an intuition of the concept of the Absurd can be discovered in the philosophic, literary, and theatrical expression of the western world since the end of the last century. These manifestations of the Absurd did not reach the mind of the multitude until it began to express itself through the medium of the theatre. Even then, however, it remained somewhat esoteric in its appeal and reception. Harold Pinter enters the scene of the Absurd, not as an innovator but as a playwright with an exceptional sense of theatre. He does not attempt to redefine its basic ideas, the concept itself is already somewhat diffuse in meaning; his, is an expression of an intense and concentrated image of the absurd. He forged a new weapon with which to impress the Absurd on the consciousness of the popular mind. Pinter's variation of the Absurd thus differs from the continental expression of Beckett and Ionesco in emphasis and manner of expression, not in idea. Its area of concentration is not on the human condition, but on the abject apparition of the individual imprisoned in existence and society. Unlike Beckett's his queries are not of a metaphysical nature. Pinter probes into the masked reality of everyday life. What he exposes is the presence of a menace which threatens, intimidates and destroys the individual, yet remains unidentified. Toward the expression of this conception of man's predicament, Pinter has conceived of a dramatic metaphor which is best described as 'latent grotesque' in effect. Thus the grotesque dominates the idea of his drama and is the very essence of his threatrical form. The theatre which can now be identified with Pinter's name is a drama of anxiety which progresses from the comic grotesque to the terrifying grotesque. Laughter which resolves itself in fear is the new instrument with which an awareness of the Absurd is impressed upon the audience. / Arts, Faculty of / English, Department of / Graduate

This thesis concerns the development of the short story in Canada from 1935 to 1955. The political, social and economic background has been briefly surveyed and related to the developments in the story in character, subjects, theme, and form. Each of the chapters deals with one of the four periods into which this development may be divided. In each chapter collections, anthologies, and stories from periodicals have been discussed. Chapter I, 1935 - 1940, studies the transition which was taking place in the depression period as the story shifted from man in conflict with nature to man in society. Chapter II, 1946 – 1950, reveals that, in the war years, the story was often concerned with social protest, although there was some opposition to this type. Little magazines became an important influence in this period. Chapter III, 1946 - 1950, shows that in the post-war period, the writers often built their stories around a psychological or psychoanalytic insight into characters. Chapter IV, 1950 - 1955, saw a lull in story writing; however, in those which were written, a greater complexity in character and a centering on ideas was present. What is evident in each period is a growing maturity, which is reflected in the types of characters presented, the subjects and themes which they reveal, and the form through which they are presented. In connection with the general development of the story, each chapter has noted also the availability of places for publication within Canada, general Canadian qualities, and regional influences. It has been found that, although the story development was conservative, the authors did usually deal with contemporary Canadian situations and problems. The study concludes with a bibliography. This was compiled because of a lack of Information on the short story in Canada. No separate listing of the collections and anthologies published during this period exists. The only listings of stories in the periodicals are those to be found in the Canadian Periodical Index, which are arranged by author and title. For convenience in the study of development, this list has been compiled chronologically. Sections I and II list respectively the collections and anthologies published by Canadian writers from 1935 to 1955. Section III is a list of the stories published in certain Canadian periodicals. Only those authors who published 5 or more stories in the periodicals examined are included. Section IV is a list of Canadian Periodicals publishing short stories during these years. Section V Is a list of references used in preparing this thesis. This bibliography is useful in determining the relative importance of the periodicals which have contained stories, in comparing the number of stories in each period, and in tracing the activity of the authors. / Arts, Faculty of / English, Department of / Graduate

The purpose of this paper is to explore Soviet science fiction; that is, all science fiction published in Russia after 1917 to about 1967. The selection of literature from the 1960's was random; the selection from previous years was determined principally by its availability: about three-fourths of all the works examined belong to the last decade insofar as I can determine from publishing dates and critical sources; somewhat less than three-fourths of all the authors whose works were read wrote mainly in the post World War II era, and half of the novel-length works used in the preparation of the paper were published before World War II. It is impossible to ascertain if these proportions accurately reflect the varying production of science fiction during this period, but it is probably true that much more sf was published in the last decade in Russia than in previous years. What are the themes with which the authors of science fiction are occupied? Have they changed since the 'twenties? How closely does science fiction resemble the rest of Soviet literature? Has it become, as American science fiction after World War II became, a vehicle for social criticism? It is a rapidly growing body of literature that has just recently begun to attract serious consideration of its literary merits. It has a small but devoted audience. I intend to explain what this audience reads and evaluate the genre objectively and critically. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

D.Litt. et Phil. / Please refer to full text to view abstract.

The South is a region of mystery, of tradition, of shifting identity. As a cultural region within the United States, the South has always defined (and redefined) itself in such a way that it remains distinctive from, even oppositional to, mainstream American culture. All too often, however, this identity redefinition casts the South as an outsider culture, a comic extreme, or a tradition-bound cultural backwater. In recent years, this process has stagnated within Southern culture and the theatrical arts that simultaneously shape and reflect Southern identity. This dissertation reinvigorates the South's historical process of redefinition in the face of the postmodern complexity facing the region. As dramatic representations of the region are limited to a select historical canon, the first element of this reinvigoration is the need for contemporary representations of Southernness in the theatre and festivals of the region. Thus, this dissertation identifies several new Southern playwrights (including Hilly Hicks, Steve Murray, Shay Youngblood, Elizabeth Dewberry, Bob Devon-Jones, Glenda Dickerson, and Breena Clarke) and their plays' construction and reconstruction of Southern culture. These plays are then examined through framework of the New Southern Gothic (NSG) mode, a model of community representation that places seemingly contradictory or oppositional elements in a flexible structure of community and potential for social, cultural, and political development The characteristics of this NSG genre are then looked at in the larger cultural context of Southern history and the issues facing the region today. They are used to evaluate the limited potential of existing Southern representations (such as that put forth by the 1996 Olympic Arts Festival.) Then, newer, more flexible models of Southernness are drawn from NSG plays. These NSG models provide the basis for envisioning a future cultural identity for the South that preserves its distinctiveness while avoiding the trap of homogenization, fetishization, and historicization that characterize traditional representations of the region. These new models also provide a communal basis for Southerners to join forces while acknowledging their differences. From the stage to regional festivals to the public arena, these models can then be used to enact social and cultural change within the region. / A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester, 2004. / March 26, 2004. / Southern Gothic, Drama, Community, South / Includes bibliographical references. / Carrie Sandahl, Professor Directing Dissertation; Jean Graham-Jones, Outside Committee Member; Anita Gonzalez, Committee Member.