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The study was undertaken as a response to the need existing within the church. The author’s observation of how one widow was going to board a taxi on a very cold day to attend the church service triggered the desire to research the care of the clergy widows within the Pentecostal Church. The research is undertaken as follows: <ul><li> Chapter one: This Chapter introduces the study and serves as a window into the research by providing a bird’s eye view on what is fully entailed. It introduces the subject matter in the most probing and illuminating terms into the broader study which unfolds as alluded in the following subsequent chapters. </li></ul> <ul><li> Chapter two: The Chapter provides the significant meaning of what is entailed in the concept of caring as an envisaged theological tool towards addressing the needs of the clergy widows in general and the said Pentecostal clergy widow in particular, hence submitting the theology of caring. Various theologies such as the theology of brokenness, the theology of comfort and the theology of anointing the wounded are discussed in minute detail. Widows constituting various categories are presented as widows caused by God, caused by others and those caused by self. </li></ul> <ul><li> Chapter three: The methodology of caring is introduced with emphasis on how such a methodology can be practically employed as a way and means of averting the plight of the Pentecostal widows in particular. Gerkin’s Shepherding methodology is discussed in a scholastic dialogue with Wimberly, who introduces the notion of privileging conversations with God. These two authorities are presented in a discourse with Pollard who diagnoses a theology which he calls positive deconstruction. </li></ul> <ul><li> Chapter four: Three clergy widows were drawn from the Pentecostal Church and two from the Mainline Church as samples of narrated stories. Their stories managed to open a new well of information which surfaced both in their story-telling as well as in their responses to the questionnaires. The data collected both through the questionnaires as well as the stories they shared was analyzed intensely. </li></ul> <ul><li> Chapter five: The integration of the methodology of caring amongst other subjects unfolded matters related to the required healing of the surviving widow, dying patient’s problems come to an end, family problems go on and the submission of a considerable theology for the care of widows. The Chapter is aimed at creating an integration of the methodology of pastoral caring. </li></ul> <ul><li> Chapter six: The following theologies were submitted as proposals in developing the caring theology for the Pentecostal clergy widows: 1. The theology of social responsibility. 2. The theology of power. 3. The theology of proclamation. 4. The theology of tending the flock</li></ul> <ul><li> Chapter seven: This last chapter provided findings and recommendations established throughout the entire research process. Findings discussed were as such informed by tradition, observation, literature and interviews. Recommendations were provided as a foundational layer of the new tool for the care of clergy widows, and the Pentecostal widows in particular, hence the creation of a caring model. </li></ul> / Thesis (PhD)--University of Pretoria, 2011. / Practical Theology / unrestricted

What I Meant to Say about Love is an ever-differing interstitial text which has left open spaces for artists, researchers, and teachers, called a/r/tographers, to contest the curriculum and pedagogy of reduction and pragmatic means-ends orientations that monopolize schools. This text wanders, meanders, and digresses to places where, through poetic inquiry, the notion that there is no pedagogy without love can be explored. In a broad understanding of midrash, as it is performed poetically, three years of an English teacher's life are recorded fictionally. James, the main character, discovers that love is a physically potent force that structures and deconstructs, just as it connects and disconnects. His story considers how the professional emphasis in education compartmentalizes and separates the inner life from the outer life. In love with life, with learning, and with others, the James of this story writes poetry to acknowledge love's power, and to restore its credibility in the classroom—that the lovers' discourse might be trusted again. This un/authorized autobiography ruptures the predictable stories of what it means to be a successful teacher by considering one teacher's journey as a limit case, examining phenomenologically how he connects his life of love and poetry to his classroom practice and how his students respond to his poetically charged way of being. My hope is that it might be possible to offer here, in this place, one poet's understanding and celebration of difference in the world. Recognizing the relationship between what is original and what is shifting, I hope to keep complexity and diversity alive, to resist answers, to continue to converse and traverse and transgress. Thus, with careful attention to poetry as a way of knowing and unknowing, and by attending to the paradox, humour, and irony in one poet's lived experiences, both public professings and inner confessings, as they are understood in relations of difference, or as they are understood in relations of decomposition and fertility, it is possible to consider how powerful emotive experiences, oftentimes relegated to the personal and therefore insignificant, can and do have profound transformational effects on praxis. / Education, Faculty of / Graduate

Caryl Churchill’s play, Love and Information, presents a shift in focus from unstable personal and political identity towards unstable logical identity, a philosophical concept that takes identity out of the realm of identity politics.. As a new play Love and Information has understandably been subject to very little scholarly analysis. This thesis situates the play within Churchill’s corpus in order to consider how the depersonalized identities of this play fit within the broader scope of Churchill’s work. Anchored in Elin Diamond’s study of gender identity in Churchill’s corpus, this thesis will further incorporate theories of logical identity as well as theories of language in order to define what I argue is Churchill’s shift towards logical identity. Through a study of both the text of Love and Information and the 2014 New York première, I conclude that Love and Information represents a shift in focus while Churchill maintains her playwriting methodology.

This thesis examines the attitudes to love and sex reflected in eight Canadian novels dating from 1925 to 1969. The first three, Frederick Philip Grove's Settlers of the Marsh, Morley Callaghan's They Shall Inherit the Earth, and Hugh MacLennan's The Watch That Ends the Night, were chosen not only as works centrally concerned with love, but also as good examples of their writers' treatment of sexuality in other novels. And since Grove, Callaghan, and MacLennan are generally held to be the major Canadian writers of at least the first half of this century, collectively their novels form an accurate picture of the traditional, mainstream attitude to sex, insofar as it can be seen operating in and through fiction. Chapter One introduces the reader to the ways in which twentieth-century Canadian fictional attitudes to love and sex are directly contiguous with those of Victorian England: the fundamental duality of body and soul; the "worship" of the good woman as the embodiment of the Christian virtue of self-sacrificing, pure love; the resulting splitting off of aggressive sexuality from feelings of tenderness; and the subsequent driving underground of the repressed sexual urges and their emergence into perverse forms. Chapter Two traces Grove's insistence upon a tender, asexual Victorian ideal and his deliberate efforts to eliminate what he regards as degrading and destructive, that is, any sexual urges not strictly passive and subordinate to spiritual love and monogamous procreation. Chapter Three discusses Callaghan's attempt to break away from this traditional duality of love and sex, and then demonstrates how his fusion of body and soul actually breaks down into just another version of the old split so that sex is good only so long as it remains in the service of self-sacrificing love. It also establishes how Callaghan's notion of love comes to depend ultimately upon covert sadomasochism in which both the male and female unconsciously and destructively attempt to break out of sexual roles too rigid and narrow to serve their complex human needs. Chapter Four looks at MacLennan's apparent affirmation of life and sex, and maintains that his mystical message is really a sadomasochistic impulse in which life becomes the unconscious and obsessive pursuit after pain and death. The relationship which emerges between the sexes in all three of these novels is that of dominant female and dependent, resentful, frightened male. Grove, Callaghan, and MacLellan all portray women as essentially stronger than their men: the "good" ones dominate by means of protective, maternal power and the "bad" ones through aggressive, self-gratifying sexuality. The male responses to these powerful women are deeply ambivalent: they seek infantile security and gratification at the breasts of the "good" women, while they simultaneously attempt to establish their potency, autonomy and safety by overtly destroying the "bad" mothers and covertly punishing the "good" ones. Thus Grove, Callaghan and MacLennan all create fictional worlds in which sadomasochism inadvertently works against their notions of idealized love. Chapters Five and Six examine Sheila Watson's The Double Hook and Mordecai Richler's The Apprenticeship of Duddy Kravitz, concentrating on their more contemporary treatment of sexaulity and particularly on their response to the archetype of the castrating mother. Watson pioneers the way out of the Victorian past by exploring aggression as a potentially positive mode of behaviour, and by seeing in the traditional role of the self-sacrificing woman the kind of tyranny-by-guilt which covertly holds sway in the earlier works. Richler also rejects the notion of the efficacy of suffering and thus has his young hero attain manhood partially through his repudiation of the "security" offered in a relationship with a self-sacrificing woman. Moreover, his satire repeatedly focuses on the covert sexual reality which underlies idealistic pretensions, and thus makes the same comment as this thesis is making about the novels of the traditional mainstream. Chapter Seven analyzes the ways in which Leonard Cohen's Beautiful Losers, Margaret Laurence's The Fire-Dwellers and Robert Kroetsch's The Studhorse Man all work through various responses to the repressive limitations of Victorian ideals: Cohen dramatizes an ideal of polymorphous perversity, Laurence "masculinizes" her heroine and "feminizes" her male protagonists, and Kroetsch insists upon an unidealized, aggressively sexual response to life. Nevertheless, as Chapter Seven demonstrates, even contemporary imaginations continue to focus on the woman as castrating mother and the man as threatened son. Thus in the final analysis, the differences between the attitudes of contemporary writers and those of their predecessors lie not in an abandonment of the traditional archtype, but only in the degree to which they are conscious of, and deliberately choosing to work with, sado-masochistic sexuality. / Arts, Faculty of / English, Department of / Graduate

The purpose of this thesis is to offer some explination of the manner in which Ezra Pound has created a metaphysical centre for The Cantos through absorption and integration of the Renaissance metaphysic of courtly and transcendent love and the pragmatic ethical philosophy of Confucius. It resolves no problems, either textual or critical, but rather suggests that the thirty-sixth Canto is central to the philosophy underlying the poem as a whole. From the central fourth chaper, the thesis attempts to give some idea of the nature of Pound's influence upon one other poet and how this influence has resulted in a new evaluation of the original Cavalcanti material. The short intoductory chapter outlines the nature of the problem of love as an ordering principle which provides a reconciliation of the disparate and seemingly opposing forces which shape human experience. This unity, it is stated, represents an attempt on the part of western man to integrate his dualistic response to the world of Process, an essentially eastern concept. Chapter two outlines the nature of Cavalcanti's poem and the philosophy of love which it contains. Apparently, this poem has yet to be interpreted with any degree of finality and I have necessarily had to work through the general concensus of critical opinion. The third chapter points to Pound's conception of the philosophy of Guido Cavalcanti's canzon and how Pound has interpreted the "guerdon" of the amour courtois tradition as the Confucian doctrine of li. Chapter four explores the connexion between Pound's conception and interpretation of Donna Me Prega and how, from the concept of individual compassion, Pound envisions a viable order for the society of western man, while continually maintaining the concept of the universe as Process. The fifth chapter deals with Robert Duncan's stated variation on Pound's view of Donna Me Prega and the philosophy contained therein, and offers some comments on the different possibilities of order, or lack of same, as expressed by Duncan. The conclusion discusses the metaphysical concept of love as a principle of unity in relation to some modern statements of epistemology and aesthetics, and concludes that Pound has expressed the sense of order and unity in a more universal and objective manner than has Duncan. The addendum of chapter seven suggests some possibilities for further research into these areas and concludes that Ezra Pound's consciousness of the Processal universe is essentially oriental, ie., an aesthetic response, while the concept remains largely an intellectual postulate in the western world. On the whole, the primary concern is for the explanation of the relationship among such elements as imagination, transcendent love, human social order, and the concept of the universe as an all-embracing Process of interacting elements. / Arts, Faculty of / English, Department of / Graduate

This thesis explores the subject of love and self-love in the Misanthrope of Moliere. The central issue is whether or not the main character, Alceste, is blinded by his own self-love. If so, does this blindness lead him to madness? My analysis shows that true love is not present in this play - and the reason for that is l'amour de I'autre. That is, both Alceste and Celimene are much too self-absorbed and preoccupied with self-love to be able to honour and cherish each other. In Alceste's case, the issue of blindness and illusion are also crucial elements that influence his ability to love. In the first chapter, I shall introduce these two elements and show how I'amour-propre causes Alceste to lose sight of reality. Then, in the second chapter, different aspects of love shall be examined, allowing me to illustrate how I'amour de I'autre is not achieved. Finally, the third chapter introduces the idea of self-love and l'amour-propre, distinguishes the two and shows how they lead the two characters of the Misanthrope to reject love. The theme of Amour-propre, as well as love mistreated or misunderstood, as subjects of literary works, are widespread during the seventeenth century. The play on illusion and reality, reason and madness, as well as the element of change and instability, as they appear in the Misanthrope, are familiar ground in Baroque theatre. Indeed, as Jean-Marie Apostolides notes in an article, the theatre is a space where new thoughts and ideologies are presented, where people, places and time are transformed and tested. This is undeniably what Moliere proposes to do in the Misanthrope and this project illustrates how this great playwright achieves that goal. In this thesis, I demonstrate how he brilliantly illustrates the social and philosophical influence of his time on individuals and its consequences. How does one react to such external forces? In Alceste's and Celimene's case, they each move in completely opposite directions in reaction to these external powers. The result of this, as well as of their forced union is what gives this play its strengths. For Moliere is able to show us the humour in such a marriage between a misanthrope and a coquette. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

M.A. (Information Science) / A need exists for criteria with which to evaluate formalistic popular fiction in the public library. The love story is one of the types of formalistic fiction which is very popular and which is found in great numbers in the collections of public libraries, but which is not bought in a responsible, professional way. Meaningful criteria for evaluating the love story cannot be developed without knowledge of the nature and characteristics of this type of story. This study examines the characteristics of formula fiction in general and of the formalistic love story in particular. Formula fiction is fiction written according to the requirements of specific formulae. Formula fiction can be regarded as a genre because it contains certain characteristics with a specific aesthetic impact, in accordance with the requirements of a genre. A fiction formula is a narrative structure which is used in a great number of individual works and which leads to the genesis of a story type. The most well-known story types or sub-genres of formula fiction which have originated in this way are love stories, science fiction, Wild West stories, espionage- and detective stories and social melodramas. "The most important characteristic of formula fiction which has been identified is that it is standardized. This standardization causes certain stereotypes to appear in formula fiction, namely stereotyped characters, themes and background and language usage. Each of the sub-genres of formula fiction, including the love story, has its own specific stereotyped characters, themes and background and language usage. The stereotypes existing within the love story are described extensively. The stereotypes in formula fiction acquire aesthetic impact when the author succeeds in adding a new element which regenerates the stereotype. The most important criterion for evaluating the formulistic love story is therefore the way in which stereotypes are handled in these stories. The formalistic nature of the love story is therefore accepted, but the regenerative handling of the formula must be evaluated in order to distinguish the better love story from the weaker one. Three love stories are evaluated to demonstrate how this criterion, namely the establishing of the extent of regeneration of stereotypes, can be applied to assess the merits of a love story. This study points out that the successful love story is the one in which the regeneration of stereotypes is done successfully. The use of this criterion for establishing the quality of individual love stories offers the opportunity for public libraries to decide in principle to include the popular love story in their collections, but to establish a responsible point of interception according to which the weak love story will not be bought.

This paper will examine Chekhov's attitudes toward love and marriage as revealed in his short stories. An attempt will be made to find certain themes which recur frequently and to discover the reasons for their recurrence.

This study aims to investigate and directorially apply Antonin Artaud's concept of The Absolute in order to destabilise the victim/perpetrator binary between the characters Beth and Jake in Sam Shepard's play text, A lie of the mind (1986). Previous theoretical analyses of Beth and Jake in A lie of the mind frame them as victims of their circumstances and as victims and perpetrators of violence (Bottoms 1998:16). I will explore the violent relationship between them in the context of the victim/perpetrator binary set up in the original play and re-imagine this binary by creating a radical reinterpretation of the relationship between the characters in a theatre production titled ? (2015). I argue that a directorial treatment of The Absolute assists in destabilising the victim/perpetrator binary present in Beth and Jake's relationship. To reinterpret Beth and Jake's relationship, I explore René Girard's notions of violence, victimisation, and scapegoating, as well as the Artaudian notions of Cruelty, The Absolute, and the Theatre of Cruelty. I apply the Girardian concepts and vocabulary to a reading of the relationship between Beth and Jake. I also discuss the ways in which Artaud and Girard conceptually relate to one another. I then provide a practical exploration within the framework of the Theatre of Cruelty by creating an original production, ? (2015), in which The Absolute facilitates the destabilisation of the victim/perpetrator binary that exists between Beth and Jake. In ? (2015), the relationship between Beth and Jake is reconceptualised and reinterpreted through taking cognisance of the Artaudian-Girardian framework. This dissertation concludes that Artaud's Theatre of Cruelty and the notion of The Absolute are able to destabilise the victim/perpetrator binary between Beth and Jake by replacing sexual desire in their relationship with transcendental love, and reconstructing and reimagining their relationship accordingly. / Dissertation (MA)--University of Pretoria, 2016. / Drama / MA / Unrestricted