Lwethulwa ukufeza izidingo zeziqu ze Master of Arts emnyangweni wezilimi zomdabu namasiko kwangqondonkulu waKwaZulu, 2018 / Lolu cwaningo luhlelwe lwaba yizahluko eziyisikhombisa ezimayelana namagalelo kaWanda M.E. ekubhalweni kwenoveli ethi: Kunjalo-ke kugxilwe kwisakhiwo, abalingiswa nengqikithi. Isahluko sokuqala sethula ucwaningo jikelele ngokucwaningisisa izinjongo zocwaningo, intshisekelo noma inkuthazo yocwaningo. Lesi sahluko sethula nezindlela ezisetshenzisiwe ngesikhathi kuqhutshwa lolu cwaningo kanye nemidiyo yocwaningo jikelele, abazohlomula kulolu cwaningo kanye nemibono yongoti. Kube sekwethulwa uhlaka lwezahluko zocwaningo kanye nesiphetho sesahluko sokuqala. Isahluko sesibili sethula izinsizakuhlaziya ezahlukene ezisetshenziswa uma kuhlaziywa inoveli. Kugxilwe kulezi ezibonakala zihambisana nenoveli ecwaningwayo. Kugxilwe kulezi: Ukulandisa, injulasakhiwo kanye nenjulasimo. Kubuye kwabhekwa ngeso elibanzi injulalwazi yepostmodern nobudlelwane bayo ekuhlaziyweni inoveli. Lesi sahluko sibe sesiveza amanqampunqampu omlando kaMjajisi Wanda ongumbhali wenoveli ecwaningwayo kanye nesiphetho sesahluko. Isahluko sesithathu sethula indaba kaWanda ngamafuphi kanye nesakhiwo sayo. Kuqalwe ngendaba ngamafuphi, kwalandela isakhiwo sale noveli lapho kugxilwe kulezi zihloko ezilandelayo: isihloko senoveli, isingeniso senoveli, umzimba wenoveli kanye nesiphetho senoveli. Kubaluliwe ukuthi umlingiswa omkhulu enovelini kaWanda uDumazile ngoba nguye obhekene nenkinga yokungabi nasimilo. Indaba ingaye kusukela indaba iqala ize iyophela. Isahluko sesine sethula abalingiswa abatholakala emsebenzini kaWanda. Kudingidwa izinhlobo zabalingiswa, indlela abavezwe ngayo kanye neqhaza labo endabeni ekukhuliseni udweshu phakathi kwabalingiswa. Kubalulekile ukuba abalingiswa benoveli bakholeke ngoba inoveli kumele kube yindaba engenzeka ngempela hhayi inganekwane nje. Isizinda ikakhulukazi indawo, inkathi nesimo senhlalo yabo sibe nomthelela omkhulu ebunjalweni babo. Udweshu olukhona phakathi kwabalingiswa lukhuphula ilukuluku lokuyifunda le ndaba. v Isahluko sesihlanu sihlaziya indikimba nomlayezo odingidwa yinoveli ecwaningwayo. Kuvelile ukuthi ukungabi nomngani oyedwa oshiyelana naye ugwayi kubhebhethekisa igciwane lengculazi. Ukuthandana kwabantu besilisa abadala namantombazane amancane ngoba begabe ngemali kube yimbangela yokugula nokufa kwabalingiswa ababalulekile. Ukulimala kwemindeni ngenxa yokungaziphathi kwabashadikazi, ukusala kwezintandane, ukungasebenzisi amajazi omkhwenyana, ukubalekela ukuhlolela igciwane lengculazi kubhekiwe kulesi sahluko. Kube sekuphethwa lesi sahluko. Isahluko sesithupha sethula eminye imihlabahlose ekubhalweni kwenoveli kaWanda. Kulesi sahluko kubhekwa isizinda, udweshu, ulwazi lwangaphambili, isu lokubikezela, isu lokujeqeza kanye nobudlelwano phakathi komoya nephimbo elitholakala enovelini kaWanda. Le mihlabahlose esetshenzisiwe njengesizinda iveza ukuthi okaWanda uyihlabe esikhonkosini ngokudingida ngempilo ehlupha imiphakathi eminingi kulesi sikhathi. Ukubhidlika kwesimilo kubantu yikhona okubulele imiphakathi eminingi. Indlela abantu abangazicabangeli ngayo sebenza amahlazo asobala. Kube sekuphethwa lesi sahluko. Isahluko sesikhombisa simayelana nokuhlaziya, izincomo, izimfundiso eziqukethwe yinoveli kanye nokungenziwa ngokuzayo. Izimfundiso ezivela kule noveli zibaluliwe njengokukhuliswa komntwana ekhaya, ukuthandana kothisha nabafundi, ukuthandana kobaba abadala namantombazane amancane, ukuzalela ekhaya kwamantombazane, umkhuba wokuyobhula kanye nobusoka kumele kubhekwe ngeso elibanzi njengoba kuvela njengomthelela nokutheleleka nokufa kwabantu yisifo sengculazi. Kube isiphetho socwaningo jikelele.

Creative practitioners, undertaking practice-led research, theorise their practice within an academic domain. Within a three-tiered, performative research paradigm, this project researched writerly identity during the writing of a novel and exegesis. Firstly, based on the writer’s experience with creative and academic writing, the differences were explored through two first-person narratives in a frametale novel, The Fragility Papers, a process documented by critical and reflective journaling. Secondly, the insights gained during the writing of the novel were theorised within the domain of creative writers. Thirdly, the understandings embedded in the novel were considered in the light of these insights and those gained during writing of the exegesis and further theorised within the areas of voice, the writing process and ontological change. Novel writing, it was found, drew not only on the imagination, research, in-flow stream of consciousness writing and serendipitous occurrences but also on personal embodied inscriptions, linguistic play, logic and reason in the development of narrative coherence, forward planning, previously unidentified editing values based in the sonority of language, and a knowledge of the expectations associated with the literary genre. Acknowledging this breadth of experience led to changes in the writer’s creative-writing process, a questioning of the theorised sole influence of language based texts as proposed in intertextual theory, and the proposal to italicise ‘text’ within intertextual to accommodate this breadth. The theorising of insights and emerging, experiential knowledge during the writing of the exegesis was realised in a series of evolving drafts in which interiorised knowledge was increasingly drawn upon in stream of consciousness writing. Further, in both genres, the dialogic engagement of the writer in conscious and unconscious activity at different stages of the writing process was found, suggesting that unconscious activity has a larger than envisaged role to play in academic writing.

La thèse porte sur l’adaptation cinématographique d’une œuvre littéraire considérée comme inadaptable, Le Hussard sur le toit de Giono, paru en 1951. Le roman de Giono et le film de Jean-Paul Rappeneau, sorti en 1995 et portant le même titre sont tous les deux une représentation fictionnelle d’un passé historique. Le roman et le film racontent l’histoire d’un exilé politique italien qui se conduit en héros généreux lors d’une épidémie de choléra au XIXe siècle en France, mais ils utilisent des codes différents et ont chacun des éléments constitutifs spécifiques. Notre démarche a eu pour but de savoir quelles sont les logiques respectives du récit romanesque et du récit cinématographique. Pour cela, après avoir défini l’adaptation, nous avons situé le roman et sa signification dans l’oeuvre de l’auteur, puis nous avons dégagé les caractéristiques de l’univers romanesque de Giono, qui écrit souvent à la manière d’un cinéaste. Nous avons étudié le film du point de vue des étapes successives de sa réalisation, du scénario au tournage et au montage, en montrant quelles étaient ses techniques et comment la diffusion a été faite. Nous avons ainsi montré qu’il y avait plusieurs transcodages du texte au film. Nous avons comparé les deux récits et nous avons trouvé que le cinéaste doit répondre à des contraintes techniques, et structurer en fonction du médium filmique. Rappeneau fait des transformations et met en valeur l’histoire d’amour du roman, en conservant son esthétique. Il propose donc sa lecture de l’œuvre et son interprétation. Le cinéma permet de découvrir de nouvelles œuvres, celles qu’il réalise et aussi celles qu’il adapte. Il permet ainsi d’initier à la culture. Ces aspects sont très importants dans la transmission d’une langue, en particulier le FLE dans le contexte soudanais. C’est pourquoi nous proposons une exploitation didactique basée sur notre expérience à l’université. L’analyse littéraire et filmique sont des moyens pour transmettre et comparer la langue et la culture, faire connaître une société et renforcer la motivation dans une ambiance de plaisir. Ce sont des sources de connaissance et de savoir-faire. / The thesis is about the cinematographic adaptation of a literary work considered as inadaptable, The horse man on the roof published by Giono in 1951.The novel of Giono and the film of Rappeneau (released in 1995 with the same title) are both a fictional representation of a historical past.The novel and the film tell the story of an Italian political exile who behaves like a generous hero during a cholera epidemic in the nineteenth century in France. They use different codes and each have specific constituents.Our aim was to find out what are the respective logics of the fictional narrative and the cinematographic narrative. For this, after having defined the adaptation, we have located the novel and its meaning in the author's work, and then we have revealed the characteristics of the romantic universe of Giono, who often writes in the manner of a filmmaker. We studied the film from the point of view of the successive stages of its realization, from scenario to filming and editing, showing what were its techniques and how the diffusion was made.We thus showed that there were several transcodings of the text to the film. We compared the two stories and found that the filmmaker must respond to technical constraints, and structure according to the filmic medium.Rappeneau transforms and highlights the love story of the novel, while maintaining its aesthetic. He therefore proposes his reading of the work and his own interpretations. The cinema makes it possible to discover new works, those that it realizes and also those that it adapts. It allows initiating to culture. These aspects are very important in the transmission of a language, especially FLE in the Sudanese context.That is why we offer a didactic exploitation based on our experience at the university. Literature and film analysis are means to transmit and compare language and culture, to make a society known and it also reinforce motivation in an atmosphere of pleasure. They are sources of knowledge.