This thesis follows the interaction of "double-voicing" and "double-consciousness" in Native American literary history. It begins with surviving records from the time of colonial contact and ends with works by Leslie Marmon Silko and Thomas King, two contemporary authors of the Native American Literary Renaissance. "Double-voicing" is a common feature found in many works preserved by early anthropologists from various Native American oral traditions. However, after colonial contact this feature largely disappears from literary works written by Native American authors, when it is replaced by the societal condition "double-consciousness." With the revitalization of cultural knowledge in the mid-twentieth-century, Native authors also revitalize their rhetorical techniques in their writing and the "double-voice" feature reemerges coupled with a bicultural awareness that is carried over from "double-consciousness." / vi, 98 leaves ; 29 cm.

This thesis discusses the role of the "false Messiah" in modern Yiddish Literature. / The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe. / Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.

The cultural and historical context in which La hija del adelantado was first published in 1866, is very important in this study because it helps us understand why Milla chose to write about the early colonial past, and why he valued the traditions and customs of those years. It is also shown how the author---mixing history and fiction---denounces the system of exploitation practiced by the colonizers of America, and uncovers the historical roots of some of the contemporary problems that affected the Guatemala of those days. / The main purpose of this work is to highlight the importance that Jose Milla places on his country's history, and to demonstrate that through the rewriting of the colonial past, the author contributes to the building process of the national identity. Also emphasized is the way in which Milla---giving priority to national history and to America's natural forces and beauty---places La hija del adelantado, as Guatemala's foundational text.

This thesis examines the use of the pastoral form in recent Canadian literature. As the pastoral constitutes a literary site where a concern for landscape converges with a search for community, it has been employed as a myth in nationalist discourses whose functioning depend heavily on symbolized landscapes and idealized social types. The philosophical basis of the pastoral is the classical opposition between nature and culture. For this reason, its representations are often coded as 'natural'. To this extent, the pastoral participates in a hegemonic myth-making system, constituting a limited semiotic field in which certain representations are privileged while others are negated. Following Marx and Barthes, the thesis contends that an attack the nature/culture opposition is essential to undermining the hegemony of the myth-making process. In the context of nationalism, a pastoral can articulate a critique of dominant a 'naturalized' representations when it questions its own use of the nature/culture opposition.

The following paper will deal with the actantial place of memory and history in the works of Ge Fei, a so-called avant-garde writer in China. Analyzing his three major novels published in the nineteen-nineties, as well as an earlier short story, the paper will discuss how Ge Fei renegotiates the status and place of the literary subject as configured through the act of writing, and its close relationship with the medium of memory and history. Contrary to the prevailing opinion, the avant-garde experiment in Ge Fei's works does not intimate the dissipation of the subject, but rather assists in reconfiguring it in an entirely new and dynamic conceptualization. Instead of a figural e/End and vulgarization of literature in the nineties, Ge Fei's experimentation with the acts of writing and reading, as well as his play with language, open up new possibilities for the writing of new literatures in contemporary China.

This thesis examines the middle ground between dual strands of sexuality/gender and race/ethnicity, which I refer to metaphorically as a fluid space of possibility between the rainbows of the pride flag, which celebrates sexual diversity, and the image of the rainbow nation, which celebrates multiculturalism. I discuss ways in which lesbian, gay, bisexual and transgender issues and rights have been discursively treated in the West as well as Africa, most particularly South Africa. I note that a substantial number of novels which appeared after 1994 and have a South African setting or were authored by South Africans, employ the trope of bisexuality. This new preoccupation with bisexuality is parallel to attitudes towards change, the future, and progressive politics, including gender politics. Representations of bisexuality in each of the texts I examine vary; however, together they form a crucial cartography of a liberalization of the imagination in post-apartheid South Africa: a space of anxiety and hope, a space particularly revealing the ongoing evolution of a national identity, and newly part of a global community. Reading bisexuality accurately contributes to the disruption of binaries and illumination of the interstitial associated with the post-apartheid moment in general, and contemporary South African literature and literary criticism in particular. This method of reading, which I call "biopia," allows for a fresh understanding of sexuality, gender, race, citizenship and authority. / Thesis (Ph.D.)-University of KwaZulu-Natal, 2005.

India has complex and sophisticated oral tradition which ha s developed over millennia. The Sanskrit language has had an enormous influence over the whole of India, especially its oral tradition. The advent of the literate tradition in India which began approximately five thousand years ago preserved (in writing) much of the oral style elements. In chapter I of this dissertation the influence of the Sanskrit language and its oral transmission to various parts of the globe are briefly traced. Marcel Jousse, in the early part of this century, developed theories involving the anthropological basis governing human expression. These are rooted in mimism, bilateralism and formulism. Chapter 2 of this dissertation briefly outlines the principles of Jousse's theories and provides a brief overview of orality - literacy studies. The views of other experts in the field like Parry, Lord, Finnegan and Ong are also discussed. The Bhagavadgita (the chosen text) is a popular religious text among Indians. Its style encapsulates the oral style elements of Sanskrit literature. A brief summary of the first six discourses which cover the philosophy of Karma Yoga are provided in Chapter 3. Selected slokas (couplets) of these discourses are used as a basis to discuss certain formulaic techniques like a dialogue within a dialogue, application of the Parry-Lord theory, use of imagery (including simile, comparison and metaphor), use of honorific names and the significance of numbers as mnemotechnical devices. All these are elements of oral style. The discussion of the philosophy of Bhakti Yoga (Yoga of Devotion) takes up the next six discourses (discourses 7-12) of the Bhagavadg1ta. Chapter 4 provides a brief summary of these discourses. The elements of oral style which are i dentified and discussed among slokas (couplets) in these discourses are the propositional geste, parallelism, key words in a recitation and contextual meaning. The final chapter (chapter 5) deals with the philosophy of Jnana Yoga (Yoga of Knowledge). The slokas (couplets) of the next six discourses (13 - 18) which cover this philosophy are used as a basis to identify and discuss the nine characteristics of oral style as described by Ong, borrowing from other sources, alliteration and assonance which are further elements of the oral style. This dissertation concludes that the oral formulaic style has played a significant role in preserving the uniqueness, freshness and originality of the Bhagavadgita. / Thesis (M.A.)-University of Natal, Durban, 1995.

In this dissertation an examination of oral style in the Sixteen Vedic Sanskaras with particular reference to the Naming, Marriage and Death ceremonies, has been made. Sanskaras, which originated in the Vedas, have been orally transmitted from teacher (Guru) to pupil from generation to generation. The Introduction outlines the role of Sanskaras in the life of a Hindu and its link with the ancient Vedas. The oral features that facilitate memorisation and transmission of the Mantras are mentioned. The three universal anthropological laws of Marcel Jousse are applied. The first chapter focuses on the theoretical framework of orality where important terms are defined. The contribution of Marcel Jousse and Ong are highlighted. The orality-literacy continuum is elaborated upon. The important role of memory skills as a facilitator of the transmission of knowledge is explained. The second chapter deals with the origin and the classification of Vedic literature. The role of the Sacred Fire (Yajna) in Sanskaras is emphasized. It is around this ritual fire that the ceremony and the oral traditions revolve. The fire is central to all the rites and ceremonies and the litanies constantly refer to the fire as the vehicle of transmitting the aspirations of the devotee to God. The third chapter states the reason for the choice of the topic and summarises each of the sixteen Vedic Sanskaras. This is followed by the identification of oral elements in the Naming ceremony. The evidence of orality in the marriage ceremony features in chapter four initially establishing the importance of the marriage ceremony and thereafter outlining the essential steps of a Hindu marriage. The death ceremony is described in chapter five with special reference to evidence of oral style expression therein. The conclusion emphasizes the role of orality in keeping alive the Hindu tradition and customs. It also augurs well for further research in Vedic literature. / Thesis (M.A.) - University of Natal, Durban, 1995.

This dissertation is accompanied by a video recording of the performance of the yajna and an audio recording of the mantras (sacred verses) recited during the performance. This thesis endeavors to illustrate how oral style elements are used to accentuate the mantras during the performance of the yajna. The mantras and the yajna itself, have its roots in the Vedic scriptures which have been transmitted orally from generation to generation. In chapter one, "Introduction", a brief description of the concept of Hinduism which forms the basis of my investigation is presented. An individual's life, according to Hinduism, is divided into four stages and the performance of yajna features prominently in the sixteen Vedic sanskaras. In chapter two, the term yajna is defined and the origin of yajna as reflected in the Purusa Sukta is discussed. The five main daily duties or Panca Mahayajna, presented for the welfare and progress of the individual and society are explained. It must be noted that the Panca Mahayajna are not necessarily all rituals or rites but rather social or human commitments, which are a part of the Vedic code of ethics. However, the Deva Yajna or Agni-hotra or yajna as it is very commonly known to Hindus, is a ritual that is performed. The Devayajna forms an integral part of the Panca Mahayajna. The third chapter outlines some of Marcel Jousse's thoughts, views and ideas about oral style expressions relevant to the yajna. The universal anthropological laws of Formulism, Bilateralism, Mimism and Rhythmism as propounded by Marcel Jousse are highlighted. Key concepts like gesture, memory, rhythm and oral expression, used as facilitators for the transmission of knowledge are explained. this chapter forms part of the conceptional framework of the study. Chapter four focusses on the definition of oral tradition The Vedas, an example of Hindu literature reflecting oral tradition, are discussed. Some interesting comments tracing the authenticity of the Vedas and facts declaring the Vedas as the source head of all knowledge about human behaviour also feature in this chapter. In the fifth chapter, the procedure, explanation and analysis of the gestural and oral expressions as reflected in the performance of the yajna are examined. The anthropological laws of Marcel Jousse are applied in the recitation of the mantras and the actual performance of the yajna. Mnemotechnical devices that facilitate memorisation, featuring in the mantras are discussed. The conclusion emphasises the role of oral style elements that are evident in the yajna and explores the possibility for further research in Vedic literature. / Thesis (M.A.)-University of Natal, Durban,1999.

Why the Buddhist Pali Canon? Why the Brahmajala Sutta? Will this dissertation contribute anything new and valuable towards Orality-Literacy Studies? It was with much anxiety and apprehension as well as intimidation in remembering the words of Jousse (1990): "A man who writes a book deriving solely from other books contributes nothing new." ...... that the choice of this topic became finalised. The Brahmajala Sutta commences with the words: "Evam me sutam" (Thus I have heard) It is the written representation of an oral form that came into existence as the culmination of an established authentic oral tradition that had its origins in the 5th Century B.C. It became preserved in written form in the 1st Century B.C. with the purpose of canonizing the Discourses of Gotama Buddha. These were and still are oral elements transmitted orally and the written text abounds with such as mnemotechniques, repetitions, refrains, sound and rhythmic patterns, silences and pauses that are germane to the content and comprehension of the sutta (discourse). This text which has survived many centuries holds much fascination as it attaches a meditative dimensions to the Orality-Literacy continuum since the meditative repetition of its verses aims at the spiritual transformation and enhancement of the individual. Le Roux (1991: 48) asks, "Is it possible to rekindle a live relationship with this ancient text, which is now only available in printed form?" In answering her question she states, "It is possible when the present day reader realises that this sutta has a dynamic vitality of its own, that it is able to challenge, communicate and demand a response from the interpreter. Inevitably, the reader is drawn into an involvement with the message of the sutta which Ricoeur (1967:354) calls, "a passionate, though critical relation with the truth value of each symbol." When the two horizons meet, that of the present day reader and the ancient text itself, understanding becomes a reality. That is possible notwithstanding immense differences in time, language and religio-philosophical beliefs." This dissertation is not intended to be an exegetical analysis of the Brahmajala Sutta, for which, in any case, it affords neither scope nor range. What it seeks to do is to explore how the text came to be fixed in its present form, as well as to appreciate the processes that lie behind its formulation, and most important of all, to attempt to understand what intrinsic qualities it possesses that give it its "dynamic vitality." In the first three chapters, the text is placed against the historical, sociological and cultural contexts of the Buddhist Pali Canon. This information is essential as it provides the background necessary for the comprehension of important aspects of the sutta. Chapter Four locates the position of the Brahmajala Sutta within the giant corpus of material embraced by the Buddhist Pali Canon and Chapter Five presents the structural formulation of the text. In Chapters Six and Seven, the oral compositional process with its use of formulaic devices comes into focus within a semantic, morphological and phonological analysis. I emphasise that since I consider my knowledge of the Pali Canon to be relatively limited, I have had to rely on the works of the many eminent researchers whose names appear in the Bibliography, for the information contained in the first three chapters. / Thesis (M.A.)-University of Natal, Durban, 1992.