Contemporary Canadian literature and drama that features racial hybridity represents the racially hybrid soma text as a unique form of embodiment and pays particular attention to the power of the racialized gaze. The soma text is the central concept I have developed in order to identify, address, and interrogate the signifying qualities of the racially hybrid body. Throughout my dissertation, I use the concept of the body as a text in order to draw attention to the different visual "readings" that are stimulated by this form of embodiment. In each chapter, I identify the centrality of racially hybrid embodiment and investigate the power of the racialized gaze involved in the interpellation of these racially hybrid bodies. I have chosen to divide my study into discrete chapters and to use specific texts to illuminate my central concepts and to identify the strategies that can be used to express agency over the process of interpellation. In Chapter One I explain my methodology, define the terminology and outline the theories that are central to my analysis. In Chapter Two, I consider the experiences of mixed race people expressing agency by self-defining in the genre of autobiography. In Chapter Three, I explore the notion of racial drag as represented in fiction. In Chapter Four, I consider the ways in which the performative aspects of racial hybridity are represented by theatrical means and through performance. My analysis of the soma text and racialized gaze in these three genres offers critical terms that can be used to analyze representations of racial hybridity. By framing my analysis by way of the construction of the autobiographical voice I suggest that insight into the narrative uses of racial hybridity can be deepened and informed by a thorough analysis of the representation of the lived experience of racial hybridity in a given context. My crossgeneric and crossracial methodology implicitly asserts the importance of the inclusion of different types of racial hybridity in order to understand the power of the racially hybrid body as a signifier in contemporary Canadian literature and drama. / Arts, Faculty of / English, Department of / Graduate

Practically since its celebrated premiere in 1967, George Ryga's drama about urban Native Canadians, The Ecstasy of Rita Joe, has enjoyed canonical status in Canada. Yet the same three decades that have seen over 200 productions of Rita Joe have also witnessed radical transformations in the ways First Nations' peoples are represented, heard and perceived in Canada. How has a play written about Natives by a non-Native man in 1967 managed such a long production history on such contentious and unstable ground? How do identity politics influence this piece of theatre, and how does the theatre shape identity politics? As popular notions about Native identities have changed and as Native people continue to represent themselves in and put of court, and on and off the stage, this play about Native people in Canada has been performed and re-performed. But the directors, the venues, the actors, the costumes and sets, the language itself and (most significantly) the resulting characterizations have changed over the years — in subtle and rather dramatic ways. While the words and the fundamental plot of Rita Joe have remained the same, its messages about Native identity has evolved since 1967, in relation to social, political, economic, and cultural changes. Indeed, historical developments impact the particular ways an "Indian" is represented in a particular time; what makes a "real Indian" tends to shift with the political and social needs of the moment. This paper examines the way Native identity is represented in eight productions of Rita Joe mounted between 1967 and 1992, creating a production history that focuses on the relationship between representations of identity and particular moments in time and space and, ultimately, discerns a complex and symbiotic relationship between the aesthetic, creative world and the historio-political world. Perhaps most remarkably, the play stretches to accommodate diverse cultural narratives, gathering meaning from the identity politics of its particular performance place and time. / Arts, Faculty of / History, Department of / Graduate

M.Com. (Information Science) / Although the influence of literature cannot be determined exactly, it is generally accepted that it can influence attitudes and values and therefore play an important role in the socializing process of the adolescent. One of the most important processes the adolescent undergoes is the development of his/her sex role through socialization, within the context of the family and society at large. In addition the traditional role of women through the ages has undergone such substantial changes that women play an increasingly important part in society. The modern woman can attain self-realization and self-expression through marriage, motherhood and a career. The problem addressed in this research, is whether the portrayal of women in available youth literature is a realistic reflection of society at a particular point. The ideal is that the attitudes that are projected are not biased toward either of the sexes and that boys as well as girls may develop to their full potential within the prescribed boundaries of their sex roles. Because of the feminist interest, much research has been done since the sixties and seventies regarding sexism in children's and youth literature. Virtually throughout, the findings of these investigations showed that the female characters are portrayed as passive stereotypes. The portrayal of women in literature awarded with the Scheepers Prize for Afrikaans youth literature is investigated in this research.

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Orientador: Lucia Granja / Banca: Nelson Schapochnik / Banca: Orlando Nunes Amorim / Resumo: A Gazeta de Notícias foi uma importante divulgadora das mudanças operadas pela polêmica reforma urbana do Rio de Janeiro na virada do século XIX para o XX. Desde o início, o jornal se mostrou favorável e otimista quanto às medidas dos Poderes Executivo e Legislativo em prol da modernização e "civilização" da cidade. Em 1904, o cronista Paulo Barreto, sob o pseudônimo "João do Rio", publicou, entre os meses de maio e junho, A pobre gente, uma série composta por seis longas crônicas, nas quais expunha, aos leitores, o mundo da miséria existente na cidade da belle-époque. Em suas crônicas-reportagem, João do Rio deu voz às pessoas que viviam à margem da sociedade, estabelecendo um interessante diálogo entre seus escritos e as demais rubricas da Gazeta em que a "pobre gente" foi também a principal personagem. Em 1908, quatro das seis crônicas divulgadas na série passaram do jornal ao livro A alma encantadora das ruas e a análise desse processo evidencia a importância da relação entre o texto e as características materiais do seu veículo. Assim, pudemos concluir que as reportagens de João do Rio dialogam com o discurso da Gazeta sobre a "pobre gente", reforçando-o. Mas, em um segundo momento, mostraremos um segundo nível de relação entre os textos de João do Rio e o jornal, considerando a mudança de status das reportagens - que passam a ser chamadas de crônicas quando republicadas na forma material livro -, por meio do discurso da própria Gazeta sobre o livro A alma encantadora das ruas, composto pelas antes reportagens publicadas por esse mesmo jornal. Faremos isso pela ótica da Fortuna Crítica de João do Rio, de alguns textos de Barthes, Bakthin e Genette sobre a análise da narrativa e de seus paratextos e, principalmente, por meio da História Cultural, e nesse domínio, dos escritos de Roger Chartier acerca da importância dos suportes e de suas características materiais como ... / Abstract: The Gazeta de Notícias was an important discloser of the changes brought by the polemic urban reform of Rio de Janeiro in the turn of the 19th to the 20th century. Since the beginning, the newspaper showed itself favorable and optimistic about the measures of the Executive and Legislative Powers in favor of the modernization and 'civilization' of the city. In 1904, the chronicler Paulo Barreto, under the pseudonym of 'João do Rio', published, between the months of May and June, A pobre gente, a series of six long chronicles, in which he exposed, to the readers, the world of misery existing in the city of the belle-époque. In his chroniclereportage, João do Rio gave voice to the people that lived on the edge of society, establishing an interesting dialogue between his writings and the other headings of the Gazeta in which 'the poor people' was also the main character. In 1908, four of the six chronicles made public in the series passed from the newspaper to the book The Enchanting Soul of the Streets, and the analysis of this process highlights the importance of the relation between the text and the material characteristics of its media. Thus, we can conclude that the reportages of João do Rio dialogue with the discourse of the Gazeta about the poor people, reinforcing it. But, in a second moment, we will show a second level of relationship between the texts of João do Rio and the newspaper, considering the change of status of the reportages - that start being called chronicles when republished in the form of book -, through Gazeta's own discourse about the book The Enchanting Soul of the Streets, composed by the later reportages published by that same newspaper. We will do it through the eyes of the critical fortune of João do Rio, of some texts by Barthes, Bakthin and Genette about the analysis of the narrative and its paratexts and, mainly, through the cultural history, and in this field, the writings of Roger ... / Mestre

PhDA / Department of English

MA (Tshivenda) / Senthara ya M.E.R. Mathivha ya Nyambo dza Afrika, Vhutsila na Mvelele / See the attached abstract below

MA (Northern Sotho) / Senthara ya M. E. R. Mathivha Dipopelong tsa Afrika, Bokgabo le Setso / See the attached abstract below

MA (ISiswati) / Sikhungo i-MER Mathivha Setilwimi Temdzabu, Buciko Nemasiko Inyuvesi yaseVenda / Lolu lucwaningo lolutsintsa sakhiwo semidlalo yemoya yeSiswati lelandzelako: Ngifela Wena nalotsi, Hawu babe. Umgudvu wesisekelo selucwaningo ugcila esihlokweni, singeniso, kukhuphuka nekwehla kwemdlalo kuye kufinyelelwe esiphetfweni semdlalo. Tincenye letibalulekile temdlalo kuba kudlaleka, tetsameli, inkhundla nebadlali. Kuvetwa kwebalingisi kukhonjiswa kubuye kuhlelwe ngekwetinhlobo netindlela labavetwe ngato. Kulemidlalo kulindzeleke kutsi tetsameli tilingisele bunjalo nesimo semphilo lapho kuboniswana, kwabelwana ngelwati etimeni nasetindzaweni letehlukene. Kuchunyanwa ngemagama, tento, nekulingisa. Tigameko temdlalo tesekelwe yingcoco yeluchumano lecuketse lokutsintsa liphimbo: imisho, kuphindza nekulingisa lokuletsa inchazelo yemagama. Luhlatiyo lukhombisa lwati, buhle belukhetfomagama, libintanamisho, silulumagama nenkhulumobuciko yebalingisi. Kudlaleka nekufundzeka kwemidlalo kusisekelo sayo. Luhlatiyo lwebunjalombhalo lwesekelwe imfundziso-njulalwati nesenekamcabango. / NRF

Literally hundreds of novels were written by white Rhodesians during the U.D.I. era of the 1960s and 1970s. Since Independence, however, not much more than a handful of literary texts have been produced by whites in Zimbabwe. This dissertation, therefore, involves an interrogation of both white discourse and the (reduced) space for white discourse in postcolonial Zimbabwean society. In addition to the displaced moral space, and the removal of the economic and political power base, there has been an appropriation of control over the material means of production of any discourse and white discourse, which has become accustomed to its position of superiority due to its dominance and dominating tendencies, has struggled to come to terms with its new, non-hegemonic 'space'. In an attempt to come to some understanding of the literary silence and marginalisation of white discourse in post-independence Zimbabwe there has to be some understanding of the voice that was formed during the British South Africa Company's administration and which reached a crescendo of authoritarian self-assertion at the declaration of unilateral independence. Vital to this discussion (in Part I) is an uncovering of the myths that were intrinsic to white discourse in the way that they were created as justification for settlement and to propagandise the aggressive defence of that space that was forged in an alien landscape. These myths have not been easily cast aside and, hence, have made it so difficult for white discourse to adapt to post-colonial society. Most Rhodesian novels were extremely partisan and promulgated these myths. Part II, discusses ex post facto novels about the war (from the white perspective) to investigate whether white discourse is recognising the lies that make up so much of its belief system. This investigation of this particular perspective of the war, then, will help to define at what stage white Zimbabweans are at in the development of a national culture. Part III takes this discussion of acculturation and national unity further. Furthermore, through the discussion of a number of novels in this chapter, it is argued that white discourse is struggling to come to terms with its non-hegemonic position and is continuing to attempt to assert its control. The 'space' available to the early settlers' discourse for appropriation, however, has been removed and, in the reduced space available to white discourse, one continued area of possible control is that of conservation.