The study adopts a case study examination of three student reflective joumals written about class and field based applied Drama experiences over one year. The journals were written as part of a curriculum outcome to develop reflective practice, for one Drama Honours paper (Educational Drama and Theatre) at Rhodes University Drama Department, South Africa. Based on a narrative inquiry approach, the study documents the changes in identity, discourse, and representation of self and other, which emerge through the journal writing process. The research analyses how identities are constructed through reflective writing practices, and how these identities might relate to the arguments for the development of reflexivity. The development of reflexivity is seen as integral to contemporary educational policies associated with lifelong learning, and the skills required of graduates in South Africa's emerging democracy. These policies centre on means of preparing students for a world characterised by change and instability, or what Barnett (2000) has termed a "supercomplex world". The research findings suggest that journal writing within a Drama Studies curriculum, allows students to construct subjectivities which support Barnett's claim that "the main pedagogical task in a university is not that of the transmission of knowledge but of promoting forms of human being appropriate to the conditions of supercomplexity" (Barnett, 2000b: 164). In addition, the development of different writing genres within a Drama Studies curriculum allows students to develop disciplinarily relevant ways of discussing and researching artistic processes and products. A reflective journal is a potential site for students to interrogate and construct emerging identities which enable them to negotiate diversity, thus preparing them for their lives beyond the university.

The following main aspects of Mtywaku's plays have been dealt with in the dissertation: (i) Sarcasm (ii) Conflict (iii) Style.

The thesis is a record of the writing and rehearsal process which led to the British premiere of the full length Canadian play, Danceland, at The Old Red Lion Theatre, London, in November of 1994. The first chapter is a discussion of the dramatic theories and historical research which informed the initial creative writing process. The second chapter is the final draft of the play itself. The third chapter is a record of the rehearsal and production process, as well as an overview of the major dramaturgical problems which the actors, director and designers encountered during rehearsals of the play. A full cast and crew list and the reviews from the British press are contained in the appendices. The playwright's "experiment" which sits at the heart of this production record is that Aristotle's idea of "place" is essential to the creation of an indigenous, Canadian dramatic literature. The writing process, however, is only the beginning of the translation of drama from the page to the stage; and it is this final, rehearsal and production process which demands that all dramatic theory be placed within the context of believable characterization and dramatic action. / Arts, Faculty of / Theatre and Film, Department of / Graduate

Family Dinner examines the social construction of the Asian American family in the most hyper dysfunctional way. The characters in the play do not necessarily have to be played by an Asian American but the family holds Asian American values and ideals. Therefore, through a different cultural lens, the hope is to effectively blend the cultural values that are physically and culturally familiar no matter what the race of a family it may be. This creates a point of entry for audience members of difference cultural and social background to simultaneously view the play with a familiar point of view. The objective is then to critique the absurdity in the social cultural values and to redefine the meaning of the All-American family. Lastly, what needs to be acknowledged is that the play, in its current draft and form, is a play that is still in process. The process of rewriting is significant to the writer because it is in this act of rewriting where the writer learns to hone his or her own technique in the art of playwriting.

<p><i>Vicious Children and Other Stories</i> contains four stories, each concerned in their own way with boyhood, friendship, masculinity, and alienation. <i>Vicious Children</i> is a novella that follows two brothers, Jesse and Danny, as they explore a time in which their roles in their community and family are changing. In “What Else Are We Going to Do With Them?” a group of young boys fight betta fish to the death, leaving one of the boys, Josh, questioning his enjoyment of the fight. “Gash” deals with the main character, Adam’s, memory of a traumatic event in contrast to the lighthearted way he and his family tell the story in the present. Finally “Don’t You Have a Name?” follows Zach, a content moderator for a social media platform, who finds that, although he excels at the job, it comes at the cost of his mental health.</p>

<p>    </p> <p>These short stories began as reimaginings – I wondered what would come if I took Islamic myths of churail, oracular trees, and jinn and considered them in the half-light of diaspora, where the monsters are familiar but newly cultured to a globalized world. The stories in <em>Distance, the Midnight</em>, both flash and long-form, are loosely linked by themes of alienation, physical displacement, and grief. They ask questions about questions, which in the world of the book are best left unanswered, and the possession of the spirit, which, normally feared as a loss of control of the body, is here depicted as a necessary escape to a different sort of embodiment. </p> <p><br></p> <p>In “Antipode,” Paro, a churail living in Houston, marks the ten year anniversary of her husband’s death and the loss of her connection to the divine with her first real exorcism in over a decade. In “No Blood in the Creek,” Mallika, who was once possessed looks for her jinn in a desperate attempt to be displaced from her body once more. In “Admiring Myself Sideways,” a woman grown accustomed to her split personality searches for a lost self in mirrors. In “Hard Work,” an unemployed person gives up on the job market and turns to a life of crime and communes. These stories and the rest point to a singular interrogative: what if giving up on the being we’re born into is a better alternative to accepting it. </p> <p><br></p> <p>I could not have written this manuscript without having read Leonora Carrington, Helen Oyeyemi, Sabrina Orah Mark, Clarice Lispector and Ludmilla Petrushevskaya alongside folktales from the global south. From these writers, I’ve learned that the surreal can lend a story more than diversion and quirk. It can be a vehicle for tenderness, can leave a reader raw, unsure at what point the text peeled away a scab. I hope this collection is a movement towards that tenderness. </p>

This introductory chapter contains definitions of obsessions and delusions, and examines the validity of these ideas as tragic devices. It discusses obsessions from the point of view of Freud and Jung. The major plays of Eugene O’Neill have been divided into three psychological types: the first type we shall call the statement-of-the-problem plays; the second, the simple anima plays; the third, the complex anima plays. These terms and divisions will be explained as we proceed.

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