Thesis (Ph.D.)--Tufts University, 1993. / Submitted to the Dept. of Drama. Adviser: Downing Cless. Includes bibliographical references (leaves 204-212). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (Ph.D.)--Ohio University, June, 2006. / Includes bibliographical references (leaves 134-136)

In the twentieth century several writers from Rilke onwards have written prose works which deal with various problems of personality in a manner far removed from that of the traditional 'linear' novel, where events appear more or less chronologically and there is a fairly consistent point of view. Both Max Frisch and Uwe Johnson, while recognizing that in this century the serious novelist may no longer be able to assume the omniscience of a Balzac, have disclaimed all connection with any particular school of literary or psychological theory. Both however write novels of apparently loose construction, like Rilke and Hesse before them; the critic must therefore seek to establish whether Frisch's and Johnson's claims to literary independence are justified by true originality in their novels, and above all whether their use of non- traditional form makes a valuable contribution to the significance of each of thair works, or whether this 'form' is after all simply a means of creating a spurious appearance of profundity and complexity. Frisch's early novels, Jürg Reinhart and Die Schwierigen, reveal signs of influence in their subject matter by Albin Zollinger and Gottfried Keller, and show no remarkable manipulation of form. In the former work, the construction is loose, a number of different individual problems being touched upon and either left undeveloped or summarily solved with unfounded optimism. It Is a youthful work of some charm but little depth or originality. The looseness of construction of Die Schwierigen, which is written in fragments of considerably varying length as opposed to the traditional chapter division, is more justified as an expression of the theme which embraces all the main characters: the theme of the vanity of the attempt to find absolute freedom, the drifting aimlessness of life with its autumnal atmosphere of beauty and decay, which contrasts well with the characters' mistaken efforts to achieve aims beyond their abilities. This is the first albeit slight indication in Frisch's prose writing that he has begun to make the manner of presentation convey to the reader some truth which the central figures do not fully perceive. It is the contrast between what the central figure knows of himself and what is revealed to the reader by the particular manner of presentation which characterises Frisch's next novel Stiller, written after an interval of ten years in which Frisch had given much thought to literary matters, including Brecht's theory of 'alienation', the forcing of reader or audience to think rather than respond emotionally. Frisch's central concern in the sphere of human relationships emerges in this period before Stiller. The disastrous effects of 'image-making' preoccupy him, of creating a set picture in one's mind of oneself and of others and behaving accordingly. This is the source of Stiller's guilt: in the past he has constricted his wife by his view of her, and in the 'present' he is trying to refashion his own identity because he cannot accept his own insignificance and weakness as final. But the fight against 'images' is carried also into the form of the work: the reader is not told Stiller's qualities, nor precisely what is happening to him. He is faced with a series of fragmentary notebook entries, and the gulf between Stiller's inflated view of himeelf and his basic weakness can be fully appreciated only by careful attention to the types of material Stiller includes in his notebooks, to their relative proportions, and to the frequency of their occurrence. There then emerges the picture of a man longing to impress, haunted by failure but basically wilfully blind about his own nature. The reader watches his gradual progression from confidence to humbler fear, and near despair, but is also able to detect the remnants of pride and ridiculous hope which he carries with him into his 'new' life as Stiller, in which the old difficulties then sadly recur. The overall theme of the danger of making set images of oneself and others emerges most clearly in the 'Nachwort', but as well as clarifying, it also carries on the theme, as it is written not by an anonymous narrator, but by a character already introduced whose vision is clearer than Stiller's although still limited. Absolute, active self-acceptance is seen to be an immensely difficult task, and perfect self-knowledge impossible, but there are degrees of honesty, and the reader is made to fight like the characters for depth of understanding through the fragmentation. In his next novel, Homo Faber, Frisch presents a different type of misunderstanding of self. Faber is a man whose practical, unemotional approach to life has been fostered by his job as a 'Techniker', and his image of himself is that of an eminently rational man, rationality and logic being his criteria of worth. But again the central figure is made - by the arrangement of the fragmentary material - to give himself away against his own knowledge and will. Having lived for years a somewhat selfish bachelor existence without regard for the feelings of others, Faber is shaken by the death of a young girl who attracted him and then proved tragically to be his daughter. He refuses to believe that the 'faults' of his nature - the excessive practicality - are responsible for this death, and yet is sufficiently disturbed to attempt to prove this on paper. There is indeed some doubt as to whether this accusation which would appear to be held against him really is justified. The work is also marred by indications that we are perhaps to understand the tragic events as retribution for past inadequacies in Faber: the question of the nature of Fate in the novel is an intricate one and suggests Frisch may not have clarified his purpose sufficiently. But the work can move the reader nevertheless. Faber is shaken into the discovery that in his own nature there was a sensitivity and emotional capacity he had denied, and that emotion, personal devotion to others can bring intense joy, which he has missed. But this recognition he long fights against, and it emerges primarily through the subjective unchronological ordering of his account of the tragedy: the depth of his attachment to Sabeth, for instance, is shown by his care to try to prove his unconcern, his reluctance to describe her death. The role of Fate since it cannot be accepted literally could be seen simply as an overall framework, to emphasise the seriousness of the events, and yet it is liable to antagonise the reader by its anachronism nevertheless. However, the reader is also justifiably challenged, as in Stiller, to participate in and thence to understand the painful process of a mind used to understanding but now fitting for clarity, yet fearing to reach it. We - like Faber - progress in understanding without ever reaching a complete 'image'. Mein Name sei Gantenbein, however, can be accused with even more justification of lack of clarity. The fragmentariness no longer seems a means to provoke the reader to active thougfct, but rather to mystify him. Although the work's roost outstanding feature is humour, it is not unambiguously gay: there are serious moments which suggest a psychological crisis such as formed the basis of the two preceding novels, but no one aspect of the work dominates sufficiently for it to be seen as a 'Schelmenroman' or as the profound record of a struggle for new identity. It seems rather to be the product of unclear intention shielded by a form of apparent complexity - a confused, mystifying rather than stimulating work, whereas the preceding two novels both made use of 'mystery' as a structural element to capture attention initially for serious problems.

Thesis (Ph. D.)--Ohio State University, 1987. / Includes vita. Includes bibliographical references (leaves 369-376). Available online via OhioLINK's ETD Center.

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In isiZulu and English abstract / Lolu cwaningo lucubungula amagalelo kaLawrence Molefe ekubhaIweni kwemidlalo yakhe emibili ethi Bengithi Lizokuna kanye nethi Bahlukumezekile Behlakaniphelana Nje. Inhloso yocwaningo kule midlalo ukubheka ukuthi abalingiswa bayo bethiwe kanjani na? Lolu cwaningo luhamba luthinte izinsiza kuhlaziya esingathi amathiyori (theories) nendlela aytha abalingiswa bakhe ngayo kanye nesitayela esisetshenziswe umbhali kule midlalo yakhe emibili. Kukhethwe le mibhalo kaLawrence Molefe ukuze sibone ukuthi ingabe kukhona okusha esingakufunda kuye uma sibheka indlela aytha ngayo abalingiswa bakhe nokuthi uhambisana kanjani kuyiphiramidi kaFreytagi (1863). Lo msebenzi wehlukaniswe waba yizahluko eziyisithupha . Lolu cwaningo lubhekelele indlela elandelwayo uma kwethiwa amagama ukuthi ingabe indlela efanele nokuthi okuphi okumelwe kulandelwe uma kwethiwa amagama. Kubhekwa ukuthi ikuphi lokhu kubaluleka okuqukethwe ukuba khona kwegama emuntwini. Kuyazeka nokho ukuthi lolu hlobo locwaningo lunalo izingqinamba okuhlangatshezwana nazo okungaba ukungatholi izinsiza ezifanele ezizoba nolwazi olwanele mayelana nokwethiwa kwamagama ikakhulukazi asuke ebhalwe ngesiZulu. Kuyatholakala ukuthi kwezinye izilimi akuyona inkinga kangakho ukuthola ulwazi olusuke luxhumene nalo mkhakha. Miningi imiqulu ekhiqiziwe ewusizo ngezilimi zesiNgisi ikakhulukazi. Lokhu kusho ukuthi kumele umcwaningi embule ambulule azame ukuthi abe nezindlela eziphusile azokwazi ukuzisebenzisa ukuqhuba ucwaningo lwakhe. Kubuye kubeke umcwaningi ethubeni lokuthi abheke phela ukuthi izinhloso zocwaningo lwakhe ziwela emkhakheni wesikhashana esifushane noma wesikhathi eside. Kodwa lokhu kuchaza ukuthi azibhekelele lezo zinhloso uma eqhuba ucwaningo lwakhe. Kubalulekile ukuthi umcwaningi abheke ukuthi iyiphi ithiyori yokwethiwa kwamagama angase ayilandele nokuthi athini manye mathiyori na. Lokhu kubuye kweyame esifundweni esitholakala ekwethiweni kwamagama. Kuhle futhi ukuthi sethulelwe ukubaluleka kocwaningo lapho kubhekwe ukuthi yini ezocwaningwa emagameni abalingiswa nokuthi yini edala ugqozi olungaka noma intshisekelo yokwazi kabanzi ngokwethiwa kwamagama ikakhulukazi esiZulu. Kubalulekile futhi ukuthi kubhekwe noma kwethulwe izinsizakuhlaziya ucwaningo oluzohamba phezu kwazo ekwethiweni kwamagama. Nakuba inhloso isekutheni kubhekelelwe lawo esiZulu, kodwa kuhle kuphinde kubhekwe nakwezinye izilimi ukuthi ingabe eyabo indlela ihluke kanjani kweyesiZulu na?Ucwaningo lubuye lulandelele imvelaphi yombhali wezincwadi ezisuke zizocwaningwa ukuze kutholakale kabanzi ngobungaye nezinhloso zakhe ekubhaleni nokuthi uma kubhekwa umlando wakhe yini emenza ahluke kwabanye ababhali. Uma kuqhutshwa ucwaningo kuhle ukugxila ezindleleni ezizosetshenziswa ekuqoqeni ulwazi nezizolandelwa. Akupheleli lapho, kuhle ukuthola ukuthi abanye ongoti noma osolwazi bathini ngokucwaningwa kokwethiwa kwamagama. Kubuye kubhekwe ukuthi ucwaningo luzobhekiswa emibhalweni eyimidlalo lapho kubhekwa ukuthi abalingiswa bawuqhubekisa kanjani umdlalo ngendlela abasuke bethiwe ngayo. Lana kubhekwa imidlalo emibili ebhalwe ngu Molefe ethi ‘Izwe Lizothini’ kanye nothi ‘Bahlukumezekile Behlakaniphelana Nje. Kuhle ukuthi ukuthi umcwaningi athulele abahloli bakhe nomeluleki isithombe ngokuba ethule imidlalo ngamafuphi. Lokhu kuyobasiza ukuba bakwazi ukubona indlela abethiwe ngayo abalingiswa ukuthi kukhona yini okumele akulungise noma anconywe kukho. Ubuye abheke ukuthi kuyisakhiwo nesizinda sayo le midlalo abalingiswa balukhuphula kanjani izinga. Ucwaningo kumele lubheke futhi isitayela sombhali emdlalweni yomibili Izwe Lizothini kanye nothi Bahlukumezekile Behlakaniphelana Nje ukuthi sihluke kanjani kwabanye ababhali nokuthi sime kanjani. Lolu cwaningo kumele manje liyiphothule indima yalo ngokuba lethule okusuke kuhlaziywa, okuphi okuncomekayo okuphawuliwe nokuthi lapho kunegebe okumele livalwe kanjani. Kumele iphothulwe ngokuba kunikwe umhlahlandela ekuthuthukiseni ucwaningo lwalolu hlobo ikakhulukazi olimini lwesiZulu. / This research analyses the impact by Lawrence Molefe made as an author for two drama books known as Izwe Lizothini and Bahlukumezekile Behlakaniphelana Nje. The primary aim of the research in these drama books is to see how much power and influence is in naming of the characters and how have they been named? The research also focuses on theories and ways that can be used in naming characters as well as the style the author used in his two drama books that would be analyzed. The researcher has chosen drama books from the author Lawrence Molefe to see whether is there anything new that can be learnt from him on how he has name his characters. This will go to as far as analyzing how the author has name his characters and how his style of naming does fit in Freytag’s pyramid (1863). This research is divided into six chapters. This research also focuses on acceptable ways and methods that are being followed and used when naming the characters or even children at large. Analysis focuses on the importance of giving a name to a human being. It is also known that this kind of research has some challenges that are usually experienced. Challenges such as relevant resources that can be used in assisting a research especially when research conducted in naming is written in isiZulu. It is well known that these kinds of resources are widely and abundantly available in other languages. There are many resources whether it is books, articles or journals on naming or onomastics in English available. This simply says that it is imperative for the researcher to go all out in finding important ways that would be used in conducting the research. This also gives a researcher an opportunity to look into the aims and objectives of the analysis. The researcher will also be mindful of whether the analysis will be based on the short term or long term period. This means that the researcher will have to take into consideration the aims and objectives of the research. It is imperative for the researcher to be mindful of the theory that will be used in analyzing naming or onomastics and also look at other theories of onomastics. This lies on the theme or lesson that will be found in naming or giving a name in a character. The analysis needs to focus on the theory that focuses on naming . The research analysis also focuses on what will be analyzed on naming the characters and what inspires the research to be conducted especially giving Zulu names. It is important to look at the resources that will be used when conducting the research on naming. Even though, at this stage the focus is on analyzing Zulu names, it is also vital to look at how different analysis is on naming specifically in other languages. The research analysis also looks at the biography of the author regarding drama books that he published. This allows readers to know more about the author and what inspired his love of writing. This go beyond on finding more about the author and what makes him different from other authors when analyzing his name giving his characters. When conducting research analysis, ways or methods of collecting data or information needs to be clearly explained. Again, it is outmost vital to read what other onomasticians or linguists say about how to analyze name giving or naming. The focus is also on analyzing two literary dramas where attention is given to the role that characters play in ensuring that the story is a success of course with the help of how they have been named. We look at the impact their names have in the drama by just being given names. x The researcher also gives a summary or an overview of story from each book so that the supervisor and co-supervisor have understood what the story is about so that they are able to see how characters have been named. This also allows the researcher to see whether is there any gap that needs to be closed when analyzing naming in isiZulu nor commend on the good work done. It also allows the researcher to look at how names of the characters have impacted on plot and the structure of the drama. Research analysis has also to focus on the naming style used by the author in his two drama books namely Izwe Lizothini and Bahlukumezekile Behlakaniphelana Nje and how does his style differ from other authors. At the end, the research summarizes the role and the impact of name giving and its analysis, what are recommendations on the gap identified during the research and how to close challenges identified. The research is concluded by giving way forward or guidelines that would ensure that more researchers engage in analyzing naming in isiZulu and perhaps other African languages. / African Languages / M.A. (African Languages)