Thesis (DLitt)--University of Stellenbosch, 2002 / AFRIKAANSE OPSOMMING: Die ondersoek in hierdie studie sentreer random die diskoers in Antjie Krog se sewende digbundel, Lady Anne (1989). Die ondersoekprableem is die vraag na die wyse waarop die diskoers van hierdie teks georden en' geproduseer word. Foucault se teorie oor diskoersanalise word as kritiese werktuig gebruik by die beantwoording van hierdie vraag. Foucault (1981) omskryf diskoers onder meer as die sosiale gebruik van taal gesitueer binne bepaalde kontekste en verbonde aan spesifieke instansies. Volgens Foucault vertoon diskoers 'n innerlike orde of formasie wat argeologies opgediep kan word; dit het 'n regulerende funksie wat nie net betekenis afbaken nie, maar betekenis praduseer in die positiewe sin van die woord (Foucault, 1981). Wanneer hierdie regulerende funksie genealogies ontleed word, blyk dit dat diskoers mag uitoefen deur die meganismes van kennis, waarheid en self (Foucault, 1980), Diskoers artikuleer kennis wat die self die waarheid oor die self toe-eien. Dit roep op sy beurt weer die prableem van vryheid en politieke verset op. Die ondersoek fokus op die volgende vraagstukke random die diskoers in Lady Anne: die diskursiewe patrone in die teks; die beperkinge wat op die diskoers geplaas word (Foucault, 1981); die outeursfunksie soos beskryf deur Foucault (1979); die fiksionalisering van die lady Anne Barnard-geskiedenis aan die hand van die genealogiese benadering (Foucault, 1970; 1972). Daar sal ook ingegaan word op die verestetisering van die politieke diskoers in Suid-Afrika, asook op die kwessie in watter mate daar sprake is van stemgewing aan die Ander. Die sentrale vraagstuk wat ondersoek word, is: wat is die posisie van die wit skeppende vrau in Suid-Afrika en hoe word hierdie posisie ingeskryf in die diskoers van die Afrikaanse letterkunde? In samehang hiermee word gelet op kwessies soos subjektiwiteit, beskrywing van die objek, asook die subjek se posisie met betrekking tot die tradisie waarin sy die teks inskryf. / ENGLISH ABSTRACT: This dissertation centers on the discourse in Antjie Krog's seventh volume of poetry, Lady Anne (1989). The central thesis of the dissertation is to analyse the way in which the discourse of the text under discussion is being ordered and produced. The theoretical approach is based on Foucault's discourse analysis. Foucault (1981) defines discourse as, among others, the social usage of language within specific contexts and as part of specific institutions. According to Foucault, discourse has an internal order or formation which one can reveal by way of an archaeological approach; it also has a regulatory function which not only delineates meaning, but produces meaning in the more positive sense of the word (Foucault, 1981). If one analyses this regulatory function by way of a genealogical approach, it appears as if discourse exercises power over mechanisms such as knowledge, truth and self (Foucault, 1980). Discourse articulates knowledge that the self claims as a particular truth. This calls to mind issues such as the problem of freedom and political resistance. This dissertation focuses on the following issues pertaining to the discourse in Lady Anne: the discursive patterns in the text, the limitations placed on the production of discourse (Foucault, 1981), the author function as used by Foucault (1979), the fictionalization of the history of Lady Anne Barnard by means of a genealogical approach (Foucault, 1970; 1972). Another pertinent issue that will be analysed is the aestheticisation of the political discourse in South Africa, as well as the manner in which a voice is given to the so-called Other. The central issue of this investigation is the following: What is the position of white creative women in South Africa and how is this position being inscribed into the discourse of Afrikaans literature? Concomitantly, issues such as subjectivity, the description of the object, as well as the subject's position within the literary tradition will be analysed.

Thesis (PhD)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: At the start of the twentieth century Afrikaans humour was researched quite intensively. Since then, however, such research has been relatively sporadic and has concentrated on related sub-genres of humour, such as satire, irony and wit. This dissertation investigates anew the phenomenon of humour as manifested in Afrikaans short story texts, from the dual starting points of a current context and of the extensive theoretical studies done by other researchers worldwide. In the process, humour is viewed as a communicative strategy, a combination of codes which writers utilize within a specific socio-political context in order to create humorous effects and elicit resultant reactions from readers. One of the primary aims of this investigation into the codes and strategies employed by Afrikaans writers in the humorous short story genre, is to determine whether they coincide with universal tendencies or whether they have certain unique features. After a broad exposition of the historical background and of the evolution of the continually changing concept humour, attention is paid to theories regarding its nature and effect. The creative interaction between related modi, like comedy, satire, irony, wit, burlesque, travesty, parody, caricature, grotesque, absurd and black humour and their contribution to one's experience of humour are all researched. Initially, the Afrikaans humour-tradition is set against its historical background. Following this, a more detailed investigation considers strategies of humour selected from Afrikaans short story texts from 1884 to 2001. These are selected for their variety of types of humour and according to criteria relating to structure, style and convention. The major emphasis is placed on short stories of the past two decades, in an attempt to measure the era-relatedness of humour and the interaction with the prevailing socio-political context. These various stylistic strategies are contextualized in writers' deliberate attempts to create a humorous outcome. Along with generally universal characteristics - like the interaction of humorous and non-humorous texts, with time-bound trends (in common with other literatures) - it is concluded that the Afrikaans humorous short story is strongly ancho.ed both in relevance and contextuality. Humour remains a vibrant aspect of the Afrikaans short story and, by keeping this tradition alive, it also remains popular with the reading public. / AFRIKAANSE OPSOMMING: Nadat daar aan die begin van die twintigste eeu betreklik intensiewe navorsing oor humor in Afrikaans gepubliseer is, het sedertdien slegs sporadiese studies verskyn oor verwante humormodi soos satire, ironie en geestigheid. Hierdie proefskrif wil gevolglik vanuit 'n huidige konteks, en na aanleiding van die uitgebreide teoretisering en navorsing elders ter wêreld, die verskynsel humor opnuut ondersoek, soos gemanifesteer in Afrikaanse kortverhaaltekste. Humor word in die proses benader as 'n kommunikatiewe strategie, 'n versameling kodes wat skrywers binne 'n bepaalde sosio-politieke konteks aanwend, met die oogmerk om humoristiese effekte te bewerkstellig en bepaalde reaksies by lesers uit te lok. Dié studie wil veral vasstel watter kodes en strategieë Afrikaanse humoristiese kortverhaalskrywers hierby gebruik, of dit ooreenstem met breë tendense elders of eie is aan Afrikaans. Na 'n oorsigtelike uiteensetting van die historiese grondslae en die evolusie van die steeds veranderende begrip humor, word aandag bestee aan teorieë oor die aard en effek daarvan. Die vrugbare interaksie tussen verwante modi soos die komedie, satire, ironie, geestigheid, die burleske, travestie, parodie, karikatuur, die groteske, die absurde en swart humor, asook die bydrae daarvan tot die humorbelewing, word vervolgens ondersoek. Die Afrikaanse humortradisie word eers oorsigtelik histories nagespeur, waarna nadere ondersoek ingestel word na humorstrategieë aan die hand van Afrikaanse kortverhaaltekste wat dateer van 1884 tot 2001, geselekteer op grond van sowel verskeidenheid met betrekking tot die tipe humor as kriteria soos struktuur, styl en konvensie. Die klem val op kortverhale uit die afgelope twee dekades, ten einde aspekte soos die tydgebondenheid van humor en die interaksie met die heersende sosiopolitieke konteks te probeer bepaal. Die verskillende stylstrategieë wat geïdentifiseer is, word in verband gebring met die skrywers se berekende opset om 'n humoristiese uitkoms te bewerkstellig. Naas meer universele kenmerke, soos die wisselwerking tussen humor en erns in dié tipe tekste en tydspesifieke neigings (in ooreenstemming met ander letterkundes), soos die toename in groteske en absurde tipe verhale, word bevind dat die Afrikaanse humor- en humoristiese verhaal sterk kontekstueel veranker is. Humor in die Afrikaanse kortverhaal word steeds op 'n lewenskragtige wyse beoefen deur skrywers en bly gewild by lesers.

In Swift's works, both heroes and madmen are characterized by supra-normal aspiration, imagination, individuality, and pride, and the mad hero becomes an effective emblem for the chaos arising when individual vision challenges traditional authority in religion, politics, and literature. Swift's view of madness as the willful perversion of reason tends to be traditional, though his sense of its pervasiveness creates a subversive skepticism. Consistently throughout his works, Swift posits conscience as the only safeguard against the madness of pride. Swift views the traditional hero as subversive, typically portraying him as mad while presenting the sane man as unheroic. As the Tale-teller argues, the traditonal hero is a successful madman. Swift's later works demonstrate that madness and heroism often coincide because of the mutually reinforcing relationship between power and ego, and he asserts that the will to power, manifested in the heroic imposition of one's will upon others, is a form of madness. As an alternative to the asocial and amoral traditional hero, Swift promotes a moderate hero in the figures of the Church of England Man, the Examiner, and the Drapier: the one just man, motivated by Roman and Christian virtue, in a mad society. But even the vir bonus remains susceptible to challenges of authority, for in a mad and corrupt society his singular vision cannot appeal to common sense. Moreover, if he becomes powerful, he risks madness, and if he retreats from madness, he becomes impotent. As a consequence of this double bind, the satirist himself suffers a profound alienation. Swift recognizes that by engaging in the controversies of his age, he himself becomes liable to charges of the madness of pride. Even as he harangues the world, his recognition of the heroic conceit in establishing himself as satirist is evident in the self-satire of A Modest Proposal and the verses on his death. Similarly, the self-portraits in his poetry and Gulliver's Travels demonstrate his conscience at work as he satirizes his own indignation and reforming urges, striving thereby to maintain a modicum of humility and thus sanity, and, in laughing with the reader, striving to maintain common sense as well.

<p>This study is a theoretical research concerning Ibn Arabi's Sufi experience and his philosophy of the &quot / unity of being&quot / (also his poetical talent). I therefore adopted the historical and analytical methodologies to analyse and reply on the questions and suggestions I have raised in this paper. Both of the methodologies reveal the actual status of the Sufism of Ibn Arabi who came with a challenging sufi doctrine. Also, in the theoretical methodology I attempt to define Sufism by giving a panoramic history of it. I have also researched Ibn Arabi's status amongst his contemporaries for example, Al-Hallaj and Ibn Al Farid, and how they influenced him as a Sufi thinker during this time.</p> <p><br /> In the analytical study I explore the poems &quot / Tarjuman al Ashwaq&quot / of Ibn Arabi, of which I have selected some poems to study analytically. Through this I discovered Ibn Arabi's Sufi inclinations and the criticisms of various literary scholars, theologians, philosophers and also sufi thinkers, both from the East and the West. In this analysis I have also focused on the artistic value of the poetry which he utilized to promote his own doctrine &quot / the unity of being.&quot / </p>

The thesis examines the relationship between poetry and politics under Elizabeth and James, tracing certain changes in modes of artistic representation through historical analysis of particular masques and entertainments. The introductory chaper discusses the close connection between poetry and ceremonial in the Renaissance: in panegyric the poet's private imagination is subordinated to public images, and his art is one of ceremonial "ornamentation". Subsequent chapters discuss the effects of social, political and religious changes on this ceremonial poetic. Chapter 31 relates the political symbolism of Tho Faerie Queene to the tradition of pageantry on which it was based, and analyzes the growing tension in the later books between public and private vallies. Chapter III discusses the new developments of the 1590s, arguing that both in politics and in literature new tensions were being felt. The first part deals with the poets associated with Essex, the second with the poetry of Sir Walter Ralegh. Chapter IV discusses the effects on panegyric of the new, less external concepts of decorum introduced by the writers of the "plain style", with special reference to FullcGreville and Samuel Daniel. Chapter Y deals with Jonson's masques, showing that while in political concent they mirror the line taken by the king and his more conservative advisers, in artistic form they display an ambivalence characteristic of Jonson's work. Chapter VI discusses the Jacobean poets wco imitated Spenser, showing the continuity of l.heir political concerns from the public poetry of the 1590s and arguing that Spenserian poetry, especially pastoral, became a protest against the corruption of the Jacobean court. A newly discovered draft of a masque for the wedding of Princess Elizabeth in 1613 is included in an Appendix.

Adolescence – that tricky time when children have not yet reached adulthood – is a time of much disturbance, change and growth. Faced with a body that changes, stretches and grows in all directions, as does the mind, the adolescent finds that they are not who they once were, and that their concerns are not what they once were. According to David Punter, the nature of adolescence is integral to Gothic writing; for him, adolescence can be seen as a time when there is a fantasised inversion of boundaries: ‘where what is inside finds itself outside (acne, menstrual blood, rage) and what we think should be visibly outside (heroic dreams, attractiveness, sexual organs) remain resolutely inside and hidden’ (Punter 1998, 6). However, this is to ‘Gothicise’ adolescents - to view adolescents themselves as Gothic beings – rather than to understand what the true nature of their concerns and fears really are. This thesis intends to investigate, therefore, those fears and concerns as they are represented through the medium of Gothic texts written for adolescents. I propose to examine what happens to the Gothic mode in the gap between young children’s literature and adult fiction and will look at, through the Gothic lens, Young Adult literature which explores the teenager's relationships with issues such as sex, death and autonomy. As the Gothic is ‘erotic at root’ (Punter 1996, 191) and often focused on the centrality of sexuality, I explore the nature of ‘changing bodies’ and consider the adolescent’s burgeoning sexuality and desire for romantic relationships; however, the Gothic is not just about sex, and I also examine adolescent engagement with the concept of death, before finally going on to study issues of adolescent power and autonomy.

The problems under study were the following: 1. To determine the distribution of social and ethnic groups among the characters in books that have been awarded the Newbery and Caldecott Medals, and to analyze the treatment of certain groups. 2. To compare the ethnic distribution of characters in fifteen early Newbery Award books with the ethnic distribution of characters in fifteen recent Newbery Award books. 3. To interpret the findings of this study in the light of the objectives of the elementary school library.

No description available.

Apocalypse is one of the major motifs of Jewish-Christian civilization. The Book of Daniel represents a vital status in understanding the Jewish apocalypse. After summarizing the scholarship on The Book of Daniel and Jewish Apocalypse, I adopt a "intertextual hypothesis" approach to connect the Book of Daniel, Jewish Apocalypse and modern films in order to expand the horizons of discussion and interpretation. / In the thesis I will introduce the current biblical scholarship on Bible and Film, and by using "intertextual hypothesis", I will interpret from different aspects the apocalyptic thoughts in the film entitled &lt;the Second Renaissance>. I will arrive at several points of new understanding of both the theme of "dualism" in Dan.7 and the much discussed area of the origin of Jewish Apocalypse. / This thesis aims at discussing the effect modern films has on our understanding of Daniel 7 and Jewish apocalypse. The main argument of this thesis is that the ancient Jewish apocalyptic thoughts (especially those in Dan. 7) can obtain a richer interpretation by the participation of modern film arts. / 叶洛夫. / Adviser: Archie C. C. Lee. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 91-112). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Ye Luofu.

by Wang Li-jun. / Thesis (M.Ph.)--Chinese University of Hong Kong, 1987. / Bibliography: leaves 142-145.