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Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.

Also submitted by the author as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006. / Includes bibliographical references and index. / 564 p. ; / Title page, contents and abstract only. The complete thesis in print form is available from the University Library.

This work analyzes Cristobal Lozano's (1609-2667) novel: Soledades de la Vida y Desengaños del Mundo (1658) as a representative work of the author's moralizing ideology related to the Counter Reformation. Lozano was one of the most popular writers in Spain during the second part of the seventeenth century. Today, this writer is almost forgotten and finding the majority of his works is becoming difficult. Part of this dissertation, addresses this issue by locating a large section of his literary work, something that has not been done since the beginning of the twentieth century. Another important aspect of this investigation is that it locates the author in the literary map in relation to other outstanding writers such as Cervantes, Calderon de la Barca and other important previous authors. This research also demonstrates, through the literary analysis, some of the most important aspects of the Barroque period as well as the mentality of many of those who lived during that time period in Spain. This literary analysis attempts to show the reader that Lozano was indeed a writer who knew his craft, one who knew what the Spanish Golden Age audience wanted at the same time he pushed his own ideological religious agenda. / text

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published_or_final_version / Linguistics / Master / Master of Arts in Applied Linguistics

"Storied Voices in Native American Texts: Harry Robinson, Thomas King, James Welch and Leslie Marmon Silko" approaches Native American literatures from within an interdisciplinary framework that complicates traditional notions o f literary "origins" and canon. It situates the discussion of Native literatures in a Native American context, suggesting that contemporary Native American writing has its roots in Native oral storytelling traditions. Each of these authors draws on specific stories and histories from his or her Native culture. They also draw on European elements and contexts because these are now part o f Native American experience. I suggest that Native oral tradition is already inherently novelistic, and the stories that lie behind contemporary Native American writing explicitly connect past and present as aspects o f current Native reality. Contemporary Native American writers are continuing an on-going and vital storytelling tradition through written forms. A comparison of the texts o f a traditional Native storyteller, Robinson, with the highly literate novels of King, Welch and Silko, shows how orally told stories connect with the process o f writing. Robinson's storytelling suggests how these stories "theorize" the world as he experiences it; the Native American novel continues to theorize Native experience in contemporary times. Native writers use culturally specific stories to express an on-going Native history. Their novels require readers to examine their assumptions about who is telling whose story, and the traditional distinctions made between fact and fiction, history and story. King's Green Grass. Running Water takes stories from Western European literary traditions and Judeao-Christian mythology and presents them as part of a Native creation story. Welch's novel Fools Crow re-writes a particular episode from history, the Marias River Massacre, from a Blackfeet perspective. Silko's Almanac of the Dead recreates the Mayan creation story o f the Popol Vuh in the context o f twentiethcentury American culture. Each of these authors maintains the dialogic fluidity of oral storytelling performance in written forms and suggests that stories not only reflect the world, but that they create it in the way that Robinson understands storytelling as a form of theory.

Gogol, Dostoevsky and Bely are three Russian novelists, most of whose writings are set in the city of St. Petersburg, and whose feelings for their city were a bizarre mixture of love and hatred. / This dissertation is divided into four chapters, the first of which is a survey of the attitudes held by the literary predecessors and contemporaries of Gogol, Dostoevsky and Bely toward St. Petersburg, and a discussion of the influence of the French feuilletons on the nineteenth-century Russian urban novel. The second chapter is an investigation of the overall image of the city as presented to the reader by the three writers. The predominantly tragic fate of the novelists' heroes is discussed in the third chapter. The final chapter is a study of six major recurrent themes which link the urban novels of Gogol, Dostoevsky and Bely.

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This study, Social commitment in some Zulu literary works published during the apartheid era, was motivated by what was perceived as arrogant and superficial observations by a number of especially foreign-based critics, that all the literature in South Africa African-languages published during the apartheid period was children stuff, not worth the paper it was written on, and that it did not show any effort at commitment to, or at reflecting on the weighty social problems that civil society in South Africa had to bear. In response to such criticism, the study highlights aspects of social commitment in selected literary works, and it also sketches the committed approach as part of the African literary outlook. It traces commitment in oral traditional literature, where it appears that the great preoccupation of the oral society was that none of the achievements of the human spirit get lost. The proverbs clearly reflect on, and offer directives for, day-to-day problems, while myths represent reflections on the fate of man and the world. Folktales use common problems in life and family as the basis for the conflictual situations to be resolved. Izibongo (praise poems) declaim the heroic deeds of our leaders, trace our history, and demonstrate that, even in moments of glory, the needs of the people must be taken care of on pain of being negatively labelled with invectives that will reverberate through the centuries. In a brief survey on the early 20th century stages of South African literature in African languages (Zulu, Xhosa, S. Sotho) it was noted that our pioneer writers made a gigantic effort to experiment with genres, forms and contents, and, in the process, to reflect on the anxieties caused by the often bewildering encounter of Mrica with the west. Our early writers excel in creating poetry that amalgamates tradition and modernization, but in the narrative genres they seem to be able to be more genial and creative when they deal with historical material, possibly because they feel more at home with an inspiration that imitates the glorious praise poetry and are thus able to deal with the present in terms of past events, without upsetting critics or education authorities. Then the decades of the expected maturity arrived -from the 1960s to the 1990s, but the seeds of vibrant originality sown during the previous period were cruelly trampled over and squashed, possibly by both the apartheid-appointed censors and by the fear that they would object to any 'committed' writing and destine it for the dustbin. Fear, self-imposed censorship, and possibly more than a little laziness hampered vigorous developments of literatures that had appeared very promising at their emergence. Listed here are a number of works in Xhosa, Southern Sotho, Zulu and Shona. The contributions of English and Afrikaans works to South African literary development are also outlined. The fact that most works were meant for schools caused a further restraint on originality and creativity, although it should have spurred the authors on to do their very best, because through the schools they were moulding the future of the nation. But a number of authors were valiantly able to overcome the general self-defeating frustrations and to rise to the challenge of producing excellent material, outstanding in both form and content. Some such works are examined and exemplified in the thesis. One of I.S. Kubheka's novels, Ulaka LwabaNguni, is analysed to show the depth of the conflict between Africa and the west, between country and city life, between western schooled and traditionally educated people. The new ways could become a monster that swallows everything and everybody, specially if one is unable to keep the animal on the chain of ubuntu that allows only as much westernization of the mind as can go hand in hand with the greatest traditional values. Then follows the analysis of three historically based plays and one novel. History offers the opportunity of speaking about the present by describing the past. Msimang and Zondi do exactly this, and offer visions of today's social problems that become clearer when placed on the lips of people such as Mkabayi, Shaka, Cetshwayo, Bhambatha. Each of these works is a clarion call to wake up and be counted, because the new Africa is rising, both soulful and promising, full of expectations if one is able to overcome present day restrictions. The author of this research fervently hopes that this work will produce better understanding among the South African races, and give birth to an era of multilingualism and multiculturalism, where the differences are treatgd115 gifts rather than obstacles. The country is great, and its populations present an extraordinary wealth of life and experience, especially when all is viewed through the prism of the colours of the rainbow, generously reflected in the new South African flag. / Thesis (Ph.D.)-University of Natal, Durban, 2002.