<p>Much of the critical discourse on J.M. Coetzee’s <em>Foe</em> does not fully investigate its relationship with Daniel Defoe’s texts, despite <em>Foe</em>’s intimate relation with them. This thesis offers a postcolonial reading of Coetzee’s Susan Barton, Cruso and Friday against Daniel Defoe’s original characters Roxana, Robinson Crusoe and Friday. Chapter one discusses Roxana-as-feminist, female colonizer, representative of her sex and Amazon and compares her to Barton. It reveals the tendency of critical discourse to attempt to ‘know’ Barton as they ‘know’ Roxana, by categorizing her, and reveals how Coetzee’s character frustrates attempts to define her. The second chapter addresses eighteenth-century knowledge of race and how it differs from present day, which offers an alternate reading of <em>Robinson Crusoe</em> and complicates its use as a colonial handbook. I also discuss masculinity in Defoe’s <em>Robinson Crusoe</em> as an individual characteristic Coetzee alters into something that can be appropriated. His characters are not masculine but can wield phallic symbols such as the pen and the knife to reveal power as systemic rather than individualistic. The final chapter offers an in depth postcolonial reading of Friday and interrogates critical discourse’s tendency to read him as representative of ‘the colonized,’ or as a colonial trope.</p> / Master of Arts (MA)

Text in English / Abstracts in English, Afrikaans and isiZulu / The present study deploys Ngugi wa Thiongo’s (2009) decolonial concepts of dismembering and re-membering to critically explore J. M Coetzee’s selected fiction. In my reading of the novels Waiting for the Barbarians, Foe and Disgrace, I relate concepts of dismembering and re-membering to decoloniality. In the rendition of Ngugi, dismembering refers to the displacement and dispossession of the colonised, and their mental colonisation through cultural imperialism. Re-membering becomes the decolonial effort to undo physical and psychological dismembering. In the same way in which, since the Berlin Conference of 1884/5, Africa was divided, mapped and colonised, the cultures and histories of Africans were dismembered and dominated. Concerns for the land are expressed in the mapping and the confiscation of land which is depicted in the native’s desert dwellings in Waiting for the Barbarians, Cruso’s clearing of the land in Foe and Petrus’s taking over of Lucy’s farm in Disgrace. Furthermore, Coetzee’s use of language is one important narrative strategy that is explored to ascertain how Coetzee negates or speaks for, of and about the colonised through the narrator focaliser. This study reveals the reflexive nature of the selected novels and seeks answers to the question of why Coetzee tends to make his “black” characters voiceless and rootless (and sometimes nameless)? Is Coetzee suggesting that they have been silenced by history, by colonialism, or is he suggesting that he, the author, has no right to speak on their behalf? In the mode of writing and story-telling, is Coetzee suggesting the impossibility of the coloniser to speak for the colonised or, in speaking of them, does he give the servant characters a voice and can this voice be theirs, or can it be considered reliable? Is Coetzee presenting the power of passivity as a means of resistance and re-membering? This study, from a decolonial perspective, engages with the complex way Coetzee handles voice and the question of the agency of the colonised. / Hierdie studie benut Ngũgĩ wa Thiong'o (2009) se dekoloniale begrippe van verdeling en herindeling in ʼn kritiese beskouing van J. M. Coetzee se geselekteerde fiksie. In my vertolking van die romans Waiting for the Barbarians, Foe en Disgrace, bring ek die begrippe van verdeling en herindeling in verband met dekolonialisme. In Ngũgĩ se vertolking verwys verdeling na die verplasing en onteiening van die gekoloniseerdes, en hul geestelike kolonisering deur kulturele imperialisme. Herindeling word die dekoloniale poging om fisiese en sielkundige herindeling ongedaan te maak. Op dieselfde manier wat Afrika verdeel, gekarteer en gekoloniseer is sedert die Berlynse Konferensie van 1884/5, is Afrikane se kulture en geskiedenisse verdeel en gedomineer. Kommer oor die grond word te kenne gegee in die kartering en konfiskering van grond – soos uitgebeeld in die boorling se woestynverblyf in Waiting for the Barbarians, Cruso se opruiming van die grond in Foe en Petrus se oorname van Lucy se plaas in Disgrace. Verder is Coetzee se taalgebruik ʼn belangrike verhalende strategie wat bestudeer word om vas te stel hoe Coetzee die gekoloniseerde ontken of vir, van en oor die gekoloniseerde praat deur middel van die verteller/fokaliseerder. Hierdie studie openbaar die refleksiewe aard van die geselekteerde romans en soek vir antwoorde op die vraag van waarom Coetzee geneig is om sy “swart” karakters stemloos en wortelloos (en soms, naamloos) te maak. Suggereer Coetzee dat hulle deur die geskiedenis, deur kolonialisme, stilgemaak is – of suggereer hy dat hy, die outeur, nie die reg het om namens hulle te praat nie? Wil Coetzee deur sy manier van skryf en vertelling, aan die hand doen dat dit onmoontlik is dat die koloniseerder vir die gekoloniseerde kan praat; of, wanneer hy van hulle praat, gee hy aan die dienaarkarakters ʼn stem en kan dit hulle stem wees, of kan dit as betroubaar beskou word? Hou Coetzee die kraag van passiwiteit voor as ʼn vorm van weerstand en herindeling? Hierdie studie ondersoek, vanuit ʼn dekoloniale perspektief, die komplekse wyse waarop Coetzee stem en die vraag van die tussenkoms van die gekoloniseerde hanteer. / Ucwaningo lwamanje luchitha imiqondo ka-Ngũgĩ wa Thiong'o (2009) yokuqothula nokujoyina kabusha ukungabuswa ngelinye izwe ekuhloliseni ngokucophelela ukuqamba okukhethiwe kukaJ.M. Coetzee. Ekufundeni kwami amanoveli i-Waiting for the Barbarians, Foe and Disgrace, ngichaza imiqondo yokuqothula futhi ukujoyina kabusha ekungabusweni ngelinye izwe. Ekuhumusheni kuka-Ngũgĩ, ukuqothula kubhekisela ekufudukeni nasekuthunjweni kwalabo ababuswa ngelinye izwe, kanye nengqondo yabo ekubusweni ngelinye izwe ngokusebenzisa imiphakathi yamasiko. Ukujoyina kabusha kuba wumzamo wokungabuswa ngelinye izwe ukulungisa ukuqothula kokukhubazeka ngokomzimba nangokwengqondo. Ngendlela efanayo lapho i-Afrika ihlukaniswe ngakhona, ihlelwe ibalazwe futhi ibuzwa ngelinye izwe kusukela kwiNgqungquthela yaseBerlin ka 1884/5, amasiko kanye nemilando yabantu base-Afrika yaqothulwa futhi yabuswa. Ukukhathazeka kwezwe kuboniswa ebalazweni nasekuthunjweni komhlaba - njengoba kuboniswe ezindaweni zokuhlala zasogwadule ku- Waiting for the Barbarians, ku-Cruso ukuhlanzwa komhlaba-enovelini i-Foe nakuPetrus ukuthatha ipulazi likaLucy enovelini i-Disgrace. Ngaphezu kwalokho, ukusetshenziswa kolimi lukaCoetzee kuyisisindo esisodwa esibalulekile sokulandisa esihlolisiswayo ukuze kuqinisekiswe ukuthi uCozezee uphikisa kanjani noma ukhuluma kanjani, futhi mayelana nababuswa ngelinye izwe ngokusebenzisa umlandisi. Lolu cwaningo lwembula uhlobo oluthile lokucabanga lwamanoveli akhethiwe futhi lufuna izimpendulo embuzweni wokuthi kungani uCoetzee ejwayele ukwenza "abalingisi" bakhe abamnyama bengabonakali futhi bangenasisekelo (futhi ngezinye izikhathi abangenalo igama). Ingabe uCoetzee uphakamisa ukuthi baye bathuliswa ngumlando, ngukubuswa ngelinye izwe, noma ingabe uphakamisa ukuthi yena, umbhali, akanalo ilungelo lokukhuluma egameni labo? Ngendlela yokubhala nokuxoxa ngezindaba, ingabe uCoetzee uphakamisa ukuthi akunakwenzeka ukuba obusa elinye izwe akhulumele ababuswayo kulelo zwe noma, uma ekhuluma ngabo, uyabanika abalingiswa abayinceku izwi futhi leli zwi lingaba ngelabo, noma lingathathwa njengelethembekile? Ingabe uCoetzee uveza amandla okungahambisani njengendlela yokumelana nokujoyina kabusha? Lolu cwaningo, kusukela embonweni wokungabuswa ngelinye izwe, luhambisana nendlela eyinkimbinkimbi uCoetzee alawula izwi kanye nombuzo wokumela ababuswayo. / English Studies / M.A. (Theory of Literature: (English Studies))

As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. My doctoral thesis considers the reasons for and development of this previously little-explored trope, arguing that hunger becomes a focal point for modernism’s complex relationship to aesthetic autonomy. I identify a specific tradition of writers, beginning in the nineteenth century with proto-modernists such as Melville and Rimbaud, flourishing in the pivotal figures of Knut Hamsun, Franz Kafka and Samuel Beckett, and expiring with modernist-influenced contemporary writers such as Paul Auster and J. M. Coetzee. Although these writers are avid readers and devoted disciples of one another, mine is the first study to read them alongside one another as a coherent literary tradition. Reading them in this way, I am able to trace the development of the ‘art of hunger’ as a locus for a crisis in aesthetic autonomy that spans the twentieth century. I develop this line of argument in two phases. In the first, I trace the emergence of an art of hunger out of modernist engagements with philosophical aesthetics and its notions of aesthetic autonomy. Readings of the “art of hunger” in Herman Melville, Arthur Rimbaud, Knut Hamsun, Franz Kafka and Samuel Beckett’s post-war work reveal that starvation carries autonomy to an extreme and hyper-literal endpoint, revealing both its desirability as an aesthetic ideal and the impossibility of art’s complete autonomy from the body, the market or the social dimensions of language. In the second phase, I consider how this trope has animated later twentieth-century engagements with modernism. For authors writing in the aftermath of modernism, hunger provides a way of considering new complications to aesthetic autonomy in the light of both their debt to modernism and their specific historical circumstances. In this light, I consider three different extensions of the modernist art of hunger: its absorption into high formalism in Beckett’s late prose; its collapse in the face of an emerging concern with the social in Paul Auster; and its transformation into an ethical aesthetics of food taboos, restriction and asceticism in J. M. Coetzee.

一、研究動機：租稅收入與公共支出雖是政府預算之一體兩面，然而在釐定各項收入 或支出的撥款時，其政策過程卻有相當大的差異。我國在釐定公共支出水準時，究竟 是採取「量入為出」的政策，以租稅收入的預估為最重的指標；抑或以既定的公共支 出計劃所需財源為根本，而採取「量出為入」的政策，此乃動機之一。 布坎南（J ．M ．Buchanan）和華格納（R ．E ．Wagner）等認為由大於凱因斯經濟 學赤字財政的主張與民主政治的結合，使政府預算政府的性質為之改變，亦即赤字財 政幾乎缺乏任何政治上的制衡，而黑字預算則相對的形成強大的政治阻礙，因而制度 上產生一種偏差，以致財政赤字連年出現而鮮有盈餘，此反映了美國目前經濟的因境 。反觀我國，各級政府收支決算一直有所剩餘，在當今世界各民主國家普遍皆出現赤 字的同時，為何唯獨我國例外，此乃動機之二。 二、研究目的：運用公共選擇理論，藉分析預算編審的過程探討決定我國預算政策的 主要因素，及我國是「量入為出」抑或「量出為入」，同時與美國的情形做一比較。 三、研究方法：公共選擇理論乃是一種分析方法，探討政府決策如何作成和實行，主 要著重於政府預算政策的決策過程。 四、研究內容：包括公共選擇理論的介紹；中美預算編審過程之比較；利益團體與美 國預算政策；官僚制度與我國預算政策等等。

"Our Minorities (later Our Boundaries), an interwar magazine supporting Czech minority in nationally mixed regions of Nord-East Bohemia" presents for the first time a longer embracive characterization of a First Republic periodical, seated in Malé Svatoňovice, and published between 1920-1938 (XVII and XVIII volumes already as Our Boundaries). This thesis uses a method of historical analysis and besides of information about publishing, personalities connected with this monthly paper (particularly J. M. Vlček) and contents of sections, recognizing how this already not very known regional serial wanted to support Czech minorities in a mainly German speaking borderline area.

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This Master's thesis consists of two separate parts: Le vent dans les voiles, a travel fiction, is followed by a short essay, Le voyage comme archeologie de la memoire. / Le vent dans les voiles is both a travel fiction and a short apprenticeship novel. Julien Legare, an idealistic young man, is fond of Jim Morrison and Zarathoustra . As he is travelling in Europe, his dreams of intellectual and emotional liberation are breaking down to pieces. Disillusion eventually leads him to a new vision, beyond childhood nostalgia. / The essay is a mythocritical analysis of three Twentieth Century novels by Le Clezio, Proust and Gabrielle Roy: Le chercheur d'or, A la recherche du temps perdu and La Route d'Altamont . These books have in common the themes of travel, memory and creation. The three protagonists all long for the lost paradise of their childhood, thus they search for their origins. Travelling in space and time, on the outside and inside themselves, they become archaeologists of their own memory, digging for forgotten treasures. Is remembrance a topos of travel literature?

Les professions d'aumônier et d'animateur de pastorale dans le milieu hospitalier font aujourd'hui place à celle d'intervenant(e) en soins spirituels. Ces professionnels de la santé possèdent une formation universitaire, ont complété des stages cliniques en soins spirituels et font partie des équipes multidisciplinaires au même titre que les psychologues et les travailleurs sociaux. Au Québec, la nouveauté de cette participation active dans les soins offerts aux patients a de quoi faire réagir : comment peut-on passer aussi rapidement d'une pastorale catholique à une profession clinique non-confessionnelle? La spiritualité a-t-elle sa place dans une équipe de soins? Ces réactions sont compréhensibles, surtout lorsqu'on considère le peu de travail qui a été fait pour faire connaître les origines américaines de cette discipline et pour présenter aux cercles francophones les approches et les concepts élaborés par des dizaines d'auteurs depuis près de 90 ans. Cette recherche a pour objectif de pallier à ce manque en présentant trois auteurs marquants du 20e siècle aux États-Unis ayant eu un impact considérable sur le domaine du Pastoral care et du Spiritual care : Anton Boisen, Howard Clinebell et Henri Nouwen. Cette étude comparative place les trois auteurs dans leur contexte socio-historique, présente leurs approches de Spiritual care et met en lumière les convergences et les divergences observées entre celles-ci. L'hypothèse qu'une meilleure compréhension de la discipline, de son évolution et de son avenir émergerait d'une telle étude et que des orientations pertinentes pourraient en découler a motivé l'accomplissement de ce travail. Cette recherche démontre que Boisen, Clinebell et Nouwen s'entendent sur la majorité des points, notamment sur la présence des professionnels du Spiritual care au sein des équipes traitantes, sur l'aspect central du savoir expérientiel de ces professionnels, sur l'obligation d'avoir une bonne compréhension du potentiel à la fois bénéfique et nuisible des croyances religieuses et sur l'importance de savoir adapter la profession à travers les époques et les sociétés sans toutefois renier son histoire et ses fondements théologiques. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Anton T. Boisen, Howard Clinebell, Henri J. M. Nouwen, soins spirituels, spiritualité, religion, aumônier, pastorale, hôpital, santé, care, counseling.

During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.

Thesis (MA)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.