This thesis examines the structures guiding and informing reading intrinsic to James's "late" style. It seeks to explore James's analogy between reading as an ethical activity and his own and his characters' acts of storytelling. It looks first at the necessities of reading as they are presented through the character of Isabel Archer in The Portrait of a Lady, to find that reading for James is itself a form of storytelling. James's concept of "revision," which replaces the concept of "re-writing," unites the activities of reading and storytelling because both activities, to be free, must be guided by the contingencies of experience. James's emphasis on the determinations of experience, which yields changing apprehensions of the same material, at once makes reading a test of the reader's resources in dealing with unexpected and complex situations, and storytelling an act of improvisation if it is to be faithful to the demands of its subject. The second half of the thesis examines Maggie Verver's command of storytelling in The Golden Bowl. It finds that ethical storytellers must have the same faith in their subject matter as ethical readers must have in the texts they engage. Finally, the thesis unites the study of reading with storytelling by examining the ways in which stories are exemplary performances whose the most significant subject is the audience. It is the forms of judgement that a work of art elicits which are essential to establishing alternative conceptions of the good and new modes of valuation in a community.

The thesis focuses on a variation of James's interest in the "international theme", the effect of transatlantic influences on the development of personality, culture and idea. In the context of this theme it seeks to understand the processes in the development of, and portrayal of change in, the identities of two central characters in the fiction of Henry James, Isabel Archer and Lambert Strether. The two novels analysed, The Portrait of a Lady and The Ambassadors. have a strong contextual relevance to the ''international theme", and compass the span of James's career, providing some degrees of comparison. Beginning with a view of the preliminary vision that James had of the main elements of each central character, the thesis seeks to understand how Isabel Archer and Lambert Strether are subsequently shaped, and developed, by way of the incidents and experiences they meet, and what they make of them. Of primary importance amongst these are the relations they form with the other characters in the novel. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2007. / Vita. Includes bibliographical references (leaves 61-63).

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 1998. / Vita. Includes bibliographical references (leaves [79]-80).

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2007. / Vita. Includes bibliographical references (leaves 61-63).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work is part of the research developed in Visual Poetics, in the Master‟s Course in Visual Arts, in the area of Contemporary Art and it is connected to the research Line Art and Culture. The main objective of this work is the body in transit between the Theater and the Performance by shifting a theatrical character built from a dramatic text into the subject of the performative action. That character is the Nurse of the Greek tragedy Medea, written by Euripides. Presents such a starting point for research by understanding the Art of Performance , to focus the artist's body as a work of art , invests in its presence in art through his presentation detached representation of a fictional story , as in the theater conventional and thus causes changes in the treatment of the body in the Visual Arts and Theatre. Thus, the problem exposed was developed with the realization of performances that relied on the inclusion of the Nurse in different contexts. These contexts provoked changes in the actions of this character, which reconfigured her as a character from a dramaturgical text to make her the subject of the performative action with the character called My Old Lady. To carry out the Performances, the actress/performer has made a Pre-Performance, which consisted of two phases: first, with the physical preparation of the actress/performer and second, with the study of the context in which the Performance was held. The reflection of the Performances and the work as a whole led to think that the actress/performer has had the body in transit in the figure of My Old Lady. / Esta dissertação faz parte da pesquisa desenvolvida em Poéticas Visuais, no Curso de Mestrado em Artes Visuais, inserida na área de Arte Contemporânea e ligada à Linha de Pesquisa Arte e Cultura. O objetivo maior deste trabalho é o corpo em trânsito entre o Teatro e a Performance, através do deslocamento de uma personagem teatral construída a partir de um texto dramático para sujeito da ação performática. A referida personagem é a Ama da tragédia grega Medéia, escrita por Eurípides. Apresenta-se esse ponto de partida para a pesquisa por entender que a Arte da Performance, ao centrar o corpo do artista como obra de arte, investe na sua presença em arte através da sua apresentação desvinculada da representação de uma história fictícia, como no teatro convencional e assim provoca alterações no tratamento dado ao corpo nas Artes Visuais e no Teatro. Desse modo, a problemática exposta foi desenvolvida com a realização das performances que contavam com a inserção daquela que era a personagem Ama em diferentes contextos. Esses contextos provocaram mudanças nas ações de Ama, que a reconfiguraram enquanto personagem de um texto dramatúrgico, para promover sua passagem a sujeito da ação performática com a figura que foi denominada Minha Velha. Para a realização das Performances, foi desenvolvido o trabalho intitulado pela atriz/performer de Pré-Performance, que consistiu em duas fases: a primeira, com a preparação corporal da atriz/performer e, a segunda fase, com o estudo do contexto no qual era realizada a Performance. A reflexão das Performances realizadas e do trabalho como um todo conduziu a pensar que a atriz/performer encontrou o corpo em trânsito na figura de Minha Velha.

nÃo hà / Este estudo tem como objeto de pesquisa a Irmandade de Nossa Senhora do RosÃrio, da cidade de Fortaleza, antiga Irmandade dos Homens Pretos. Nesta pesquisa, buscamos contextualizar historicamente e identificar as reelaboraÃÃes e ressignificaÃÃes ocorridas na instituiÃÃo antes de sua inativaÃÃo e, atualmente, por ocasiÃo do processo de revitalizaÃÃo. As irmandades de Nossa Senhora do RosÃrio dos Homens Pretos foram instituiÃÃes bastante numerosas no perÃodo colonial brasileiro, espalhando-se de norte a sul do paÃs, reafirmando a presenÃa significativa do negro. As investigaÃÃes e anÃlises observadas nos dados histÃricos e falas dos entrevistados revelaram mudanÃas na forma de admissÃo dos membros da instituiÃÃo. Observamos, ainda, que temas como cultura, religiosidade e manifestaÃÃes culturais negras sÃo frequentes nos relatos dos entrevistados, o que nos possibilitou discuti-los na perspectiva de aprofundar a compreensÃo da relevÃncia histÃrica e contribuiÃÃo da Irmandade de Nossa Senhora do RosÃrio para a histÃria do negro na cidade de Fortaleza, CearÃ. / This study is a research subject the Brotherhood of Our Lady of the Rosary in the city of Fortaleza, former Brotherhood of Black Men. In this research we seek to contextualize historically and identify reworkings and reinterpretation that occurred in the institution prior to its inactivation and currently during the revitalization process. The brotherhoods of Our Lady of the Rosary of Black Men were quite numerous institutions in the Brazilian Colonial period, spreading from North to South of the country, reaffirming the significant presence of black. The research and analysis observed in the historical data and lines of respondents revealed changes in admission of members of the institution. We also observed that subjects such as culture, religion and black cultural manifestations are frequent in the reports of respondents which enabled us to discuss them with a view to deepening the understanding of the historical relevance and contribution of the Brotherhood of Our Lady of the Rosary in the history of black in the city of Fortaleza Ceara.

Syftet med denna studie har varit att belysa representation av lesbisk åtrå i film. Filmerna jag har tittat på är Carol och Portrait of a Lady on Fire, där jag undersökt huruvida begreppen the male gaze och the female gaze visar sig i filmerna. Detta är gjort genom en filmanalys där jag har utvecklat en tes, delat upp filmen i segment samt antecknat filmtekniker. I min analys har jag utgått från teorier om blick; gaze theory, the male gaze och the female gaze. I båda filmerna representeras åtrå främst genom blicken, men även genom olika symboler, språk och behov. Den skildras inte nödvändigtvis genom nakenhet eller sex – utan kan vara ett grepp på axeln eller en intensiv blick. Genom välarbetat manus, kameravinklar utifrån bådas synpunkter och kostymer som inte förminskar kvinnan tar båda filmerna avstånd från the male gaze. Istället har båda parterna i förhållandet en aktiv roll där kommunikation och samtycke styr, vilket är i linje med the female gaze. / The purpose of this study has been to highlight the representation of lesbian desire in film. The films I have watched are Carol and Portrait of a Lady on Fire, where I investigated whether the concepts of the male gaze and the female gaze appear in the films, and if so, how. I have conducted a filmanalysis where I developed a thesis, segmented the films and took notes of film techniques. I have based my analysis on different theories concerning the gaze; gaze theory, the male gaze and the female gaze. Both films represent desire throughout the gaze, but also through different symbols, languages and needs. It is not necessarily portrayed by nudity or sex – instead by grasping the shoulder or holding an intense gaze. Through well-crafted script, camera angles based on both viewpoints and costumes that do not diminish the woman, both films distance themselves from the male gaze. Instead, both parties in the relationship have an active role where communication and consent govern, which is in line with the female gaze.

Abstracts in English, Afrikaans and Xhosa / The purpose of this study was to explore reading barriers of Foundation Phase learners in IsiXhosa Home Language in the Lady Frere district in the Eastern Cape Province (ECP). The qualitative single case study of one Junior Secondary school in the chosen district was studied. The empirical research was done through interviews with the teachers and lesson observations. The findings suggested that there was some concern with regards to the reading ability of learners in the District. The lack of parental involvement, high turnover of teachers, lack of training and support of teachers were identified as attributing factors to reading barriers of learners. Measures to address these factors were suggested. The measures included capacity building of teachers, parents or care givers of learners, and ways of retaining teachers in schools to reduce the high turnover of staff. In conclusion, it is anticipated that the findings and recommendations of this study will provide valuable contribution to the district officials to be able to address the teaching and learning gaps and empower and support both teachers and learners in the Eastern Cape Province. / Die doel van hierdie studie was om leeshindernisse van leerders in die Grondslagfase, met Xhosa as huistaal, in die Lady Frere distrik in die Oos-Kaap Provinsie te ondersoek. Die kwalitatiewe, enkele gevallestudie het die bestudering van een Junior Sekondêre skool in die gekose distrik behels. Die empiriese navorsing is gedoen deur onderhoude met die onderwysers te voer en deur waarnemings van lesse. Die bevindings dui daarop dat daar kommer bestaan oor die leesvermoë van leerders in die distrik. Afwesige ouerbetrokkenheid, die hoë omset van onderwysers en die gebrek aan voldoende opleiding en ondersteuning aan onderwysers word identifiseer as die moontlike oorsake van leeshindernisse van leerders. Maatreëls om die faktore wat leeshindernisse veroorsaak aan te spreek, is voorgestel. Die maatreëls behels onder meer kapasiteitsbou van onderwysers, ouers of versorgers van leerders, asook maniere om onderwysers in skole te behou en sodoende die hoë personeelomset te verminder. Ten slotte, die verwagting is dat die bevindings en aanbevelings van hierdie studie ‘n waardevolle bydrae aan die distriksbeamptes sal lewer om die leemtes vir voldoende onderrig en leer te kan aanpak en sodoende beide onderwysers en leerders in die Oos- Kaap te bemagtig en te ondersteun. / Injongo yoluphando yayikukuphonononga izithintelo kufunda zamabanga aphantsi kulwimi lwasekhaya lwesiXhosa kwisithili saseCacadu kwiphondo laseMpuma-Koloni. Kwaphononongwa isifundo secala elinye elinoqeqesho kwisikiolo samabanga aphakathi kwisithili esikhethiweyo. Kwenziwa uphando olunamandla kusetyenziswa udliwanondlebe nootitshala kunye nokujonga. Iziphumo zabonisa ukuba kukho ukuxhalaba ngendlela abafundi besithili esikhethiweyo babefunda ngayo. Oko kwakudalwa kukungazibandakanyi kwabazali emfundweni yabantwana babo, ukutshintsha nokushiya kootitshala izikolo nesebe lezemfundo ngokubanzi nokunqongophala koqeqesho nenkxaso yootitshala. Kwacetyiswa amadondolo okulungisa imiba echaphazela iingxaki zokufunda . Lamadondolo ayecebisa ukuba kujongwane nemiceli mingeni eyayisele iboniwe, enje ngophuhliso lweetitsshala, abazali okanye abagcini bantwana, iindlela zokugcina abasebenzi ezikolweni, ukunciphisa ukutshintsha izikolo nokuyeka ukufundisa kootitshala. Ukuphetha, kuyabonakala ukuba iziphumo nezindululo zoluphando zizakuba negalelo elingathethekiyo kumagosa ezemfundo. Loo nto iyakuwanceda amagosa lawo akwazi ukuqaphela nokuqubisana nezikhewu ekufundeni, baphuhlise baxhase ootitshala nabantwana kwiPhondo leMpuma-Koloni. / Inclusive Education / M. Ed. (Inclusive Education)

The theatre in the nineteenth century was a source of entertainment similar in popularity to today's film culture, but critics, of both that age and today, often look down on nineteenth-century theatre as lacking in aesthetic merit. Just as many of the films now being produced in Hollywood are adapted from popular or classic literature, many theatrical productions in the early 1800s were based on popular literary works, and it is in that practice of adaptation that value in nineteenth-century theatre can be discerned. The abundance of theatrical adaptations during the nineteenth century expanded the arena in which the public could experience and interact with the great popular literature produced during the period. Additionally, theatrical adaptations afforded audiences the opportunity of considering how the medium of theatre functions artistically, since a story on stage is communicated differently than a story in print. Studying theatrical work as adaptation – especially when we focus on the manner in which the subject is communicated rather than on alterations in the subject itself – reminds us that the theatrical medium is not constituted of the same formal elements as literature and should not be judged according to the same criteria. The stage of the early nineteenth century, perhaps more than in any other age, was defined by its appeal to the sense of sight rather than by attempts to be literary by using literary devices on the stage. Instead, theatre of this age found ways of communicating the subject material of popular literature in an entirely new "language" system, with varying degrees of success. Considering adaptation as a process of translation from one aesthetic language to another reveals that some creative minds were more attuned to the unique aesthetic capabilities of each medium than others. Two case studies of theatrical adaptations produced in nineteenth-century England apply this model of adaptation while considering the unique stage conventions, expectations, and culture of the day. These analyses reveal differing degrees of sensitivity to the mode of communication in literature and theatre.