Published Article / The paper seeks to demonstrate that Mofolo borrowed from previous texts written before Moeti wa Botjhabela so as to provide layers of meaning in his novel. Mofolo was a reader of different texts before he became the creator of Moeti wa Botjhabela, and therefore, his work of art is unavoidably shot through with references, quotations, and influences of every kind of text he read, and this finds expression in the manner in which history, folktales and Bible have been distributed consistently in his work of art.

This thesis addresses the concept and forms of dissemination in political communication and news media. It investigates the new age of dissemination of global communication manifested in a new relationship between political communication and media systems. The broad aim of this project is to investigate the ‘media reality’ of political communication in this new age of dissemination. Working within the sphere of political communication and interconnected media systems, the thesis examines how the information in news source texts and responses to them is recontextualised and disseminated worldwide, and fed back again through recursive communication. Specifically, the thesis also considers ways in which the aims of the political phenomenon of Hezbollah are disseminated and connected across various news media outlets. In particular, the process of recursive dissemination of communication is analysed in three news media outlets, namely Al-Jazeera, the BBC, and CNN. The project has three principal conceptual building blocks: dissemination, political communication, and discourse and intertexts. The theoretical framework has determined the methods used to undertake a qualitative analysis of the data. Discourse analysis is used to consider intertexts and sub-texts, legitimation processes, framing, representation, and schematisation in the data. These dimensions are highly useful tools in identifying shifts across the three media organisations. This thesis has three specific objectives. Its first aim is to reconceptualise communication, establish a communicative model characterised by recursivity (one in which political communication and media systems play back on each other in feedback and feed-forward loops, which add intensity), and show how recursivity has gained in importance in the context of mass mediatisation, bringing about a new age of dissemination. That is, the political messages of Hassan Nasrallah, which polarise representations, are recontextualised and disseminated across media contexts in complex processes involving recursive media interplays. These processes have a direct link with the historical context in the sense that political communication and media systems play back on each other in feedback and feed-forward loops. The second aim is to investigate the appropriate approaches for the study of that communication in terms of the relationship between intertextuality, discourse, ideology as belief systems, framings, and competing framings which create new realities; this connects well with the conceptual framework of recursivity and dissemination. The third aim is to achieve in the data analysis a more sophisticated understanding of Hezbollah as a highly significant political actor, by creating a multicontextual analysis of recursive framing. The thesis demonstrates the complexity of recursivity and dissemination of political communication. It sets out to improve our understanding both of Hezbollah and of the politics the Middle East. The core of this thesis lies in its concern in reconceptualising political communication and applying it to the analysis of Nasrallah’s speeches and their recontextualisation in the above three global media organisations.

Recent reports on the media saturation experienced by the twenty-first century student have brought about an increased interest in focusing attention on the issue of visual literacy in today's schools. Concepts such as instructional personalization, where approaches to curriculum design and instruction are created to concentrate on the individual strengths of the learner, have been promoted by some as a path to improving overall student performance. Many believe that the content of the Social Studies classroom easily lends itself to a visually stimulating approach and as such is an ideal laboratory to test hypotheses on such an approach. This study examines the use of one such visual tool in the Social Studies content arena, the political cartoon. Political cartoons are believed to be ideally suited to appeal to the visually oriented characteristics of the millennial student in the form of a potentially content rich primary source document. Described within the pages of this paper are the unique experiences with using political cartoons from the perspective of both middle school American History students and their teacher. The qualitative data uncovered through the collection of these experiences clearly illustrates a noticeable disparity between teacher and student experiences with cartoons from the present and their counterparts from the past. While present day cartoons covering various recent events in the news elicited an impressive level of informational recall and personal connections to the topics covered, the results were considerably less spectacular when political cartoons from the distant past were utilized. Those older images were more difficult for the students to grasp the artist's intent and failed as an opportunity for the students to demonstrate their mastery of content knowledge. It was concluded through an examination of interviews from both teacher and student that the differences observed between the older and newer images may be a function of several factors. Chief among these possible explanations from the point of view of the student was the lifelong collection of experiences that each child brought with them to the process of analyzing a political cartoon. The unique cultural capital possessed by each student as a result of their daily, almost nonstop exposure to all forms of media created a personal connection to the modern material that could not be matched by the content from the past. It was also revealed to be possible that a portion of the blame for the difficulties experienced with the materials from the past could be the result of the day to day decisions made by this one particular classroom teacher. The time and dedication to the mastery of the content knowledge and procedural skills necessary to decipher political cartoons from the past may have been insufficient to the task at hand. Conclusions drawn from the information collected in these interviews focus on decreasing the discrepancy between the two forms of visual material by taking steps that include considerable work on the part of the teacher and student to improve upon the background content knowledge and processing skills necessary to consistently decipher the information contained within the political cartoons. Such steps may prove to be impractical given the nature of the already jam-packed curriculums and time-strapped teachers that populate today's Social Studies classrooms. Additional studies would be necessary to determine if the experiences viewed here are common to those encountered in other parts of the nation or if they are indeed uniquely characteristic of this one situation. Accordingly, the results of those additional studies would possibly initiate a reevaluation of the conclusions drawn here.

This paper aims to explore the connections and parallels between Longus' Daphnis and Chloe and Ovid's Metamorphoses. The conclusions reached should provide fertile ground for further studies in the intertextual play between novels and Latin poetry. To reach these conclusions, there will be a multi-pronged approach at analyzing the questions and implications raised by the potential connections. First Longus' novel will be situated within a context of Greek literature under the Roman Empire that consciously utilized Vergilian poetry. Having done that, I will turn to the similar methods that each author uses to play with genre and the visual worlds in his work, a process that shows that Longus was using Ovid as a definite model/kindred spirit for his novel's approach to these topics. Following that, there will be an extended examination of specific episodes in Daphnis and Chloe through which Longus reveals his knowledge of Ovid's Metamorphoses. Finally, this paper will attempt to situate the arguments and conclusions that are made in the context of the current debates over the readership of the novel to present a strong case for bilingualism in the ancient world. / text

Using a corpus of twenty-four lectures drawn from The BASE corpus, this study is an analysis and inter-disciplinary comparison of the management of Intertextuality in the genre of the undergraduate lecture. Theorising Intertextuality as central within the discursive (re-)construction of disciplinary knowledge, the investigation of Intertextuality is viewed as the investigation of the discursively-mediated interaction(s) of a current lecturer with original knowledge-constituting discourses, and with their agents too, of an academic community. As there is no holistic and comprehensive methodology for assessing the management of Intertextuality in academic discourse both qualitatively and quantitatively, this study uses two further lectures to devise such a methodology. This involves segregating lecture discourse into consistent independent units and then coding each unit according both to its function in the discourse and the participant voice(s) behind it. Applying this comprehensive scheme shows that independent units in lecture discourse are classifiable under three broad functional areas, Intertextuality (units realising propositional input), Intratextuality (units realising the mechanics of text and discursive interaction), and Metatextuality (units realising unit-length evaluation of emerging discourse). These functional areas and the functions within them are manageable via different participant voice(s), the manifestations and pragmatic effects of which in discourse vary, meaning the management of Intertextuality can be assessed qualitatively and quantitatively using the coherent, consistent and data-driven coding scheme derived from these analyses. This methodology, applied qualitatively and quantitatively to the corpus, reveals management similarities broadly between Arts & Humanities and Social Sciences lectures, typically a dialogic management, and management differences broadly between these two groupings and Physical Sciences lectures, typically a monophonic management. These management choices are understood as both constituted by and as reconstitutive of the social and epistemological landscapes behind lectures, meaning the management of Intertextuality is viewed as the dominant influence in shaping disciplinary discourse.

Abstract: This thesis is a comparative analysis of the apocalypse as a theme in four novels, two American and two Quebecois. Originally a biblical myth, apocalyptic tales are comprised of three narrative aspects defined Bertrand Gervais as Crisis, Time, Meaning / Sense. The four novels are analyzed individually according to these three elements. The American novels correspond to the more traditional pattern of the myth in which the world faces mass destruction followed by the survival of of the chosen-ones who will experience redemption. Contrarily, the two others demonstrate the conceptualization and representation of the traditional myth of the apocalypse towards a modern analogy of transformation of individuals within a profane world; one in which the mythical becomes farcical.||Résumé : Cette étude porte sur l’analyse comparée du thème de 1’apocalypse dans quatre romans, deux Américains et deux Québécois. Mythe biblique a 1’origine, le récit de I ’Apocalypse comporte trois éléments narratifs bien définis par Bertrand Gervais soient la Crise, le Temps et le Sens. Les quatre romans sont envisages, l’un a la suite de l’autre, en fonction de ces trois éléments. II en ressort que deux d’entre eux correspondent au schéma plus traditionnel du mythe avec sa destruction massive du monde suivi du choix d’élus qui auront la chance de connaitre la rédemption. Les deux autres, par contre, démontrent 1’evolution du mythe traditionnel de l’Apocalypse vers une analogie moderne de la transformation des individus dans un monde profane, ou le mythique devient même risible.

This thesis examines in detail the construct we term the ‘theatre star’. It aims to investigate how transnational theatre stars in Australia and New Zealand in the early-twentieth century validated their professional eminence, social cachet and public adulation through the strategic development and manipulation of their on and off-stage personae and mediated afterlives. Rather than focus on the theatre star as a solitary icon, my theoretical approach examines the star as a valuable partner – social, professional and cultural – within the infrastructure of the theatre industry. While much research has been done to explicate theatre performers’ burgeoning professional status and appeal as charismatic personalities and performance specialists, particularly in British and American contexts in the eighteenth and nineteenth centuries, there is little investigation on the constructed identity of the star performer of early-twentieth-century Australasian theatre. The conceptual model of ‘imbricated identity’ theorized in this study seeks to mark a shift in the field of theatre historiography. It articulates an intertextuality of performance that reaches beyond that defined by Marvin Carlson as ‘ghosting’ inherent in theatre praxis, and by Jacky Bratton as ‘intertheatricality’. I propose that the validation of ‘personality’ – the mysteriously elusive and ‘uncanny appeal’ or ‘x’ factor – is only one dynamic explanation for the theatre star’s popular success. The term ‘imbricated identity’ is used to describe the cultural accretion of interleaved and overlapping depictions of the star’s identity: theatrical representations, civic persona, private self for public consumption, and posthumous legacy. These delineated images operate coterminously. They strategically coalesce and sometimes conflate, informing discursive framings of the star’s identity as variously invested in by the artiste, and his/her symbiotic partnerships with theatre management, media, spouse/s, family and the public. During the early-twentieth century the theatre star’s constructed identity became necessarily more complex with the advent of modernity’s mass-mediated communications. Printed media, radio and film increasingly revealed information about stars’ public and private lives. Case studies of Nellie Stewart, Ada Reeve, Madge Elliott and Cyril Ritchard are used to explicate how theatre performers fashioned and articulated their distinct star images. All are performers identified as ‘Australian’ at some phase of their careers, who also maintained strong international profiles, particularly in New Zealand, England and America. They performed variously in entertainments such as dance, drama, vaudeville and revue, radio, film and television. The work of these chosen subjects traverses paradigms of high and low culture: boundaries that became increasingly more fragile with modernity’s exchange and fusion of culture and commerce. The star’s image and cultural status are unstable and rely upon contextualization syncretized by the star and theatre management, professional colleagues, journalism, fans and audiences. The public, private, and professional partnerships of my chosen subjects had a significant impact on their acculturation as Australian stars on the transnational stage, and their mediated afterlives continue today to invite multiple readings of star personae.

This thesis investigates references to Paul's Christophany in the undisputed Pauline letters. Paul's Christophanic experience has been the subject of much scholarly analysis. However, treatments of this phenomenon, while widely varied, have primarily concentrated on reconstruction of the cause, event, and effects of this phenomenon, discovery of the foundation of Paul's Christology and/or reconstruction of his Christology, and on conversion/call in general. Few have focused on the purpose behind Paul's employment of his Christophanic references in their particular literary and socio-historical contexts and none have undertaken a full-length study of each Pauline Christophanic references seeking to discover the extent to which Paul uses these references in context to shape his various communities. This is the task of this thesis. It begins by setting criteria for establishing which of the many proposed references can be deemed a Christophanic reference and based on these criteria confirms five pericopae for further evaluation: Gal 1:11-17; 1 Cor 9:1-2, 16-17; 1 Cor 15:1-11; Phil 3:4-14; and 2 Cor 3:1-4:6. Each of these confirmed references is then evaluated within their specific literary and socio-historical contexts. Special attention is given to possible intertextual links which aid in interpreting Paul's larger purposes within the epistles as well as more specific purposes behind his employment of the Christophanic reference. A significant reliance on Isaiah, especially Isa 40-66, is highlighted. Through this assessment, the importance of Paul's Christophanic references as part of his larger arguments is established. It is shown how Paul uniquely shapes the various Christophanic references to fit the needs of his argument and through it, the needs of the community. Furthermore, it evidences that Paul's Christophanic references are not primarily used to establish his apostolic status or to assert his apostolic authority. Through this study, the corporate nature of Paul's Christophanic references becomes increasingly evident and multiple general conclusions are drawn, which provide a possible glimpse into Paul's understanding of his Christophanic experience. Specifically, it is argued that Paul's Christophanic references primarily functioned in three ways. They functioned didactically, providing an avenue for instruction within Paul's overall argument. They functioned paradigmatically, offering the various communities a model of correct identity and action that should be imitated. Lastly, a few of the references also functioned analogously, illustrating Paul's understanding of the shared elements of their conversion, calling, and identity, which are made possible through a revelation of Christ/Spirit to all believers.

This dissertation brings two recent strands of research together and attempts to contribute to two areas of study: (1) apocalyptic Paul studies and (2) the discipline of intertextuality. When apocalyptic Paul is concerned, many works utilize comparative literature approaches. The present study, however, is different in two respects. First, this study sees intertextuality and apocalyptic as a cultural semiotic that is a meaning potential in culture. Whereas many intertextual studies focus on how later texts employ earlier texts for literary and theological purposes, the present study views culture as a matrix of intertextuality. In addition, this study deems apocalyptic as a cultural discourse that society and culture share to understand transcendent phenomena and events. The second distinctiveness of this study is its analytic method. Instead of word-to-word comparison, we investigate whether Paul’s letters present similar patterns of semantic relations between apocalyptic thematic items. After identifying recurrent thematic formations throughout multiple texts, this study explores Paul’s heteroglossia (different voices) in the thematic formations. As such, the meaning of Paul’s apocalyptic can be construed, when we scrutinize, first, how the apocalyptic languages or themes are used in culture, and second, how Paul differently employs them from others. To paraphrase, the meaning of Paul’s apocalyptic language can be vivid when the same apocalyptic thematic formations in Paul’s letters present different linguistic features from other writings. Through this procedure, the present study argues that though Paul shares similar thematic formations with other texts in the Greco-Roman world, the apostle’s apocalyptic thought is significantly distinctive from others. In Paul’s apocalyptic discourse, Jesus is the primary participant that interacts with other thematic items. Also, the apostle’s peculiar linguistic features in the shared apocalyptic formations converge around one figure that is Christ. In other words, Christ takes the central role in his apocalyptic discourse. Christ, therefore, is the apocalyptic lens for Paul to shape his understandings of transcendent phenomena (i.e., otherworldly journey, resurrection, sin and evil, and the two-age apocalyptic eschatology) through Christ.

This thesis focuses on Intertexuality in the Poetry of Amelia Rosselli from Primi Scritti (1952-1963) to Variazioni belliche (1959-1961). The research is based on the annotated books of the author's personal library kept in the Fondo Rosselli of Viterbo and of her personal documents, letters and original typescripts of her works held in the Centro Manoscritti Autori Moderni e Contemporanei of the University of Pavia. Rosselli's annotations are studied for the first time and they have proved to be essential for the interpretation of her poetry. Rosselli's aspiration to Gesamtskunstwerk is reflected in the composition of her library which ranges from musicology, quantum physics, Gestalt psychology, history of art and philosophy. I explored the influence of these disciplines in her work adopting an interdisciplinary approach. In particular I concentrate on the influence that her studies in etnomusicology have had on the style of her poetry. The theoretical framework of Julia Kristeva and Gian Biagio Conte enable me to draw two main intertexual strategies in Rosselli's poetry: the intertexuality of harmonics, and parody. Rosselli's use of literary allusion is a very original one: it is based on her work as a musicologist, which she articulates in the essay La serie degli armonici. In this essay Rosselli studied natural harmonics in music. Allusions develop into an intertextual fugue creating a mîse en abyme effect. Another type of allusion is the parody in which the poetic I acting as the fool challenges the literary fathers of Tradition in order to find her own space in the canon. The study of intertextuality has also some important consequences on a literary hystoriographic perspective: I recognized in her poetry what Detloff called 'the persistence of Modernism'. Her work like the one of Anglo-American modernists is characterized by a form of resilience to trauma and loss. Like the literature of survivors, Rosselli's deals with the expression of inexpressible, the fragmentation of the poetic I, and the will of re-writing her own story to overcome trauma. The ultimate result is a political and ethical cry for social justice, symphathy and peace.