Hagop Baronian (1843-1891) was an outstanding Armenian literary figure, whose satire reflected the political and social realities of Western Armenian life in the 1870s and the 1880s. This thesis is the first systematic attempt to study his social and political views. No such studies exist in the West, and the attempts of Armenian writers are on the whole hasty, incomplete, and restricted in scope. For this thesis, extensive research has been made into the political and social realities of Armenian life in the Ottoman Empire in the 19th century in order to analyse and evaluate Barcnian's political and social ideas in their proper context. Chapter I sketches Baronian's biography. Chapters II, III, IV and V form the first part of this thesis and deal, in chronological order, with Baronian's political views which, hitherto, have been given little attention. Chapter II is devoted to the study of Baronian's view of the Armenian Constitution which he initially supported for having introduced a large degree of secularisation and democracy to the government of the community. However, Baronian soon came to realise that the Constitution was an inadequate tool. This led him to join forces with some Armenian leaders to propose substantial amendments for the document, which was however never in fact revised. The Polozhenie (Statute) which regulated the affairs of the Armenian Church in Russia is also discussed in Chapter II. Baronian was bitterly critical of the document as restricting the rights of the Armenian community and of the Armenian Church, and bringing the latter under strict control of the Russian government. Chapter III analyses Baronian's criticism of Ottoman internal policy which he held responsible for misgovernment in Armenia. It emerges from Baronian's criticism that oppression in the Armenian provinces was due to two cardinal reasons: the legal status of the Armenians as second-class citizens, and the failure of the Ottoman authorities to preserve law and order. Baronian held that the only way of rectifying the situation was by way of peaceful reform. However, he contended that the Ottoman government was at once unwilling to introduce reform in Armenia and incapable of it. Baronian also maintained that the empire lacked the expertise and financial resources to initiate an extensive programme of reorganisation. All this led Baronian to believe that only external pressure would compel the Porte to review its internal policy (Chapter IV). Baronian expected such pressure from Europe, which, as he saw it, should also provide the Empire with the technical expertise and subsidies to modernise itself. The outbreak of hostilities in the Balkans and the subsequent reform plans for the area were regarded by Baronian as a precious opportunity to force an overall programme of reform on the Porte. However, in Baronian's view, the conflicting interests of the Powers and their self-centred ambitions prevented them from exerting effective pressure on the intransigent Ottoman administration. Baronian dissected the activities of the Armenian leadership in his Armenian Big-Wigs, which is analysed in Chapter V. Baronian criticised most of the Armenian leaders for their lack of what he considered as the basic qualities of public leaders, namely competence, dedication, audacity and integrity. Baronian also censured the Armenian priesthood. While some prelates harrassed their flock by an excess of incompetent activities, many other priests declined to assume any office in the provinces and, residing idly in Constantinople, pursued ecclesiastical preferment or other vain ambitions. Some of the leaders of the so-called anti-Hasunist movement within the Catholic Armenian Community were also depicted by Baronian. Since they claimed a voice for lay elements in governing the Catholic community, Baronian sympathised with their cause but found that the movement was doomed to failure, most of these leaders being motivated by personal ambitions or impractical ideas. Part II (Chapters VI, VII and VIII) of this thesis is devoted to the study of Baronian's social views. In Chapter VI Baronian's comic characters are analysed and the social problems he raised in his comedies and his satirical novel are discussed. In his novel (The Most Honourable Beggars) Baronian dismissed many of the Armenian intelligentsia as parasites and poured contempt on the wealthy for their apathy towards culture. In his comedies Baronian illustrated the old adage concerning the limits to men's capabilities (A Servant of Two Masters) and castigated the vice of sycophancy (The Flatterer). He demonstrated that marriage uniting couples of incompatible ages resulted in immorality and the destruction of the family (The Oriental Dentist). Baronian held that the incompetence of the Armenian Judicial Council, which handled questions of marriage, was a contributory factor to the decrease in the number of marriages among Armenians. He also criticised the rigid approach of the Judicial Council (and therefore the Armenian Church) to divorce, which, Baronian contended, should be granted on valid grounds (Uncle Balthazar). Baronian, who almost exclusively reflected the social realities of the Armenian community of Constantinople, found that this society was in rapid decline (Chapter VII). He was concerned with the institution of marriage because the family, together with morality, religion and education constituted the main pillars of a prosperous society. Despite advocating equality in marriage, Baronian manifested strong patriarchal tendencies, and held that a woman's primary role, designed by nature, was motherhood. In Baronian's view money profoundly affected human relations and the moral cast of men who abandoned human virtues in pursuit of material gain and vain ambition. Baronian noted that men's religious zeal was also in decline due to their materialistic approach. However, the Armenian priesthood was equally to blame. The failure of many priests in their pastoral duties and their often impious conduct greatly affected the religious feelings of the congregation. Finally, Baronian maintained that the Armenians were still backward in the field of education. The national authorities failed to allocate sufficient funds and the community was reluctant to support the educational network financially. For Baronian theatre and literature played a vital role in transforming a society in that they combined the aesthetically beautiful with the socially useful (Chapter VII). Advocating socially conscious literature he emphasised the need for a local and up to date repertoire, and criticised the romantic authors of the time, whose works failed to satisfy his aesthetic and social principles. The conclusion to the thesis sums up Baronian's social and political ideas. Baronian believed that the well-adjusted individual was the basis for social progress, also envisaging a principal role for the family, religion and education. He recognised man as the source of legislative and political power and advocated parliamentary democracy. He illustrated the consequences of the inequal Ottoman political system with the plight of the Armenians and maintained that substantial and peaceful reform was the only way of redressing the situation.

This thesis provides the first account of complaint in Older Scots literature. It argues for the coherent development of a distinctively Scottish complaining voice across the fifteenth century, characterised by an interest in the relationship between amatory and ethical concerns, between stasis and narrative movement, and between male and female voices. Chapter 1 examines the literary contexts of Older Scots complaint, and identifies three paradigmatic texts for the Scottish complaint tradition: Ovid’s Heroides; Boethius’s De Consolatione Philosophiae; and Alan of Lille’s De Planctu Naturae. Chapter 2 concentrates on the complaints in Oxford, Bodleian Library MS Arch. Selden. B. 24 (c. 1489-c. 1513). It considers afresh the Scottish reception of Lydgate’s Complaint of the Black Knight and Chaucer’s Anelida and Arcite, and also offers original readings of three Scottish complaints preserved uniquely in this manuscript: the Lay of Sorrow, the Lufaris Complaynt, and the Quare of Jelusy. Chapter 3 focuses on the relationship between complaint and narrative, arguing that the complaints included in the Buik of Alexander (c. 1438), Lancelot of the Laik (c. 1460), Hary’s Wallace (c. 1476-8), and The Buik of King Alexander the Conquerour (c. 1460-99) act as catalysts for narrative movement and subvert the complaint’s traditional identity as a static form. Chapter 4 is a study of complaint in Robert Henryson’s three major works: the Morall Fabillis (c. 1480s); the Testament of Cresseid (c. 1480-92); and Orpheus and Eurydice (c. 1490-2), and argues that Henryson consistently connects the complaint form with the concept of self-knowledge as part of wider discourses on effective governance. Chapter 5 presents the evidence that a text’s identity as a complaint influenced its presentation in both manuscript and print witnesses. The witnesses under discussion date predominantly from the sixteenth century; the chapter thus also uses them to explore the complaints’ later reception history.

No description available.

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This study examines the portrayal of characters in four Xhosa novels of the 1990s. The objective is to found out whether or not characterization in the Xhosa novels of the 1990s improves. This is done with the view that past studies of characterization done before 1990 by Jafta (1978; 1996), Satyo (1978), Sirayi (1989) and Dlali (1992) gave the picture that a high percentage of writers portray characters as archetypes because of thematic concerns. This often renders characterization poor in the sense that the reader is able to predict the outcome of events through the actions of the characters. However, Zulu (1999:3) argues that with the inceptor of democracy in South Africa in 1994, African Languages literature was liberated as well from several constraints, and reveals some signs of maturing. This study is thus conducted to confirm or refute Zulu's (1999) claim that there are signs of improvement in the way writers portray characters. The study concentrates of four selected Xhosa novels published in the 1990s. The novels are selected on the criteria that they have won literary prizes and are written by prolific writers. It is found that in all four novels, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? and Ukhozi Olumaphiko the novelists have succeededin creating realistic, live, dynamic, complex and multidimensional characters. The change and development of characters are influenced by environmental change as a result of social, political and economic factors. However, the study also shows that some events in Ukhozi Olumphiko are implausible. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die voorstelling van karakters in vier Xhosa novellas in die 1990s. Die hoofdoelstelling is om te bepaal of daar 'n verbetering in kwaliteit is in die Xhosa novellas in die negentiger jare. Hierdie ondersoek word gedoen in die lig van voorafgaande studies soos Jafte (1978, 1996); Satyo (1978); Sirayi (1989) and Dlali (1992) wat bevind dat 'n groot aantal skrywers, karakters in Xhosa novellas as stereoptipes voorstelop grond van die "telematiese" oorwegings at hulle het. Dit het dikwels die gevolg dat karakterisering swak is in die sin dat die leser die uiteinde van gebeurtenisse kan voorspel deur die handelinge van die karakters. Zulu (1999:3) argumenteer egter dat met die verkryging van demokrasie in Suid Afrika, is die letterkunde van die Afrikatale ook bevry, en dit vertoon tekens dat die literêre wasdom bereik. Hierdie studie word dus onderneem om Zulu (1999) se aanspraak te ondersteun of te weerlê dat daar tekens van verbetering is in die wyse waarop skrywers karakters voorstel. Die studie konsentreer op vier geselekteerde Xhosa novelles wat in die 1990s gepubliseer is. Die novelles is geselekteer volgens kriteria dat hulle literêre pryse gewen het en deur erkende skrywers geskryf is. Daar word bevind in die studie dat die skrywers in al vier die novelles, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? en Ukhozi Olumaphiko suksesvol was in die skep van realistiese, lewendige, ekonomiese komplekse en multi-dimensionele karakters. Die verandering en ontwikkeling van karakters word beïnvloed deur omgewingsverandering, sowel as deur sosiale, politieke en ekonomiese faktore. Dit word egter bevind dat sommige handelinge in die novelle Ukhozi Olumaphiko ongeloofwaardig is. / INTSHWANKATHELO ISIXHOSA: Lo msebenzi uphonononga ukuvezwa kwabalinganiswa kwiinoveli zesiXhosa ezine ezibhalwe ukususela kumnyaka ka-1990 ukuya ku-1999. Injongo yalo msebenzi kukuqwalasela ukuba ikho kusini na impucuko kwindlela abazotywa ngayo abalinganiswa kwezi noveli zesiXhosa zibhalwe ngomnyaka ka-1990 ukubheka phambili. Oku kwenziwa phantsi koluvo lokuba izifundo zamandulo ezimalunga nokuzotywa kwabalinganiswa ngokubhalwa nguJafta (1978;1996), uSatyo (1978) uSirayi (1989) noDlali (1992) zibonakalisa ukuba uninzi Iwababhali luveza abalinganiswa njengemizekelo esisiseko ukuzama ukubanxulumanisa nomxholo wenoveli leyo. Oku ke kubeka ukuzotywa kwabalinganiswa kwizinga eliphantsi nanjengoko umfundi aye akwazi lula ukuthelekelela iziphumo zezehlo ngokujonga iintshukumo ezi zabalinganiswa. Ukanti ke, uZulu (1999:3) uveza ukuba ukususela mhla kwamiselwa ulawulo lukawonkewonke okanye inkululeko eMzantsi Afrika ngomnyaka ka-1994, uncwadi IweeLwimi zaseAfrika Iwaye Iwakhululeka nalo, Iwaze Iwabonakalisa iimpawu zokuvuthwa. Lo msebenzi ke ujolise ekuqinisekiseni okanye ekuphikiseni ingcamango kaZulu (1999) yokuba kukho iimpawu ezibonakalisa ukuphuhla kwindlela ababhali abaveza ngayo abalinganiswa. Lo msebenzi ke uza kuqwalasela kwiinoveli zesiXhosa ezine ezikhethiweyo nezishicilelwe kwisithuba sika-1990 ukubheka phambili. Ezi noveli zikhethwe phantsi komgomo wokuba ziphumelele amabhaso oncwadi yaye zibhalwe ngoomakhwekhwetha bababhali abavunyiweyo. Kuye kwafunyaniswa into yokuba kwezi noveli zone, Iqhina lomtshato, Kazi Ndenzeni na?, Koda Kube Nini na?, kunye noKhozi Olumaphiko ababhali beenoveli baphumelele ekwakheni abalinganiswa ababonisa izinto ngobunjalo bazo, abaphilayo, abanentshukumo, abantsonkothileyo nabambaxa. Utshintsho nokuphuhla kwabalinganiswa lubangelwa kukutshintsha kweendawo abahlala kuzo ngokudalwa ziimeko zokuhlala, ezopolitiko, nezoqoqosho. Ukanti ke, ezinye zezehlo kuKhozi Olumaphiko aziqondakali ngokugqibeleleyo.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study investigates the role of women in the Xhosa novel, Unyana Womntu, written by Saule. The main aim is to investigate how images of women have developed or deteriorated as a result of the changes in the South African society. It will be remembered, for instance, that in traditional and colonial eras, images of women were subjected to patriarchy. One expects a change in the status of women as depicted in literature because of consistent demands that women are entitled to equal opportunities. The theoretical aspects of gender and culture are discussed in Chapter 2 as the framework of the study. Chapter 3 deals with plot, character and space in Saule's novel, Unyana Womntu and how they are viewed in relation to gender and culture. A detailed analysis of gender and culture is done in Chapter 4 of Unyana Womntu. In the analysis of the gender and culture in Unyana Womntu, it is found that the images of women presented in the novel are undergoing radical changes, such that some women seem to fail to cope with changes. However, this does not mean that all women are incapable of making informed choices in terms of their depiction in xhosa literature. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die rol van vroue in die Xhosa novelle Unyana Womntu geskryf deur Saule. Die hoofdoelstelling is om 'n ondersoek te doen van hoe voorstellings van Xhosa vroue ontwikkel of verswak het as gevolg van veranderinge in die Suid-Afrikaanse gemeenskap. Dit word byvoorbeeld onthou, dat in tradisionele en koloniale eras, die voorstellings van vroue onderwerp is aan patriargale uitbeelding. 'n Mens sou 'n verandering verwag in die status van vroue soos voorgestel in die letterkunde, op grond van die voortdurende eise dat vroue geregtig is op gelyke geleenthede. Die teoretiese aspekte van gender en kultuur word in hoofstuk 2 bespreek as die raamwerk vir die studie. Hoofstuk 3 ondersoek die intrige, karakters en ruimte in Saule se novelle Unyana Womntu, en hoe hierdie aspekte uitgebeeld word met betrekking tot gender en kultuur. 'n Gedetailleerde analise van die uitbeelding van gender en kultuur in Unyana Womntu word gedoen in hoofstuk 4 van die studie. In die ontleding van gender en kultuur in Unyana Womntu word daar bevind dat die voorstellings van vroue wat aangebied word in die novelle aansienlike veranderinge ondergaan, tot so In mate dat vroue daarin faal om met verandering tred te hou. Dit beteken egter nie dat alle vroue 'n onvermoë het om ingeligte keuses te maak in terme van hulle uitbeelding in die Xhosa letterkunde nie.

Thesis (PhD)-- Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis examines how selected Ugandan literary texts portray constructions and negotiations of national identities as they intersect with overlapping and cross-cutting identities like race, ethnicity, gender, religious denomination, and political affiliation. The word “negotiations” is central to the close reading of selected focal texts I offer in this thesis for it implies that there are times when a tension may arise between national identity and one or more of these other identities (for instance when races or ethnic groups are imagined outside the nation as foreigners) or between one national identity (say Ugandan) and other national identities (say British) for those characters who occupy more than one national space and whose understanding of home therefore includes a here (say Britain) and a there (say Uganda). The study therefore examines the portrayal of how various borders (internal and external, sociocultural and geopolitical) are navigated in particular literary texts in order to construct, reconstruct, and perform (trans)national identity. The concept of the border is crucial to this study because any imagining of community is done against a backdrop of similarities (what the “us” share in common) and differences (what makes the “them” distinct from “us”). Drawing from various theorists of nationalism, postcolonialism, transnationalism and gender, I explore the representation of key events in Uganda’s history (for instance colonialism, decolonization, expulsion, and civil war) and investigate how selected writers narrate/sing these events in their constructions of Ugandan (trans)national identities. My analysis is guided by insights drawn from the work of the Russian literary theorist, Mikhail Bakhtin, particularly his concepts of dialogism and heteroglossia. His proposition that the novel is a site for the dialogic interaction of multiple languages (say of authorities, generations and social groups) and of speeches (say of narrators, characters and authors) each espousing a particular worldview or ideology enables me to create a correlation between literary texts and the nation (which contains a multiplicity of identities like races, ethnic groups, genders, religious denominations and political affiliations with each having its own interests and ‘language’), and to argue that Ugandan national identity is constituted by the existence of these very identities that overlap with it. By paying attention to the way selected literary texts portray how these disparate identities dialogue with the larger national community in different situations and how the national community in turn dialogues with other nations through cultural exchanges, migration, exile and diaspora, this study aims at unravelling the dynamics involved in the negotiation of (trans)national identities both within the nation and outside it. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek hoe geselekteerde Ugandese literêre tekste vorms, hervormings en onderhandelings van nasionale identiteite – na mate hulle deurvleg word deur oorvleuelende en dwarssnydende identitite soos díe van ras, etnisiteit, gender, godsdienstige denominasies en politieke affiliasies – uitbeeld. Die term “onderhandelings” staan sentraal in die diepte-lesing van geselekteerde fokus-tekste wat ek in hierdie tesis aanbied, want dit impliseer dat daar tye is wanneer ‘n spanning mag onstaan tussen nasionale identiteit en een of meer van hierdie ander identiteite (byvoorbeeld wanneer rasse of etniese groepe gekarakteriseer word as buite die nasie, m.a.w. as vreemdelinge), of tussen een nasionale identiteit (bv. Ugandees) en ander nasionale identiteite (bv. Brits) vir daardie karakters wat meer as een nasionale ruimte beset of wie se begrip van hul tuiste dus inbegrepe is van ‘n hier (bv. Brittanje) sowel as ‘n daar (soos bv.Uganda). Om hierdie rede ondersoek die studie die uitbeelding van maniere waarop verskeie soorte (interne en eksterne, sosio-kulturele en geo-politiese) grense gehanteer word in partikulêre literêre tekste ten einde (trans)nasionale identiteite te konstrueer, omvorm, of uit te beeld. Die konsep van ‘n grens is die belangrikste idee in hierdie studie, want enige konseptualisering van ‘n gemeenskap gebeur teen die agtergrond van gemeenhede (wat die “ons” in gemeen het) en verskille (wat “hulle” onderskei van “ons”). Met behulp van verskeie teoretici van nasionalisme, post-kolonialisme, trans-nasionalismes en gender, ondersoek ek die uitbeeldings van kern-gebeurtenisse in die geskiedenis van Uganda (byvoobeeld kolonialisme, dekolonialisering, verbanning van sekere mense en groepe en die burgeroorlog) en analiseer ek hoe sekere skrywers hierdie gebeurtenisse uitbeeld of verhaal in hulle konstruksies van Ugandese (trans)nasionalisme/s. My analises word gelei deur insigte verleen aan die oeuvre van die Russiese literêre teoretikus Mikhael Bakhtin, veral sy konsepte van dialogisme en heteroglossia. Sy voorstel dat die roman die ruimte is vir die interaksie van verskeie ‘tale’ (byvoorbeeld díe van outoriteite, ouderdoms- en sosiale groepe) en van diskoerse (bv. díe van vertellers, karakters en skrywers) wat elkeen ‘n partikulêre wêreldbeeld of ideologie aanbied of aanhang, stel my in die posisie om ‘n korrelasie te skep tussen die literêre tekste en die nasie (wat self ‘n oorvloed van identiteite soos díe van rasse, etniese groepe, genders, godsdienstige denominasies of politieke affiliasies bevat) en om te kan argumenteer dat die Ugandese nasionale identiteit konstitueer word deur die bestaan van presies hierdie (ander) identiteite wat daarmee saamval of oorvleuel. Deur aandag te gee aan die manier waarop geselekteerde literêre tekste die dialoë tussen hierdie onderskeie identiteite uitbeeld, elk waarvan hul eie belange en ‘tale’ behels, en hoe die nasionale identiteit op sy/haar beurt in gesprek is met ander nasies deur middel van kulturele uitruiling, migrasies, eksiel of diaspora, mik hierdie studie daarna om die dinamika van onderhandelings van (trans)nasionale identiteite beide binne asook buite die nasionale raamwerk uit te lig.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis focuses on the 'restorying‘ of British settler colonialism in a range of texts that negotiate the intricacies of post-settler afterlives in the postcolonial contexts of South Africa, Canada, Australia and Aotearoa New Zealand. In this, I do not undertake a sustained, programmatic comparative reading in order to deliver a set of answers based on insights achieved into the current state of post-settler colonial identities. Rather, I approach the study as an open-ended exploration by reading a combination of texts of various kinds – novels, poetry, drama, films and installation art – from and about these different geographical and historical contexts, structured as a sequence of four chapters, each with a distinct theoretical ensemble specific to the (pre)occupations of the settler colonial past and the linked senses of (dis)location in the present that emerge from the primary texts combined in each case. Since this project is informed by my location as a South African researcher, the cluster of primary texts in every chapter always includes one or more South African texts as pivotal to the juxtapositional dynamics such a reading attempts. By placing this study of the textual afterlives of settler colonialism undertaken from a South African perspective within the ambit of neo-Victorian studies, it is my intention to contribute to the growing body of critical and theoretical work emerging from this interdisciplinary field and to introduce to it a set of primary texts that will extend the parameters of its productive intersections with colonial and postcolonial studies. / AFRIKAANSE OPSOMMING: Hierdie tesis bestudeer die 'restorying' van Britse setlaar-kolonialisme in ‘n groep tekste wat die verwikkeldheid van post-setlaar 'afterlives' in the post-koloniale kontekste van Suid Afrika, Kanada, Australië en Aotearoa Nieu-Seeland vervat. Hiermee onderneem ek nie ‘n volgehoue, programmatiese vergelykende interpretasie met die oog daarop om die huidige stand van post-setlaar koloniale identiteite tot ‘n stel antwoorde te reduseer nie. Ek benader die studie eerder as ‘n verkenning van moontlikhede gegenereer deur die lees van ‘n kombinasie van verskillende tekste – romans, gedigte, drama, films en installasie kuns – wat hulle oorsprong in hierdie verkillende geografiese en historiese kontekste het, asook daaroor handel. Gevolglik bestaan die studie uit vier hoofstukke wat elkeen die (pre)okkupasies van die setlaar-koloniale verlede en die gepaardgaande gevoel van (dis)lokasie in die hede, soos tevoorskyn gebring deur die kombinasie van primere tekste, aan die hand van ‘n toepaslike teoretiese ensemble bespreek. Aangesien die projek uit my posisie as Suid Afrikaanse navorser spruit, en ‘n jukstaposisionele dinamiek grondliggend aan my leesbenadering is, betrek ek telkens een of meer Suid Afrikaanse tekste by die groep primere tekste wat die basis van elke hoofstuk vorm. Deur hierdie studie van die tekstuele 'afterlives' van setlaar-kolonialisme, wat vanuit ‘n Suid Afrikaanse perspektief onderneem word, binne die raamwerk van neo-Viktoriaanse studies te plaas, beoog ek om by te dra tot die korpus van kritiese en teoretiese werk van hierdie interdisiplinere veld. Deur die toevoeging van die betrokke groep primere tekste word die area waar hierdie veld met koloniale en post-koloniale studies oorvleuel verbreed.

Thesis (DLitt)--University of Stellenbosch, 2002. / 207 leaves printed single pages, preliminary pages i-xiii and numbered pages 1-195. Includes bibliography. / Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: The object of this study is to examine the expression of tragedy in randomly selected Sesotho novels in two major periods, namely the early period (1925 to 1970s) and the later period (1970s to 1990s). Five Sesotho novels will be discussed in each period and give an indication of tragic expression in that period. It is however not the main emphasis in this work to compare and contrast between the two periods but mainly to observe patterns of tragedy and tragic expressions in Sesotho novels. Chapter One orientates the reader by indicating aspects such as the problem identification, aim of the research, the approach or modus operandi, the scope as well as the organisation of the study, that is, a brief arrangement of chapters and presentation of what would be contained in subsequent chapters. Chapter Two presents the theoretical framework within which the research will be based. As the theoretical framework in this work, aspects of tragedy, namely, character, plot and theme will be discussed. Chapter Three focuses on the early Sesotho tragedies within the literary period 1925 to 1970s. As already indicated, five novels, namely, Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola, and Leshala Ie tswala molora will be discussed in terms of the theoretical principles suggested in Chapter Two. At the end of the chapter, an analysis of the findings and conclusions will be drawn on tragic expressions in these novels. These novels distinguish themselves as largely classical tragedies (there are modern ones also) in terms of the nature of tragic characters available. Chapter Four examines the later Sesotho tragedies ranging between the period 1970s to 1990s. As in early Sesotho novels, five novels will be discussed with a view to highlight tragic expressions in this period. Peo ena ejetswe ke wena, Mehaladitwe ha e eketheha, Nna ke mang, Ke lesheleshele leo a iphehletseng lona and Lehlaba la lephako will be the novels we analyse. Analysis of the findings will be made and conclusions drawn at the end of the chapter in how tragedy is expressed in all these novels. These novels distinguish themselves as largely modern tragedies in terms of the tragic characters portrayed in them. Chapter Five presents the general conclusions on all the novels discussed in the two periods. A comparison will be made as to how tragic expression differs from one period to another particularly in terms of the three aspects of tragedy. Each novel will be given the individual attention and focussed exclusively as to how it presents tragedy and how perhaps it differs from others. / SESOTHO ABSTRACT: Ka mosebetsi ona wa diphuputso re hlahloba ka moo mahlomola a totobatswang ka teng dingolweng tse kgethilweng dinakong tsena tsa bongodi, e leng ho tloha selemong sa 1925 ho isa selemong sa 1970 le tse hlahlamang esita le nako ya morao e qalang selemong sa 1970 ho isa dilemong tsa 1990 le tse hlahlamang. Re tla hlahloba dipale tse hlano mokgahlelong 0 mong le 0 mong wa nako e le ho totobatsa ka moo mahlomola a hlahiswang ka teng dipaleng tsa Sesotho. Ha se sepheo se seholo sa mosebetsi ona ho bapisa totobatso ya mahlomola mekgahlelong ena ya nako empa sepheo se seholo ke ho bontsha ka moo mahlomola a hlahiswang ka teng dipaleng tsa Sesotho. Kgaolong ya Pele re tla nyenyeletsa mrnadi diphuputsong tsena ka ho mo tsebisa dintlha tsa bohlokwa malebana Ie mosebetsi ona tse kang totobatso ya qaka, sepheo sa phuputso ena, mokgwa oo phuputso e tla etswa ka ona, dintlha tse tla fuputswa esita le tlhophiso ya mosebetsi ona. Ka tlhophiso ya mosebetsi ona re bolela tatelano ya dikgaolo esita le tlhahiso ya kgaolo ka nngwe, ho tse tla latela. Kgaolong ya Bobedi re hlahisa teori kapa moralo wa tsebo 0 tla sebediswa bakeng sa phuputso ena. Tse ding tsa dikarolwana tsa moralo ona wa tsebo e tla ba dikarolo tsa bohlokwa tsa pale ya mahlomola, mme ka hona mosebetsi 0 tla totobatsa mophetwa, moralo wa kgohlano (poloto) le mookotaba. Dintlha tsena tsa moralo wa tsebo di tla sebediswa dipaleng tsa Sesotho tse tla hlahlojwa dikgaolong tse tla latela. Kgaolong ya Boraro re hlahloba dipale tsa Sesotho tse ngotsweng mokgahlelong wa pele wa nako mme e le nako e qalang selemong sa 1925 ho isa selemong sa 1970 le tse mmalwa tse latelang. Jwalo ka ha re se re hlalositse, re tla hlahloba dipale tse hlano e leng Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola le Leshala le tswala rnolora ho latela dintlha tseo re buileng ka tsona kgaolong ya bobedi. Qetellong ya kgaolo ena re tla hlahloba diqeto tseo re di etsang ho latela tseo re di lemohileng dipaleng tsena malebana Ie tlhahiso ya mahlomola. Dipale tsena ke dipale tsa tlelaseki tse tshwanang le tsa.S ekgerike (le hoja ho ntse ho na le dipale tsa sejwalejwale) ho latela semelo sa mophetwa wa mahlomola. Kgaolong ya Bone re hlahloba dipale tsa mahlomola tsa mokgahlelo wa sejwalejwale mme e le dipale tse ngotsweng nakong ya selemo sa 1970 ho tla tihla dilemong tsa 1990 le tse hlahlamang. Jwalo ka ha re ile ra etsa dipaleng tsa kgale, re tla hlahloba dipale tse hlano e le ho bontsha ka moo mahlomola a totobatswang ka teng paleng tsa Sesotho. Dipale tseo re tla di hlahloba ke Pea ena ejetswe ke wena, Mehaladitwe ha e eketheha, Nna ke mang, Ke lesheleshele lea a iphehletseng lana Ie Lehlaba la lephaka. Ha re se re hlahlobile dipale tsena re tla fana ka diqeto tseo re di tihleletseng mabapi le ka moo mahlomola a hlahiswang ka teng paleng tsena. Dipale tsena di ka tsejwa e le dipale tsa sejwalejwale ho latela mofuta wa mophetwa wa mahlomola ya fumanwang ho tsona. Kgaolong ya Bohlano re fana ka diqeto tse akaretsang malebana Ie dipale tsohle tseo re di hlahlobileng mekgahlelong ena e mmedi ya nako. Re tla bapisa ka moo tlhahiso ya mahlomola e fapaneng ka teng ka lebaka la tshwaetso ya semelo sa mophetwa, diketsahalo kapa moralo esita Ie mookotaba kapa molaetsa. Re tla lekola pale ka nngwe mme re hlahlobe ka moo e hlahisang mahlomola ka teng le ka moo e fapanang le dipale tse ding ka teng. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om die voorkoms van die tragedie in geselekteerde Suid-Soetoe romans gedurende hoofsaaklik twee periodes, naamlik, die vroeere periode (1925 tot die 1970's) en die latere periode (1970 tot die 1990's) te ondersoek. Vyf Suid-Soetoe romans sal bespreek word rakende elke periode en sal 'n aanduiding gee van die tragedie gedurende die betrokke periode. Dit is egter nie die hoofdoel van die werk om vergelykings en onderskeidinge tussen die twee periodes te tref nie, maar eerder om tragedie en tragiese elemente binne Suid-Soetoe romans te bespreek. Hoofstuk Een se doel sal wees om die leser te orienteer aangesien dit aspekte soos die probleem identifikasie, die doel van die studie, die omvang en die voorlopige navorsing gemaak in terme van ander navorsingswerke rakende die onderwerp bevat, naamlik, vorige studies rakende die karakter in Suid-Soetoe romans met spesifieke verwysing na tragiese karakters. Die hoofstuk sal ook die uiteensetting van die studie, soos die uitleg van die hoofstukke en inhoud van daaropvolgende hoofstukke bevat, bespreek. Hoofstuk Twee stel die teoretiese raamwerk bekend waarop die navorsing gebasseer is. As deel van die raamwerk, sal aspekte van die tragedie soos karakter, intrige en tema bespreek word. Hierdie teoretiese aspekte sal dan toegepas word op Suid-Soetoe romans in opvolgende hoofstukke. Hoofstuk Drie fokus op die vroeere Suid-Soetoe tragedies binne die literere periode 1925 tot 1970s. Vyf romans, naamlik Chaka, Mphatlalatsane, Moiketsi, Mosali a nkhola en Leshala Ie tswala rnolora sal bespreek word in terme van teoretiese beginsels genoem in Hoofstuk Twee. Aan die einde van die hoofstuk sal 'n analise gemaak word van die bevindinge en gevolgtrekkings rakende die tragedie se voorkoms in hierdie romans. Hierdie romans onderskei hulself grootliks as klassieke tragedies in terme van die tragiese karakters se voorkoms. Hoofstuk Vier ondersoek die latere Suid-Soetoe tragedies gedurende die tydperk 1970 tot 1990. Soos in die vroeere tydperk, sal vyf romans bespreek word met die doel om die aspekte van tragedie te aksentueer. Peo ena e jetswe ke wena, Mehaladitwe ha e eketheha, Nna ke mang, Ke lesheleshele leo a iphehletseng lona en Lehlaba la lephako sal romans wees waarop gefokus word. 'n Analise van die bevindinge en gevolgtrekkings sal gemaak word aan die einde van die hoofstuk en sal die voorkoms van die tragedie in al die romans beskryf. Hierdie romans onderskei hulself hoofsaaklik as moderne tragedies in terme van die tragiese karakters se voorkoms. Hoofstuk Vyf verskaf algemene gevolgtrekkings waartoe gekom is in die voorafgaande bespreking van die genoemde twee periodes. 'n Vergelyking sal gemaak word oor hoe die voorkoms van die tragedie verskil van een periode na die ander, rakende die tragiese figuur. Elke roman sal individuele aandag kry en klem sal gele word op hoe dit verskil van ander romans.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This dissertation investigates the increase in Afrikaans novels set in the future at the time of publication in the period after 1999. The following seven Afrikaans futuristic novels were published in this time: Oemkontoe van die nasie (2001) by P.J. Haasbroek, Hotel Atlantis (2002) and Raka die roman (2005) by Koos Kombuis, Miskruier (2005) by Jaco Botha, Die nege kerse van Magriet (2006) by Barend P.J. Erasmus, Horrelpoot (2006) by Eben Venter and Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009) by Louis Krüger. These novels are discussed within the framework of dystopian literature since they all portray a future South Africa that is worse off than it was at the time of the novels’ publication. It is discussed whether the socio-political climate in South Africa after 1999 contributed to the increasing popularity of the dystopian genre in Afrikaans in this time. Dystopian literature in general comments on the present rather than the future. The social commentary in these novels is therefore also discussed. The following aspects of dystopian literature, as identified by critics such as Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent and Brian Stableford, is focused on in the analysis of the seven novels: the typical narrative in dystopian works; the distinction between the classical dystopia, critical dystopia and pseudo-dystopia; the connection between dystopian literature and apocalyptic literature, and common themes within dystopian literature (for example the control of language and the media, history and ecological issues). This dissertation highlights the similarities to as well as differences between the seven Afrikaans dystopian novels and typical dystopian works. It is also discussed how the context of a postcolonial and post-apartheid South Africa makes these novels unique. / AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die toename van Afrikaanse romans in die tydperk ná 1999 wat ten tyde van publikasie in ʼn toekomstige Suid-Afrika afspeel. Die volgende toekomsromans verskyn in hierdie tyd: P.J. Haasbroek se Oemkontoe van die nasie (2001), Hotel Atlantis (2002) en Raka die roman (2005) deur Koos Kombuis, Miskruier (2005) deur Jaco Botha, Eben Venter se Horrelpoot (2006), Die nege kerse van Magriet (2006) deur Barend P.J. Erasmus en Louis Krüger se Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009). Dié sewe romans word binne die raamwerk van distopiese literatuur bespreek omdat hulle voldoen aan Lyman Tower Sargent se definisie van ʼn literêre distopie: hulle beeld almal ʼn toekomstige Suid-Afrika uit waarin dit slegter gaan as die tyd waarin die romans gepubliseer is. Daar word ondersoek of die sosio-politiese konteks waarin die toekomsromans van ná 1999 verskyn, moontlik ʼn bydrae gelewer het tot die toename van hierdie tipe roman in die tydperk. Toekomsvoorstellings binne distopiese literatuur lewer dikwels eerder kommentaar op die tyd waarin die werke verskyn as op die toekoms. Daar word ondersoek of dit ook die geval is met die Afrikaanse distopiese toekomsromans van ná 1999. Na aanleiding van teorieë rondom distopiese literatuur deur kritici soos Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent en Brian Stableford word daar op die volgende aspekte van distopiese literatuur gefokus in die analise van die sewe romans: die handeling in tipiese distopiese werke; die onderskeid tussen die klassieke distopie, kritiese distopie en pseudo-distopie; die verband tussen apokaliptiese en distopiese literatuur en algemene temas binne distopiese literatuur (byvoorbeeld die beheer van die taal en media, die geskiedenis en ekologiese vraagstukke). In die bespreking word daar gewys op die ooreenkomste, maar ook die verskille, tussen die sewe Afrikaanse distopiese romans en tipiese distopiese werke. Daar word ook bespreek hoe die konteks van ʼn postkoloniale en postapartheid Suid-Afrika ʼn uniekheid verleen aan dié werke.

published_or_final_version / English / Doctoral / Doctor of Philosophy