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Die ondermynende potensiaal van die huis en die huishoudelike, met spesifieke verwysing na die liggaam en kos in Klaaglied vir Koos en Erf deur Lettie Viljoen, en Louoond deur Jeanne GoosenBurger, Barbara 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Traditionally the body has been neglected within Western philosophical thought. In this tradition man is seen as a dualist organism whose mind is more highly valued than his or her body. Since the start of the twentieth century, especially, there has also been Western thinkers who deconstruct the traditional, opposisional view of the mind and body. Most of these thinkers are men, and they argue from a male perspective. The deconstruction of the opposition between mind and body is, however, also useful for feminism, as the woman was traditionally seen as more bodily, and less rational, than the man. This view of woman can be used to support arguments that her place is within the home, where she should look after the bodily and emotional needs of her husband and children. First and second wave feminists criticised above-mentioned traditional view of women by arguing that the woman is just as rational as the man. Other feminists make use of the 'male' criticism of the body-mind opposition by arguing that traditionally female attributes and activities are not less valuable than male ones. In this thesis it is argued that the novellas Klaaglied vir Koos, Erf and Louoond should be read against this background as feminist texts in which the traditionally female space of the kitchen is celebrated as a space in which the female subject can create art and develop a perspective on the outside world. Focusing on the body and on traditionally female values (such as the domestic space) have implications for, amongst others, epistemology, ethical thought and literary theory. The way these implications are developed in the three novellas are explored in this thesis. Domestic spaces are not only celebrated in these texts, they are also represented as problematical, limited spaces which isolate the protagonists of the novellas and withhold them from the potential of political solidarity. The novellas are therefore treated in this thesis as complex texts in which the literary focus on domestic space, female embodiment and man‘s relationship with food is both celebrated and problematised. / AFRIKAANSE OPSOMMING: Tradisioneel is die liggaam afgeskeep in die Westerse filosofie. Binne hierdie tradisie is die mens beskou as ‘n dualistiese organisme wie se verstand meer waardevol is as sy of haar liggaam. Veral sedert die begin van die twintigste eeu is daar ook Westerse denkers wat die tradisionele, opposisionele siening van die liggaam en die verstand dekonstrueer. Die meeste van hierdie denkers is mans en neem slegs die manlike perspektief in ag. Die dekonstruksie van die opposisie tussen liggaam en verstand is egter ook nuttig vir die feminisme, omdat die vrou tradisioneel gesien is as meer liggaamlik en minder rasioneel as die man. Hierdie tradisionele siening van die vrou kan gebruik word om te argumenteer dat haar plek in die huishoudelike ruimte is, waar sy kan omsien na die liggaamlike en emosionele behoeftes van haar man en kinders. Eerste- en tweedegolf-feministe het bogenoemde tradisionele opvattings veral gekritiseer deur te argumenteer dat die vrou net so rasioneel soos die man is. Latere feministe bou egter voort op 'manlike‘ kritiek teen die opposisie tussen liggaam en verstand deur te argumenteer dat tradisioneel vroulike eienskappe en aktiwiteite nie minder waardevol is as sogenaamde manlike eienskappe nie. In hierdie tesis word geargumenteer dat die novelles Klaaglied vir Koos en Erf deur Lettie Viljoen en Louoond deur Jeanne Goosen teen hierdie agtergrond gelees kan word as feministiese tekste waarin die tradisioneel vroulike ruimte van die kombuis gevier word as ‘n ruimte waarin die vroulike subjek ‘n perspektief op die buitewêreld kan ontwikkel en kuns kan skep. ʼn Fokus op die liggaam en op tradisioneel vroulike elemente (soos die huishoudelike ruimte) behels implikasies vir onder andere die epistemologie, etiese denke en literêre teorie. Hierdie implikasies word verken soos wat hulle na vore kom in die drie novelles. In die novelles word die huishoudelike ruimte egter ook uitgebeeld as ʼn problematiese, beperkende ruimte wat die hoofkarakters van die novelles afsny van die buitewêreld en van die moontlikheid van politieke solidariteit. Daar word geargumenteer dat die novelles dus komplekse tekste is waarin literatuur wat fokus op die huishoudelike ruimte, vroulike liggaamlikheid en die mens se verhouding met kos sowel gevier en geproblematiseer kan word.
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Confession, embodiment and ethics in the poetry of Antjie Krog and Joan MetelerkampWeyer, Christine Louise 03 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis examines the work of two contemporary South African poets, Antjie Krog
and Joan Metelerkamp. Through an analytical-discursive engagement with their work,
it explores the relationship between confession and embodiment, drawing attention to
the ethical potential located at the confluence of these theories and modes. The theory
informing this thesis is drawn from three broad fields: that of feminism, embodiment
studies and ethical philosophy. More specifically, foundational insights will come
from the work of Simone de Beauvoir, Maurice Merleau-Ponty and Emmanuel
Levinas. While much of the theory used originates from Western Europe and North
America, this will be mediated by sensitivity towards Krog and Metelerkamp’s South
African location, as is fitting for a study focused on embodied confession and the
ethical treatment of the other.
The first chapter will establish Krog and Metelerkamp as confessional poets and
explore the ethical implications of this designation. It will also explore the contextual
grounds for the establishment for a confessional culture in both the United States of
America of the 1950s that gave rise to the school of confessional poets, and in South
Africa of the 1990s. The second chapter will use embodiment theory to discuss the
relationship between poetry and the body in their work, and the ethics of this
relationship. The remaining chapters concentrate on three forms of embodiment that
frequently inhabit their poetry: the maternal body, the erotic body and the ageing
body. Throughout the analyses of their poetic depictions of, and engagements with,
these bodies, the ethical potential of these confessional engagements will be
investigated.
Through the argument presented in this thesis, Metelerkamp’s status as a minor South
African poet will be re-evaluated, as will that of Krog’s undervalued English
translations of her acclaimed Afrikaans poetry. The importance of confessional poetry
and poetry of the body, often pejorative classifications, will also be asserted.
Ultimately, through drawing the connections between confession, embodiment and
ethics in poetry, this thesis will re-evaluate the way poetry is read, when it is read, and
propose alternative reading strategies. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die werk van twee kontemporêre Suid-Afrikaanse digters,
Antjie Krog en Joan Metelerkamp. Analities-beredeneerde benadering tot hulle
werk verken die verband tussen belydenis en beliggaming. Klem word gelê op die
etiese implikasies waar hierdie teorieë en vorme bymekaarkom. Die teorie waarop
hierdie tesis berus, word vanuit drie breë velde geput: feminisme, beliggamingsteorie
en etiese filosofie. Daar word meer spesifiek op die fundamentele beskouings van
Simone de Beauvoir, Maurice Merleau-Ponty en Emmanuel Levinas gesteun.
Alhoewel die teorie grotendeels ontstaan het in Wes-Europa en Noord-Amerika, sal
dit met begrip benader word ten opsigte van Krog en Metelerkamp se Suid-Afrikaanse
agtergrond, wat meer gepas is vir studie wat fokus op beliggaamde belydenis en die
etiese hantering van die ander.
Die eerste hoofstuk vestig Krog en Metelerkamp as belydenisdigters en verken die
etiese implikasies van hierdie benaming. Die kontekstuele beweegredes vir die
vestiging van belydeniskultuur word ook ondersoek, in beide die Verenigde State
van Amerika van die 1950s (wat geboorte geskenk het aan die era van
belydenisdigters) en in Suid-Afrika van die 1990s. Die tweede hoofstuk rus op
beliggamingsteorie om die verband tussen poësie en liggaam in hul werk te bespreek,
asook die etiese implikasies binne hierdie verband. Die oorblywende hoofstukke
fokus op drie vorme van die liggaam wat dikwels in hulle digkuns neerslag vind: die
moederlike lyf, die erotiese lyf en die verouderende lyf. Die etiese implikasies van
hierdie belydende betrokkenheid word deurgaans in ag geneem in die analise van
hulle digterlike uitbeelding van en omgang tot hierdie liggame.
Die argument in hierdie tesis herevalueer Metelerkamp se status as meer geringe
Suid-Afrikaanse digter asook Krog se onderskatte Engelse vertalings van haar
bekroonde Afrikaanse gedigte. Die waarde van belydenispoësie en gedigte oor die
liggaam, dikwels pejoratiewe klassifikasies, sal ook verdedig word. Deur belydenis,
beliggaming en etiek in digkuns met mekaar te verbind, herevalueer hierdie tesis
uiteindelik die manier waarop gedigte gelees word, wanneer dit gelees word, en stel
alternatiewe leesstrategieë voor.
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A queer world: feminine subversions of chivalric homosocial normativityUnknown Date (has links)
If queer is an applicable label for that which aims to subvert or counteract normativity, then Sir Gawain and the Green Knight, The Wife of Bath's tale, and her Prologue are each, in their own ways, queer texts. I examine the ways in which the feminine presences of Morgan le Fay and the Loathly Lady influence and challenge the heteronormative, homosocial space of Arthur and his knights. The two knights in each respective tale journey away from their heteronormative spaces, in which a complex system of homosociality and chivalric patriarchy dominate, to a queer space where each must go against his societal norms and rely on feminine agency and talismans in order for their quests to succeed - and to ensure their survival. It is this very convergence of heteronormative and queer spaces that enables Morgan's defiance of heteronormativity and dominance over those who enter her feminine, non-normative domain. / by Jessica Pitts. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.
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Constitutional bodies : practicing national subjectivity in antebellum writing /Bertolini, Vincent J. January 1999 (has links)
Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.
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Körper(sub)versionen zum Körperdiskurs in Theatertexten von Elfriede Jelinek und Werner Schwab /Pełka, Artur. January 1900 (has links)
Revised thesis (doctoral)--Universität Łódź, 2004. / Includes bibliographical references (p. 193-214).
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Gravity-bound the articulation of the body in art and the possibility of community /Schnabl, Ruth. January 2008 (has links)
Thesis (Ph. D.)--State University of New York at Binghamton, Department of Comparative Literature, 2008. / Includes bibliographical references.
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Talking taboos: the personal over the political? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish playsOxley, Natasha Emma Fortescue January 2015 (has links)
The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.
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"Abject dictatorship of the flesh" : corporeality in the fiction of Patrick WhiteGrogan, Bridget Meredith January 2013 (has links)
Thesis embargoed for an indefinite period - full text not available
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Corporeal Judgment in Shakespeare's PlaysCephus, Heidi Nicole 12 1900 (has links)
In this dissertation, I examine the complex role that the body played in early modern constructions of judgment. Moving away from an overreliance on anti-theatrical texts as the authority on the body in Shakespeare's plays, my project intervenes in the field Shakespearean studies by widening the lens through which scholars view the body's role in the early modern theater. Through readings of four plays—Richard II, Hamlet, King Lear, and The Winter's Tale—I demonstrate that Shakespeare uses a wide range of ideas about the human body from religious, philosophical, medical, and cultural spheres of thought to challenge Puritan accusations that the public theater audience is incapable of rational judgment. The first chapter outlines the parameters of the project. In Chapter 2, I argue that Richard II draws parallels between the theatrical community and the community created through the sacramental experiences of baptism and communion to show that bodies play a crucial role in establishing common experience and providing an avenue for judgment. In Chapter 3, I argue that Shakespeare establishes correspondences between bodily and social collaboration to show how both are needed for the memory-making project of the theater. In the next chapter, I show how Shakespeare appropriates what early moderns perceived of as the natural vulnerability in English bodies to suggest the passionate responses associated with impressionability can actually be sources of productive judgment and self-edification. I argue the storm models this passionate judgment, providing a guide for audience behavior. In Chapter 5, I argue that the memories created by and within the women in The Winter's Tale evoke the tradition of housewifery and emphasize the female role in preservation. Female characters stand in for hidden female contributors to the theater and expose societal blindness to women's work. Through each of these chapters, I argue that Shakespeare's plays emphasize the value of bodily experience and suggest that the audience take up what I have termed "corporeal judgment."
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"How do I understand myself in this text-tortured land?" : identity, belonging and textuality in Antjie Krog's A change of tongue, Down to my last skin and Body bereft.Scott, Claire. January 2006
This thesis explores the question, “What literary strategies can be employed to allow as many people as possible to identify themselves positively with South Africa as a nation and a country?”. I focus in particular on the possibilities for identification open to white South African women, engaging with Antjie Krog's English texts, A Change of Tongue, Down to My Last Skin and Body Bereft.
I seek to identify the textual strategies, such as a fluid structure, shifts between genre and a multiplicity of points of view, which Krog employs to examine this topic, and to highlight the ways in which the literary text is able to facilitate a fuller engagement with issues of difference and belonging in society than other discursive forms. I also consider several theoretical concepts, namely supplementarity, displacement and diaspora, that I believe offer useful ways of understanding the transformation of individual subjectivity within a transitional society.
I then explore the ways in which women identify with, and thereby create their own space within, the nation. I investigate the ways in which Krog represents women in A Change of Tongue, and discuss how Krog uses „the body‟ as a theoretical site and a performative medium through which to explore the possibilities, and the limitations, for identification with the nation facing white South African women. I also propose that by writing „the body‟, Krog foregrounds her own act of writing thereby highlighting the construction and representation of her „self‟ through the text.
I proceed to consider Krog's use of poetry as a textual strategy that enables her to explore the nuances of these themes in ways which prose does not allow. I propose that lyric poetry, as a mode of expression which emphasises the allusive, the imaginative or the affective, has a capacity to render in language those experiences, emotions and sensations that are often considered intangible or elusive. Through a selection of poems from Down to My Last Skin and Body Bereft, I examine the way in which Krog constantly re-writes the themes of belonging and identity, as well as interrogate Krog's use of poetry as a strategy that permits both the writer and the reader access to new ways of understanding experiences, in particular the way apparently ephemeral experiences can be rooted in the body. I also briefly consider the significance of the act of translation in relation to the reading of Krog's poems.
I conclude by suggesting that in A Change of Tongue, Down to My Last Skin and Body Bereft Krog engages with the project of “[writing] the white female experience back into the body of South African literature” (Jacobson “No Woman” 18), and in so doing offers possible ways in which white South African women can claim a sense of belonging within society as well as ways in which they can challenge, resist, re-construct and create their identities both as women, and as South Africans. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.
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