The selection of the subject, “The New in Music,” was prompted by an interest in the frequent appearance of new aspects in the art music. The following critique is the result of an attempt to uncover forces which work toward forming the new, to evaluate essential factors of newness, and to consider the reaction of the public to new musical trends. Although the accent of the work is placed on the music of the late Nineteenth and early Twentieth Centuries, consideration is also given to essentially new aspects of music during the earlier period since the Fourteenth Century. Complexities of modern composition become more easily understood when viewed in the light of previous attainment. The listener who wishes to hear modern music intelligently must needs be learned, for the entire world is included in the scope of modern music, not only the realm of emotion, but also the actual and the transcendental. One must be able to follow the common thread of thought and inspiration which runs through the works of Monteverde, Bach, Debussy, and Irving Berlin.

現代性，在 19 世紀初傳入中國時，只算是願景，成為晚清以後知識份子推動社會改革的目標；而詩，則是幾千年來的中國文化精粹, 是士人操持的語言。兩個分別屬於過去和未來的理念卻多次給譚嗣同、梁啟超、黃遵憲、胡適等先鋒拉在一起，試圖以解放詩體帶動社會改革 ---- 新詩便是以「修身到治國」的推展模式成就的「現代傳統」。在第一重的推展中，周作人率先以〈小河〉實踐其所謂的「人的文學」，聞一多有感於滿目瘡痍的文化景象，以「休息的馳態」，勉勵人伺機而動；在第二重的推展中，魯迅、徐志摩以散文詩來包容「現代鄉愁」中的文化矛盾，保住了時代的開放性；在第三重的推展中，曹葆華、李金髮和侯汝華進一步擴大接收的面向，通過翻譯外國的詩論和詩作鞏固新詩的格局，拓展風格。論文題目中的「盪懷生家國」所涉的就是此層層推展的家國關懷。中國的現代性或許就是那以借來的現代性為目標的追尋，令近代中國掉入了如此弔詭：當國家因救亡的迫切需要而從西方承接了「實用現代性」以興產業、壯國防；而中國詩歌幾千年以來都是最能啟蒙民心的「抒情傳統」的載體，它的發展在「詩體解放」後卻遭到忽略，連同其中所包含的「審美現代性」也遭到壓抑---- 中國詩人嘗試掙脫個人抒懷和羣治籌謀的矛盾的困鎖，將自己歸化到歷史發展的大勢中去推動社會發展，遂激起上述的重重波瀾。

Submitted in fulfillment of the requirement for the degree Master of Arts in the Department of African Languages at the University of Zululand, South Africa,1985. / In the first chapter we are given the biography of Joyce Jessie Gwayi, including a section on her domestic position, her present occupation and her state of health. It is her state of health that has made it impossible for her to undertake any further literary work. This has been the worst drawback to the budding Zulu historical novelist. Here also a few writers of various Zulu books are reviewed. Most of these books found their way into the classroom because there had been no Zulu literature except the Holy Bible. This was so chiefly because, for a long time, schools belonged to missionaries whose primary aim was to bring the Christian Gospel to the Black people. Moses Ngcobo, Gwayi's husband, inspired her because, as a novelist, he had already written the historical work on the Xhosa National Suicide. Gwayi wanted to write about Dingiswayo Mthethwa, her ancestor, after discovering through research that the names Gwayi and Mthethwa were synonymous, used in the Transkei and Natal respectively. She discovered that Shaka Zulu grew up under the guidance of Dingiswayo Mthethwa and that after uniting the Zulu and the Mthethwa Tribes, he initiated a period of conquest. Gwayi seems to have been interested in this period which is known as "Difaqane" and thus used the Tlokoa Tribe, with its 'warrior queen', as the subject of her first novel Bafa Baphela, It was after the completion of this novel that she wrote Shumpu after which she wrote the third book Yekanini. The theme, structure and plot in each novel conform to the pattern as has been diagrammatically represented in the dissertation. There is exhibited a very well developed sunrise, noontide and sunset trend in each novel. /To To achieve this the novel must have a variety of characters. We find Gwayi's heroes and heroines behaving realistically, especially in view of the fact that some of them are real historical people. Both her simple and complex characters behave very much like ourselves or our acquaintances. There are characters central to the plot and also those who are included simply to enrich the setting of the story. Gwayi even has characters who are ancestors of living people. In Chapter Four, the milieu of Gwayi's books is discussed. Ancient people have a different culture from modern people so that as her characters lived prior to westernization, they conform to their environment. This aspect is obtained from traditional and oral history because Zulus were, up to then, illiterate. Attire, food and religion, however, remained largely unchanged for a long period of time. Ancestor worship, it is true, has been disturbed by the introduction of Christianity. On the military side it was Dingiswayo Mthethwa who regimented his warriors and Shaka Zulu who revolutionized the method of fighting by introducing a short spear (Iklwa). It is the style, language and technique that disclose the fact that the novels have been written by two people. (Gwayi confirmed this fact to the author.) The language in the first two books leaves much to be desired. For example, some expressions are used in such a manner that a non-Zulu reader may be confused. This is regrettable since Gwayi cannot now do anything about it. The language of the third book is good. The structure could have been Gwayi's, but Ngcobo so deftly manipulated the language that this book proves to be the best of the three. Ngcobo ends the book so conveniently that the reader becomes anxious to know what happened to Zwide Ndwandwe and Shaka Zulu when Dingiswayo had gone. It leaves the reader with a wish to read his next book, which deals with the conflict between Zwide and Shaka. It is unfortunate that Gwayi and Ngcobo do not revise and edit the books to the advantage of the future Zulu reader.

Submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Doctor of Philosophy in the Department of English at the University of Zululand, 2001. / The impulse that prompted me to the writing of this thesis is a profound uneasiness about the way in which the Humanities are being undervalued in the eyes of the world today, and nowhere more so, it increasingly seems, than at educational institutions, especially South African universities. As mechanisation and commodification become more and more the order of the day, and as technology replaces human interchange, the passions and sympathies of man, so powerfully expressed in English literature, steadily become of secondary importance. My focus here, then, is on the vital importance of English literature in the affairs of human beings and their daily interactions with the world around them. My attention will be directed mainly towards poetry, for I believe that even amongst those who do read good books, a large proportion eschew poetry and, in a sense, fear it. My experience in teaching at secondary and tertiary levels of education has shown me that this is because students have not been given, or adequately instructed in the use of, the tools with which to understand or to appreciate poetry in more than a very superficial way, and that this lack leads to their not devoting much time or attention to it. Also, because they fail to understand more than simply the contents of a poem (and sometimes not even this), and because they are aware that there is a deeper significance to a good poem than what they perceive, students and other readers feel inadequate, and shy away from poetry altogether. Of course, I do not include amongst these readers those who daily concern themselves with Iitera-ture and who have made it one of the mainsprings of their lives. I am aware, too, that every generalisation has its exceptions and that there are people who at an instinctive, as well as a cognitive level, fully comprehend what the poet is saying.

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Note: p. 59 skipped in manuscript.

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