李貴生. / 論文(哲學博士)--香港中文大學, 1999. / 參考文獻 (p. 323-341) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Li Guisheng. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 1999. / Can kao wen xian (p. 323-341) / Zhong Ying wen zhai yao

「古文」作爲傳統中國士人日常表達和學術著作的主要文體，在思想世界與知識世界中具有重要的地位。然而，除了在文學史研究中討論「知識」對「文章」的重要性，我們似乎很少反過來設問，「文章」對「知識」有何作用？作爲「學問」載體的古文，是否真正介入了這些學術性知識的傳承與變革？基於這一思路，本文希望將對「古文」的研究，置於一更大的社會文化脈絡之中，探討「文章」如何塑造了讀書人的知識視野和學問秩序。 / 文章與知識之間的張力，在古代文學史及思想史上一直存在；然在清代，由於儒家知識主義之興起，此一張力獲得了更爲自覺和充分的展開。本文認爲，從晚明到清初，中國士人的知識視野經歷了一次擴張，而明中期以降博覽求古的「文章」趣味，正是其重要的動力。入清之後，「文」「學」之緊張日益顯現。康熙十七年詔徵博學鴻儒，還是以「詞章」評判「博學」；至乾隆間開經學特科，所重便是「根柢經史」的專門學問；由「博」而「精」，「文」「學」相離。不過，在以「文章」訓練為主的書院教育中，對「古學」的提倡往往還需要借助「古文」之力；同時清人以「著書明道」為理想，考經證史的成績、自身的學術趣味與知識修養，都需要選擇恰當的「著述」體裁以表達之。在編次文集乃至註釋經書之時，不少學者都對其「著作」的方式作出精心的安排，以求體現其學問之系統。「文」與「學」的互動，實又通過另一種形式表現出來。此外，「著書明道」，還可以看作一個以「私言」發明「公道」的實踐，故而「著作」不僅是對公共「知識」的傳遞，更是對個人「性情」的表達。在清中期，「文」與「學」的張力進一步推演出性情與知識關係的重整。「文」「學」離合之間，清代讀書人知識世界的遷變，正有跡可循。 / The concept of ‘wenxue’(文學) in Chinese intellectual tradition philologically consists of two basic elements: belle-lettres (文wen) and learning (學xue). Thus when talking about ‘wenxue’ we are referring to not only a heritage of literature, but also a genealogy of knowledge. This dissertation aims to shed light upon the socio-cultural and epistemic aspects of classical prose(古文 guwen), which is a main genre of classical literature as well as the prevailing form of both practical and scholarly writing in late imperial China. Questions raised in my research include: How were different categories of knowledge ordered and systematized? In what way did the literary taste of intellectuals delimit and displace their epistemological boundaries? And how was the world of knowledge embodied through the compiling of literary anthologies and the writing of scholarly works? / China’s long eighteenth century (1644-1799) witnessed an adequate and self-conscious unfoldment of the perennial tension of literature and knowledge in the shadow of the Confucian intellectualism. The Ming literati’s interests for archaic literature and ancient texts, which lead to a trend of vast learning, herald the expansion of knowledge in late Ming and early Qing. In the 1679 ‘Boxue Hongru’ Examination, literary excellence was still regarded as a crucial criterion for the selection of ‘erudite scholars’. The rise of evidential study, however, intensified the tension between literary talent and scholarly learning. Men of letters were criticized for having no knowledge of the real way of learning, although they had copious knowledge of classical literature. The curiosity for erudition and was regulated, if not replaced by the pursuit of philological study on the Confucian classics. In spite of such idealistic divergence of ‘literati’ and ‘scholar’, literary writing played a significant role in the propagation and expression of scholarship. On one hand, study on Confucian classics and ancient history was advocated in local academies(shuyuan 書院) through the training of prose writing. On the other hand, scholars had to be very concerned about choosing the appropriate genre or the most refined textual form to lucubrate their academic work. Furthermore, debates on the proper form of academic writing made special contribution to the revival of subjectivism in the realm of academic studies. From my perspective, the interaction of ‘wen’ and ‘xue’ played a decisive role in shaping the trajectory of both literary and academic history of late imperial China. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 胡琦. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2015. / Includes bibliographical references (leaves 540-551). / Abstracts also in Chinese. / Hu Qi.

Thesis (M.A.)--香港中文大學. / MS. / Includes bibliographical references (l. 288-303). / Thesis (M.A.)--Xianggang Zhong wen da xue. / 緒 言 --- p.1 / Chapter 第一章 --- 揚雄與莊遵 --- p.5 / Chapter 第一節 --- 揚雄的出身 --- p.5 / Chapter 第二節 --- 莊遵的德業 --- p.8 / Chapter 第三節 --- 莊遵的著述 --- p.17 / Chapter 第四節 --- 蜀莊沉冥與揚雄立默 --- p.20 / Chapter 第五節 --- 莊遵對揚雄治學的影响 --- p.30 / Chapter 第二章 --- 揚雄與司馬相如 --- p.46 / Chapter 第一節 --- 揚雄賦之模擬相如 --- p.46 / Chapter 第二節 --- 揚雄與相如遭際之異 --- p.56 / Chapter 第三節 --- 宣帝時文人的地位 --- p.67 / Chapter 第四節 --- 揚與巴蜀文學 --- p.74 / Chapter 第五節 --- 揚馬與音樂 --- p.80 / Chapter 第三章 --- 揚雄與劉歆行誼之異 --- p.94 / Chapter 第一節 --- 揚雄與劉歆同任黃門侍郎 --- p.94 / Chapter 第二節 --- 揚劉二人之交誼 --- p.101 / Chapter 第三節 --- 揚雄心路抉微 --- p.111 / Chapter 第四節 --- 揚雄在著述中所表現的心迹 --- p.118 / Chapter 第五節 --- 劉歆與王莽之關係 --- p.134 / Chapter 第四章 --- 揚雄之著述及其成就 --- p.151 / Chapter 第一節 --- 揚雄的著作與專集 --- p.151 / Chapter 第二節 --- 揚雄在文學上的成就 --- p.169 / Chapter 第五章 --- 從法言分析揚雄之文學思想 --- p.189 / Chapter 第一節 --- 論文章法度 --- p.190 / Chapter 第二節 --- 論文道合一 --- p.198 / Chapter 第三節 --- 論文質消長 --- p.203 / Chapter 第四節 --- 論賦之諷諫 --- p.213 / Chapter 第五節 --- 論作賦之方法 --- p.223 / 附羅根澤「賦神論」質疑 / Chapter 甲 --- 司馬相如之「賦心」 --- p.223 / Chapter 乙 --- 揚雄「賦神論」質疑 --- p.227 / Chapter 丙 --- 揚雄「神」之觀念探原 --- p.232 / Chapter 第六章 --- 揚雄對巴蜀文學之貢獻 --- p.247 / Chapter 第一節 --- 文翁與巴蜀文教之關係 --- p.247 / Chapter 第二節 --- 揚雄對巴蜀文學之貢獻 --- p.263 / 參考書目 --- p.288

Text in English with abstracts in English, Afrikaans and isiZulu / This six-chapter study is a qualitative research work conducted within the Afrocentricity framework covering the application and testing of three newly found Afrocentric theories in African literature with special emphasis on isiZulu texts. The aim of this study is to test the application of Afrikan Humanism, Intsomi dream theory, and Africentricity theory. These theories were developed as a result of the debate between Eurocentric and Afrocentric scholars in literature and literary criticism. In this study the research comprised of examination of existing literature on literary criticism with particular focus on Afrocentricity perspectives on the literary criticism debate. The researcher employed the purposive sample on the theories as well as on the 5 short stories, and 2 novels on which Afrikana Humanisim, Intsomi dream theory, and Africentricity theory were applied. Amongst the findings, it is evident that South African scholars are still yearning to contribute on the debate and this has led to modifications of theories and development of new ones such as the Afrikan Humanism, Intsomi dream theory, Africentricity theory, African materialist aesthetics, multi-approach reading, systems, inter-cultural. Future research includes continued studies in decoloniality of African literature, orality research and empirical data should be generated to expand the field of African literary criticism with fresh approaches being tested and applied. New theories, literary frameworks need to be further investigated with a view of entrenching the application of Afrocentricity whilst decolonizing literature in Africa. , Materialist, Aesthetics, Literature, Orality, Orature, Decolonisation, Feminism, Theory, isiZulu, culture, tradition. / Feministiese geleerdes voer al geruime tyd 'n warm debat oor die kwessie of die normalisering van kosmetiese chirurgie vroue positief beïnvloed, vroue bemagtig deurdat dit volmag en keuse vir hulle in die hand werk (Gimlin 2002; Kuczynski 2006), of vroue onderdruk deurdat dit patriargale ideologieë voorstaan wat die vroueliggaam inperk en gevolglik die vrou inhibeer om haar stem te laat hoor (Blood 2005; Blum 2005; Clarke en Griffin 2007; Heinricy 2006; Tait 2007). In plaas daarvan om by hierdie debat betrokke te raak, gaan ek van die veronderstelling uit dat die normalisering van kosmetiese chirurgie 'n vorm van implisiete en eksklusiewe geweld is. Aan die hand van post-strukturalistiese, feministiese en psigoanalitiese teorieë ontleed ek die manier waarop hierdie vorm van geweld vroue se liggaam onderwerp en hul psige vorm. Ek dekonstrueer die vorming van die genormaliseerde self, die bewussyn en die daad van belydenis, soos dit in die konteks oorgebring word, aan die hand van Jacques Lacan, Judith Butler en Michel Foucault se beskouings van herderlike oftewel pastorale mag. Hierbenewens onderstreep ek die rol wat liberale feminisme in hierdie vorm van onderwerping speel. Sodoende demonstreer ek teoreties hoe die voortdurende en effektiewe funksionering van pastorale mag in die konteks van ’n individualiseringstegniek vroue in die tweede dekade van die een-en-twintigste eeu onderdruk. Ek maak die aanname dat die normalisering van kosmetiese chirurgie daartoe bydra dat vroue die swye opgelê word, die individu se psige uitgebuit en onderdruk word en die lewende liggaam ontkragtig word deur middel van ’n inkerkering wat minder sigbaar en minder eksplisiet is en agter ’n estetiese en morele sluier verdoesel word. In hierdie konteks bied ek ’n teendiskoers aan vir die onderwerping wat onderliggend is aan die normaliseringsdiskoerse wat die kosmetiesechirurgiebedryf ondersteun, en ek bepleit dat die patriargale norme wat in diskoerse oor kosmetiese chirurgie vassit, gedestabiliseer word. Ek demonstreer verder ’n teoretiese rekonstruksie wat ’n inskripsie insluit van wat ek ’n geloofwaardige feministiese stem in die eietydse verbruikerskultuur noem – ’n modus van intieme, onbewuste opstandigheid. Ek bepleit 'n terugkeer na Julia Kristeva se teorie en die intieme oproer wat deur haar etiese benadering voorgestaan word. Afgesien hiervan stel ek ’n stem voor wat ’n intieme opstand demonstreer – ’n stem wat patriargale norme uitdaag en nie uitsluitlik onderdruk word deur die normaliseringsmeganismes wat vorm gee aan die vrou van die een-entwintigste eeu nie, waar die klem op die kosmetiesechirurgiebedryf en die boliggende diskoerse daarvan val – Antjie Krog, Suid-Afrikaanse digter. Dit is juis Krog se kunstig gestruktureerde digterlike tekste wat my teoretiese rekonstruksie fasiliteer. Aan die hand van Kristeva se teorie oor semanalise toon ek teoreties dat Krog se werk ’n ruimte daarstel wat "uitstyg" bo die grense wat die wet van die Vader en die normaliseringsmeganismes stel. Hierbenewens stel ek ’n "originêre gehegtheid" as aanpassing van Kristeva se beskouing van die chora voor, en my voorstel van ’n "originêre ideaal" daag Kristeva se opvating oor paragramme uit in die konteks van dit wat ten grondslag lê aan die gebied van die paternalistiese metafoor. Op grond van Louise Viljoen se ontleding van Krog se werk en Bridget Garnham se navorsing oor opkomende diskoerse oor ontwerpers- kosmetiese chirurgie bied ek Krog se digterlike tekste aan as ’n teendiskoers vir die "morele" diskoerse oor kosmetiese chirurgie wat die verouderende individu in die tweede dekade van die een-en-twintigste eeu uitbuit. Daarby, deur Kristeva se teorie oor paragramme op Krog se digterlike teks(te) toe te pas, demonstreer ek 'n destabilisering van die patriargale norme wat implisiet in diskoerse oor kosmetiese chirurgie teenwoordig is. Hierbenewens brei ek Kristeva se teorie oor die negatiwiteitsbeginsel uit deur middel van ’n heroorsetting van die belydenisdaad in Krog se digwerk(e), ’n uitbreiding van Foucault se pastorale mag en Butler se opvatting oor die eksklusiwiteit van normalisering, en ’n opeising van Krog se verouderende liggaam in Verweerskrif/Body Bereft (Krog 2006). / Sekubekhona izingxoxo-mpikiswano eziningi kwizifundiswa zama-feminist ukuthi ngabe ukwenza isurgery yohlinzo olungajulile ukuzishintsha ukubukeka ngokwemvelo (cosmetic plastic surgery) kunomphumela omuhle yini kwabesimame, ngabe kuhlinzeka ngamandla kwabesimame ngokuphakamisela phezulu ukuthi umuntu azenzele akufunayo kanye nokuzikhethela (Grimlin 2002, Kuczynski 2006) noma kuyinto ecindezela abesimame ngokuqhubela phambili indlela nama-idiyoloji abekwa ngabesilisa ukuthi imizimba yabesimame kumele ibukeke kanjani, kanti lokhu kucindezela izwi labesimame (Blum 2003, Blood 2005, Heinricy 2006, Clarke and Griffin 2007, Tait, 2007). Kunokuthi iphuzu nami ngingenele kule ngxoxo-mpikiswano, elami iphuzu lona liqhubeka ukusukela kwisimo sokuthi ukwamukela uhlujzo olungajulile lokuzitshintsha ukubukeka kwabesimame (cosmetic surgery) kuyindlela yodlame olungaqondile ngqo kanye nolukhipha inyumbazane abesimame. Ngokusebenzisa amathiyori epost-structuralist, awe-feminist kanye nawepsychoanalytical, ngihlaziya indlela le nhlobo yalolu dlame ecindezela ngayo imizimba yabesimame kanye nokuhlela indlela okumele bacabange nokuzibona ngayo. Ngokusebenzisa iphuzu likaJacques Lacan, Judith Buttle kanye noMichel Foucault lamandla okukhokhela ngokomoya, ngiqhaqha indlela okubumbeka ngayo isithombe sokuzibona, unembeza kanye nomoya wokuhlambulula ngokuzidalula (confession) lapho kubhekwa izinto ngaphansi kwesimo somzimba wokuhlinzwa okungajulile ukuzishintsha ukubukeka ngokwakho. Nangaphezu kwalokho, ngigqamisa indima ye-liberal feminism ngokwayo kule nhlobo yencindezelo. Ngokwenza lokho, ngikhombisa ngokwethiyori ukuqhubeka nokusebenza kwamandla esikhokhelo ngokomoya ngaphansi kwethekniki yokuzazi komuntu eyedwa okucindezela abesimame kwiminyaka elishumi yesibili, yesenshuri yamashumi amabili nanye . Ngiqhubela phambili iphuzu lokuthi ukwenziwa kohlinzo olungajulile lokuzishintsha ukubukeka kuqala umoya wokucindezela izwi labesimame, ukuxhashazwa kwabo, kanye nendlela umuntu azibona ngayo ngokwengqondo, kanye nokucindezela umzimba ophilayo ngezindlela ezingazibonakalisi obala, ezifihlekile, indlela yokubopha efihlwa yindlela yokubukeka kanye nokwembozwa umoya. Kungaphansi kwalesi simo lapho ngethula khona i-discourse yencindezelo eyenza ukuthi imboni yohlinzo olungajulile ukuzishintsha ukubukeka kwabesimame kube yinto ephakanyiswayo nokubonwa iyinhle, ukuphazamiseka kwama-norm endlela yengcindezi yabesilisa, ngaphansi kwama-discourse okuhlinzwa okungajulile ukushintsha ukubukeka, kanye nokwakha ithiyori ebandakanya ukubona izinto ngendlela ethize, engikuchaza njengezwi okuyilo elifanele le-feminism, kwisimo sosiko esiphila ngaphansi kwaso samanje - okuyindlela abantu abazibuka ngayo ezingqondweni ngendlela engekho obala. Ngigcizelela ukubuyela kwithiyori kaKristeva, kanye nokuthi abantu babhoke indlobana ngezindlela eziphansi, okuyinto ayiphakamisayo yenkambiso yokwazi okulungile nokungalunganga (ethical approach). Naphezu kwalokho, ngiveza izwi elibonisa ukubhoka indlobana kwabesimame ngendlela engekho sobala - izwi elifaka inselele kuma-norm okubhozomelwa ngumqondo wokulawula kwabesilisa, kanti futhi leli zwi aligcinanga nje kuphela umumo wabesimame ngendlela ejwayelekile njengowesimame wesenshuri yamashumi amabili-nanye ngokugcizelela kwimboni yohlinzo olungajulile lokuzishintsha ukubukeka, kanye nendlela lokhu okuyisihibe ngayo – ngokusho kukasonkondlo waseNingizimu Afrika, u-Antjie Krog. Imibhalo yezinkondlo zikaKrog ezinobungcweti yiyo eyenze ukwakha kwami kabusha ithiyori. Ngokusebenzisa ithiyori kaKristeva ye-semanalysis, ngibonisa ngokwethiyori ukuthi umsebenzi kaKrog uqambe okweqele ngaleya kwizihibe zomthetho kubaba kanye nezindlela zokwenza izinto zibukeke ngendlela evamile noma zingavamile. Nangaphezu kwalokho, ngifakela i-"originary attachment" njengokwenza ukuthi kube kwesinye isimo, iphuzu likaKristeva ku-chora kanti isiphakamiso sami se-"originary ideal" sifaka inselele kusigcizelelo sikaKristeva ngamagremu efonethiki ngaphansi kwesimo esigcizelela umfanekiso ngasohlangothini lobaba. Ngokusebenzisa ukuhlaziya kukaLouise Viljoen kumsebenzi kaKrog kanye nocwaningo lukaBridget Garnham ngokuvela kwama-discourse ohlinzo olungajulile ukuzishintsha ukubukeka njengesisekelo, ngase ngethula imibhalo yezinkondlo zikaKrog njenge-discourse yokuphikisa ama-discourse e-"moral" yama-discourse ohlinzo olungajulile lokuzishintsha ukubukeka, elixhaphaza abantu abagugayo ngeminyaka eyishumi yesibili kwisenshuri yamashumi amabili-nanye. Naphezu kwalokho, ngisebenzise ithiyori kaKristeva kumapharagramu kwimibhalo yezinkondlo zikaKrog, ngaphazamisa imibono yokuphatha kwabesilisa equkethwe kuma-discourse ohlinzo ulungajulile ukuzishintsha ukubukeka. Ukuqhubekela phambili, nginwebe ithiyori kaKristeva ngesimiso se-negativity ukwethula ukuhumusha kabusha umoya wokuzihlambulula ngokuzidalula otholakala kwizinkondlo zikaKrog, ukuwukunweba amandla umbono kaFaucault wamandla okuthi abantu bazibone ngenye indlela kanye nephuzu likaButler wlkuthi into engavamile engaphandle ibonwe njengento efanele, kanye nokwamukela umzimba ogugayo kwinkondlo ye- Verweerskrif/Body Bereft (Krog 2006). / African Languages / D. Litt. et Phil.(African Languages)

x, 208 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world. / Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology

Text in TshiVenḓa with abstracts in TshiVenḓa and English / The purpose of this study was to contextually describe and analyse how male authors of Tshivenḓa drama books have in their dialogue portrayed female characters in the manner that it may tend to educate or encourage the public to criticize and abuse them in communities and society. In Tshivenḓa literature therefore, some male authors of drama books have tended to misrepresent the characterisation of women. It is presumed that the ways in which women are portrayed in some Tshivenḓa dramas by male authors, tend to normatively educate, socially reproduce and sustain the abuse of women within communities and society in which they live. In most of these drams, male authors have written their bias, contextually depicted women unfairly shown and criticised them in different sorts of ways. The researcher applied the Ethnography of communication, Social constructionism, Feminism and Critical discourse analysis theories. These theories enabled her to understand that language in the hands of authors can be used to reproduce power, dominance, control and power abuse. This led her to focus on related literature which proved that indeed the problem exists. Methodically this is a qualitative descriptive study in which the documentation ‘Document Analysis’ dialogue of seven purposefully selected drama books were considered and data collected. It used Neuman’s (1996) Analytic Comparison which applies the method of agreement and method of difference. When the data was analysed, there emerged themes which carry findings. In brief, the results of this study inter alia show that some male authors of selected Tshivenḓa drama books, described women as weak, poor decision-makers and powerless in communities and society at large. On the other, in the characterisation of men, they show them as social architectures of how women should be seen as depicted, thereby dominated and mistreated objects. It also found that Tshivenḓa culture was misrepresented and incorrectly applied to criticise, dominate, discriminate and justify the abuse of women by husbands and relatives, mainly in-laws. The results also suggest that within the context, male authors socially subject our children (both boys and girls as reader of such books), to indoctrination and social education as unequal partners in society in which they live. / Tshipikwa tshihulwane tsha ino ngudo ho vha u ṱalutshedza na u saukanya nḓila dzine vhaṅwali vha vhanna vha ḓirama dza Tshivenḓa vha shumisa ngadzo nyambedzano u bveledza vhaanewa vha vhafumakadzi uri hu ṱuṱuwedzwe vhadzulapo u vha sasaladza na u vha sathula hune vha ḓiwana vhe hone zwitshavhani. Kha maṅwalwa a Tshivenḓa, vhaṅwe vhaṅwali vha bugu dza ḓirama vha anzela u sa bveledza vhaanewa vha vhafumakadzi nga nḓila i si yone. Zwi dzhiiwa uri nḓila dzine vhafumakadzi vha bveledzwa ngadzo kha ḓirama dza Tshivenḓa dze dza ṅwalwa nga vhanna dzi na u funḓedza, u bveledza na u engedza tshengedzo ya vhafumakadzi hune vha dzula hone na vhukati ha zwitshavha. Kha ḓirama nnzhi, vhaṅwali vha vhanna vha ṅwala vho sendamisa kubveledzele, vha bveledza vhafumakadzi nga nḓila ine vha sathulea lwo kalulaho. Muṱoḓisisi o shumisa thyiori dzo fhambanaho sa ya Nyambedzano ‘Ethnography of communication, ya Vhufhaṱavhuvha ‘Social constructionism, ya Vhulwelambofholowo ha vhafumakadzi ‘Feminism’, na ya Tsaukanyo yo dzhenelelaho ya mafhungo ‘Critical discourse analysis.’ Thyiori hedzi, dzo thusa muṱoḓisisi u pfesesa uri luambo zwanḓani zwa uṅwali lu a kona u shumiswa u bveledza maanḓda, u tsikeledza, u vhusa na u shumisa maanḓa nga nḓila i si yone. Hezwi zwo mu thusa u lumbama kha maṅwalwa o teaho ane khao hei thaidzo ya vha khagala. Ri tshi ya kha Ngona ya ṱhoḓisiso, muṱoḓisisi o shumisa nḓila ya Khwalithethivi he a wana mafhungo nga nḓila ya u sengulusa zwo ṅnwalwaho zwa nyamedzano kha bugu dza sumbe dze a nanguludza zwo bva kha ene muṋe. Ho shumiswa nḓila ya Neuman (1996) ya Tsenguluso yo ṱanḓavhuwaho ‘Analytic comparison’ ine ya shumisa nḓila ya thendelano ‘method of agreement’ na ya phambano ‘method of difference’. Musi mafhungo o no saukanywa, ho bvelela thero dzo hwalaho mawanwa a ṱhoḓisiso. Nga u pfufhifhadza, mawanwa a hei ngudo, o sumba uri vhaṅwe vhaṅwali vha vhanna vha ḓirama dzo nangiwaho vha bveledza vhafumakadzi vhe vhathu vha si na vhuimo, vha sa koni u dzhia tsheo nga vhone vhaṋe nahone vha si na maanḓa hune vha wanala hone na kha zwitshavha. Kha ḽiṅwe sia, musi vha tshi ḓibveledza, vhaṅwali vha vhanna vha tou ḓitakula sa vhomasithesela vhane vha tea u vha na vhukoni ha u bveledza vhafumakadzi, u ralo vha kona-ha u vha ṱana vhe vhane vha tsikeledzwa na u shengedzwa. Zwo ḓo wanala uri na musi zwi tshi ḓa kha mvelele, hunzhi yo shumiswa nga nḓila i si yone saizwi i tshi vho shumiswa u sathula, u tsikeledza, u ṱalula na u khwaṱhisa u shengedzwa ha vhafumakadzi nga vhanna vhavho na mashaka, nga maanḓa vha vhuhadzi sa vhomazwale. Mawanwa a dovha a sumbedza uri zwo ralo, vhaṅwali vha vhanna vha fhaṱa muya kha vhana vhashu (vhatukana na vhasidzana sa vhavhali vha idzi bugu) wa u tou dzivhela na u funza avho vhana uri vhutshiloni hu na vhadzulapo vha vhuimo vhu sa lingani zwitshavhani ngeno zwi si zwone. / African Languages / D. Litt. et Phil. (African Languages)

Thesis (M.A.)--University of South Africa, 2001.

The three works of Procopius of Caesarea, the History of the Wars, the Buildings and the Secret History, form a corpus which can be profitably studied as a whole. My thesis is a typology of the visual in Procopius’ corpus, which is embedded in a study of narrative technique. It concerns itself with the representation of material reality and the complex relationship between materiality and the text. It utilises the digressive and the descriptive as an indirect entry point to expose Procopius’ literary finesse and his use of poikilia. In the first half of this thesis, the main object of my study is the representation of the material world in Procopius. The first chapter is devoted to the first book of the Buildings as it depicts the city of Constantinople. The second chapter moves to the representation of space and the third chapter to that of objects of all sizes and kinds. From these three different angles, I demonstrate how the visual is deeply charged with both ideological and meta-textual intentions. The second half of the thesis goes beyond materiality to examine what I discuss as the imaginaire of Procopius. The fourth chapter examines the way violence is depicted in a material and spectacular manner as well as its meta-textual implications, and the fifth and final chapter addresses the omnipresence of the supernatural in the corpus as well as Procopius’ self-representation as narrator and character. While preoccupied to some extent with ideological and political concerns, this thesis is first and foremost centred on the text itself and how its relationship to the description of material culture throws light on a crucial author on the cusp between the classical and the medieval imaginaire, one of the most significant authors in Byzantine literary culture.

During the Duke of Alençon's second courtship of Queen Elizabeth the Earl of Leicester emerged as the leading opponent of the marriage. At the same time he began to patronize a circle of writers which included Gabriel Harvey, Edmund Spenser and Philip Sidney, who helped to create the 'golden 1 literature of the English Renaissance. In this thesis I investigate their relations with Leicester and by a detailed examination of their main works, such as the Spenser-Harvey Letters, the Old Arcadia, theShepheardes Calender and theFaerie Queene, and their development, show how they reflect the Earl's intellectual and political concerns. I argue that Alençon was a notable patron and that his growing knowledge of his rival's academic interests encouraged Leicester to maintain his own literary faction. One of his aims was to show the French that English culture was not provincial and he demon- strated this in the entertainment The Four Foster Children of Desire for which he was largely responsible. Having outlined the background of the crisis of the courtship I evoke Leicester's life and circumstances during this period, particularly his relationship with the Queen and patronage at Oxford. I then describe the distinctive interests of his circle in law, history, politics and poetry and go on to establish that Alençon took part in the French academic movement and that his courtiers included distinguished poets and thinkers. The second half of the thesis is a series of detailed studies of Harvey, Spenser and Sidney in relation to Leicester, and their writings during the Alençon court- ship. Finally I examine the court entertainments of this period and argue for the Four Foster Children as a turning-point in Elizabethan literature. My conclusion is that Leicester was a more loyal and discriminating patron than he is usually said to have been and that he played a significant part in introducing the 'golden' age of Elizabethan literature.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The epic of Gilgamesh is the oldest recorded story known to humanity. It has a long and complex textual history. The final version of the epic, generally known as the standard version, was produced about 1200 B.C. in the Babylonian dialect of Akkadian by a priest and scribe named Sin-leqi-unninni. The cuneiform tablets upon which the epic was recorded, were rediscovered during the nineteenth century when European archaeologists started digging in the ancient cities of the Middle East, especially Nineveh. Since then the story has been translated into many languages; several English translations have been published. Some of these translations of the epic maintain epic poetic form, others are in prose, and there are a number of versions for children. At the moment no complete version exists in Afrikaans. This thesis presents a translation of parts from Geraldine McCaughrean's English children's version, which was published in 2002. McCaughrean adapts the structure of the standard version, clearly a strategy to make her text exciting for modern readers. The theoretical insights of André Lefevere and Lawrence Venuti form the paradigm for the translation process. Lefevere sees translation as one of a number of rewriting techniques. The detail of such a rewriting is determined by the poetics of the target culture, the patronage which enables such a translation to exist, and the ideological framework within which the rewriting develops. Venuti distinguishes between two translational approaches: a domesticating translation adapts the translation to the target culture and creates the impression with readers that they are reading an original text; foreignising translation makes the readers aware that they are reading a text from another culture. The opportunities and limitations of children's literature and translation for children are explored. Specific attention is given to taboo topics, as a number of these appears in the Gilgamesh Epic. The writers of the children's versions have solved these problems in different ingenious ways. Annotations shed light on the translational challenges and the decisions of the translator. Finally the whole project is evaluated and suggestions for further research are made. / AFRIKAANSE OPSOMMING: Die Gilgamesj-epos is die mensdom se oudste opgetekende verhaal. Dit het ‘n lang en komplekse ontstaansgeskiedenis. Die finale variant van die epos, wat algemeen bekend staan as die standaardweergawe, is ongeveer 1200 v.C. in Babiloniese Akkadies geskryf deur ‘n skriba-priester genaamd Sin-leqi-unninni. Die spykerskriftablette waarop dit opgeteken is, is gedurende die negentiende eeu herontdek tydens argeologiese opgrawings van die verwoeste antieke stede in die Midde-Ooste, veral Nineve. Sedertdien is die verhaal in verskeie tale vertaal; daar bestaan etlike vertalings in Engels. Hierdie vertalings van die epos word soms aangebied as epiese gedig, in ander gevalle in prosavorm, en daar bestaan ook ‘n paar verskillende weergawes vir kinders. Daar bestaan tans egter geen volledige weergawe in Afrikaans nie. Hierdie tesis bied ‘n vertaling van dele uit een van die Engelse kinderweergawes, dié van Geraldine McCaughrean, wat in 2002 verskyn het. McCaughrean pas die struktuur van die standaardweergawe aan, ‘n duidelike strategie om haar teks vir hedendaagse lesers opwindend te maak. Die teoretiese insigte van André Lefevere en Lawrence Venuti vorm die raamwerk vir die vertaalproses. Lefevere beskou vertaling as een van ‘n hele aantal tegnieke van herskrywing. Die besonderhede van so ‘n herskrywing word bepaal deur die poetika van die doelkultuur, die patronaat wat die herskrywing moontlik maak, en die ideologiese raamwerk waarbinne die herskrywing ontstaan. Venuti onderskei tussen twee vertaalbenaderings: ‘n domestikerende vertaling pas die vertaalde teks sterk aan by die doelkultuur sodat lesers van die vertaling onder die indruk gebring word dat hulle ‘n oorspronklike teks lees; en vervreemdende vertaling, waarin die lesers bewus is dat hulle ‘n teks uit ‘n ander kultuur lees. Die moontlikhede en beperkinge van kinderliteratuur en vertalings vir kinderlesers word ondersoek. Spesifieke aandag word geskenk aan taboe-onderwerpe, waarvan ‘n hele paar in die Gilgamesj-epos voorkom, en hoe die skeppers van die kinderweergawes hierdie probleme opgelos het. Annotasies belig die vertaaluitdagings en die vertaler se keuses. Ten slotte word die projek as geheel geëvalueer en voorstelle vir verdere navorsing verskaf.