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Thesis (M. A. (African Languages)) -- University of Limpopo, 2019 / The study analyses N.A. Milubi’s Tshivenḓa poetry. N.A. Milubi is one of the prominent Tshivenḓa modern poets. The study selected N.A. Milubi’s poems from the books he published as an individual as well as from the poetry anthologies in which he contributed his poetry. The publications that are analysed in this study are: Muhumbuli-Mutambuli (1981), Vhuṱungu ha Vhupfa (1982) Ipfi ḽa Lurere, Muimawoga (1990), Muungo wa Vhuhwi (1995) and Khavhu dza Muhumbulo (2001). The study is based on the New Criticism theory where both the form and meaning of the poem are analysed. The New Criticism theory emphasises a close reading of the text as a significant factor that determines or reflects the artistic and aesthetic value of a literary work. An appraisal for N.A. Milubi’s artistic prowess, in as far as Tshivenḓa poetry is concerned, is also provided in this study.

Thesis (MA)--University of Stellenbosch, 2002 / ENGLISH ABSTRACT: This study is divided into five chapters. The first chapter which marks the introductory chapter deals with the general introduction to the entire study, the scope of the study, statement of the aim and objectives of this study, also looks at the research methods and gives St J Page Mbalana Yako's brief biographical sketch. The second chapter provides a brief theoretical background to the study of poetry. This forms the basis upon which the entire study will rest as it provides different poetic devices and stylistics, which reveal what makes poetry. The third and fourth chapters concentrate on a critical evaluation of Yako's poems. The poetry, which is presented in these chapters, is selected from Yako's anthology entitled Ikhwezi. It represents a particular genre from a wide range of poetic forms that Yako has written. Chapter three concentrates on educators and the achievements of certain individuals. Chapter four concentrates on traditional leaders. It is in this chapter that Yako displays his expertise in the use of excellent and appropriate poetic devices and stylistics in his poetry. The fifth chapter contains general conclusions drawn from the entire study. Translations are provided for each poem and are contained in the appendix that is found at the end of this study, which is immediately followed by the bibliography. Yako's endeavour to bring light to the nation through poetry is admirable. Further research will unearth more art and craft in this author's poetry. / AFRIKAANSE OPSOMMING: Hierdie studie is verdeel in vyf hoofstukke. Die eerste hoofstuk bied In algemene inleiding tot die hele studie. Dit omskryf die omvang van die studie, die doelstelling en oogmerke, die navorsingsmetodologie, en gee In kort biografiese skets van St. J. Page Mbalana Yako. Die tweede hoofstuk gee 'n kort teoretiese agtergrond oor die studie van poësie. Dié hoofstuk dien as die basis vir die hele studie, omdat dit verskillende poëtiese middele en stylvorme uitlig wat die verskynsel van poësie verklaar. In die derde en vierde hoofstukke word gefokus op In kritiese evaluering van Yako se gedigte. Die gedigte wat in hierdie hoofstukke aangebied word, is geselekteer uit Yako se bloemlesing, getiteld Ikhwezi. Dit verteenwoordig 'n sekere genre uit In wye reeks poëtiese vorme wat deur Yako gebruik is. Hoofstuk drie se fokus is op opvoeders en die prestasies van sekere individue, en hoofstuk vier konsentreer op tradisionele leiers. In hierdie hoofstuk word Yako se kundigheid in die gebruik van uitstekende en toepaslike poëtiese middele en stylvorme uitgelig. Die vyfde hoofstuk bevat algemene afleidings gemaak uit die hele studie. Vertalings vir elke gedig word gegee in die bylae aan die einde van die studie. Yako se poëtiese bydrae is bewonderenswaardig. Verdere navorsing sal nog meer kuns en vernuf in hierdie digter se poësie na vore bring.

published_or_final_version / abstract / Chinese / Master / Master of Philosophy

The thesis argues that a certain 'locus' of poetry is perceptible diachronically in the French literary field of the 20^th Century and that this locus (elusive, fragmented, multilayered) may be meaningfully focused upon via the interaction of the questionings centered around the terms 'speech' and 'utopia'. In the introduction an argument is made for the conceptual validity of the term 'utopia' in relation to the diverse literary practices accruing around the pole of the 'poetic', which results in the derivation of the idea of a Utopian dynamic - a vectoral addition to the conventionally static, figure-bound 'utopia'. Concentrating on three poets (Victor Segalen, René Daumal and Yves Bonnefoy) from three distinct generations and periods (pre-WWI, inter-War and post-WWII) which are standardly represented as discontinuous, the thesis proposes an analysis, ordered along three canonical sub-divisions of the Utopian preoccupation (which are three distinct modalities of Utopian space), of the Utopian dynamic argued to be characteristic of the work of poetic writing. The three parts of the thesis thus examine the 'poetic' as occurring within social space (lieu commun), physical space (haut lieu) and textual space (non lieu) over the combined duration of the corpus. Arguing for an intelligible continuity of preoccupation among the three poetic oeuvres discussed, the thesis concludes that that continuity enables, in return, a modification of our understanding of the Utopian, of which a lucid practice of poetic writing can thus become the embodiment. Utopia, from being a synonym for illusionment in a century at all times supremely alive to the need for irony, becomes a creative embrace of disenchantment. The point of resolution (poetic foundation) at each stage in the individual oeuvres analysed being the ongoing representation of the 'human' as inner and outer limit to the poetic subject's practice and to the aspiration from which it moves.

A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the degree of Doctor of Philosophy. / Since Eybers went to live in Amsterdam in 1961 her poetry has always been simultaneously published in Amsterdam and Cape Town. Nine of her sixteen collections since she made her debut in 1936 can therefore be called "Dutch" in the sense that they have not only been published in the Netherlands, but have also been reviewed there extensively and very positively. She is regarded as a poet belonging to the Dutch literary tradition, and was awarded the highest prize for Dutch literature in 1991. All of this has happened without her losing her South African readership or status as one of the greatest Afrikaans poets. In this study I present an overview of the situation in Holland with regard to the scant acceptance and Jack of knowledge of Afrikaans and of its literature at the time Eybers went to live there. The uniqueness of her Dutch acceptance is analysed against this background. An overview of her Dutch and South African reviews (1962-1992)clearly shows that Dutch reviewers have always been fascinated by the fact that they can understand her work in spite of the fact that Afrikaans is otherwise considered a language from which texts need to be translated into Dutch in order to be readable and marketable. Because Eybers lives in the Netherlands she shares a frame of reference with her Dutch readers. Her language has incorporated many typical Dutch phrases, allowing her poetry to become more accessible and familiar to Dutch readers. Basically,though, she still writes in Afrikaans and South African readers still read and regard her as an Afrikaans poet In her poems - which often describe her state of voluntary exile and In which memories of the vast South African landscape are described - South African readers therefore find much which is familiar to them. Her themes -Iove.Ionellness, ageing, death, estrangement - are universal. In spite of this wide acceptance an in depth study or the particularities of the Eybers Idiolect and fields of reference clearly shows that both sets of leaders are constantly faced with quite severe comprehension problems. I therefore argue that the work of Eybers offers a unique example of "making it strange", the element which the Russian Formalists regarded as the essentiai difference between natural language and poetic language. The "double world" and "go between" language of Eybers result in a blend of intimacy and strengeness which two sets of readers experience in different ways. I argue that particular "ungrammaticalities" make her "Dutch" volumes "doubly poetical". Formalist, reception and semiotic theories are employed in a descriptive explanation of the Eybers phenomenon. / Andrew Chakane 2018

狄慧人 = A study on the teaching of Chinese classical poetry / Ti Hwei Jen. / 據手稿本複印. / Thesis (M.A.)--香港中文大學硏究院敎育學部. / Ju shou gao ben fu yin. / Includes bibliographical references (leaves 396-437). / Di Huiren = A study on the teaching of Chinese classical poetry / Ti Hwei Jen. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan jiao yu xue bu. / 前言 --- p.伍 / 摘要 --- p.柒 / Chapter 第一章 --- 緒言 / Chapter 第一節 --- 詩歌的定義 --- p.1 / Chapter 第二節 --- 詩歌的特色　　　　　　　 --- p.12 / Chapter 第三節 --- 詩歌的價值　　　　　　　 --- p.34 / Chapter 第一目 --- 詩歌在歷史方面的提供　 --- p.37 / Chapter 第二目 --- 詩歌與德育的配合　　　 --- p.44 / Chapter 第三目 --- 詩歌與美育的關係　　　　　　 --- p.50 / Chapter 第四目 --- 詩歌與語文教學的配合　　　　 --- p.56 / Chapter 第四節 --- 關於詩歌教學的一般研究　　　　 --- p.61 / Chapter 第二章 --- 詩歌的教學目標　 --- p.74 / Chapter 第三章 --- 詩歌的教學原則 --- p.77 / Chapter 第四章 --- 詩歌的教學　 --- p.143 / Chapter 第一節 --- 教材編送　 --- p.155 / Chapter 第二節 --- 教學方案 / Chapter 第一目 --- 教學預備　 --- p.181 / Chapter 第二目 --- 認識背景 --- p.191 / Chapter 第三目 --- 字詞教學 --- p.195 / Chapter 第四目 --- 深究與鑑賞　 --- p.204 / Chapter 第五目 --- 綀習與評鑑　 --- p.237 / Chapter 第三節 --- 教案舉隅 --- p.246 / Chapter 第五章 --- 總´結´ؤؤ兼論教師應備的條件　 --- p.353 / Chapter 附錄一 --- 中學中國語文及文學科教學目標 --- p.376 / Chapter 附錄二 --- 中學中國語文及文學科詩歌教材　　 --- p.377 / Chapter 附錄三 --- 中國語言文學科古典詩歌教材　　　 --- p.384 / Chapter 附錄四 --- 範文教學的適用原則及教法簡表　 --- p.390 / 範文教學實施要領及注意事項簡表　 --- p.391 / Chapter 附錄五 --- 國文教師自我能力檢查表　　　　　 --- p.392 / 參考書目 --- p.396

Thesis (M.A.)--香港中文大學. / Includes bibliographical references. / Thesis (M.A.)--Xianggang Zhong wen da xue. / Chapter 第一章 --- 研究目的、材料與方法 / Chapter 第一節 --- 研究目的 --- p.1-8 / Chapter 第二節 --- 研究材料 --- p.9-12 / Chapter 第三節 --- 研究方法 --- p.12-14 / 註1至註9 --- p.15-19 / Chapter 第二章 --- 清戈載〈詞林正韻〉 / Chapter 第一節 --- 〈正韻〉一書之製作目的 --- p.20 / Chapter 第二節 --- 〈正韻〉一書之體例 --- p.21-23 / Chapter 第三節 --- 〈詞林正韻〉之分部系統 --- p.23-34 / Chapter 第四節 --- 〈正韻〉照顧方音及古今音變之特色 --- p.34-52 / Chapter 第五節 --- 關於葉斐軒刊本〈詞林韻釋〉 --- p.53-56 / 註1至註9 / Chapter 第三章 --- 〈詞林韻釋〉分部內容之修正 / Chapter 第一節 --- 統計及推論 --- p.60-65 / Chapter 第二節 --- 支持〈灰韻應歸第五部〉之兩項事實 --- p.65-71 / Chapter 第三節 --- 探討〈正韻〉歸部錯誤之原因 --- p.71-73 / 註1至註4 --- p.74 / Chapter 第四章 --- 論宋詞人有「平聲貴嚴」之觀念 --- p.75-79 / Chapter 第五章 --- 方音 / Chapter 第一節 --- 略論研究方音及決定其為方音之條件 --- p.81-85 / Chapter 第二節 --- 材料所示宋代之方音概況 --- p.86-103 / 註1至註6 --- p.104-105 / Chapter 第六章 --- 入聲 / Chapter 第一節 --- 〈詞林正韻〉入聲分部的特點 --- p.106-112 / Chapter 第二節 --- 個別詞家的入聲分部系統 --- p.113-138 / Chapter 第三節 --- 探討〈正韻〉入聲歸入三聲之根據 --- p.138-144 / 註1至註3 --- p.144A / Chapter 第七章 --- 宋詞之特殊協韻技巧 / Chapter 第一節 --- 不自覺的協韻方式 --- p.145-151 / Chapter 第二節 --- 長尾韻 --- p.151-154 / Chapter 第三節 --- 句中韻 --- p.154-156 / Chapter 第四節 --- 和聲 --- p.157-158 / Chapter 第五節 --- 福唐獨木橋體 --- p.158-161 / 註1 --- p.161 / Chapter 附錄一 --- 〈詞林正韻〉補正 / Chapter 附錄二 --- 四十二詞家曾使用之韻字 / Chapter 附錄三 --- 有關本文修正〈正韻〉分部內容之資料備矤 （本文第三章第一節表中II、IV、V、VI各項之內容） / Chapter 附錄四 --- 有關本文第四章之資料備攷 / Chapter 附錄五 --- 有關本文第五章「方音」之詳細資料 / Chapter 附錄六 --- 平仄通協體 / Chapter 附錄七 --- 詩韻詞韻分合對照表 / Chapter 附錄八 --- 詞韻分部索引表 （以〈廣韻〉韻目為主）

Chow Tin-ping, Balance. / Typescript (photocopy) / Bibliography: leaves [324]-336 / Thesis (M.Ph.)--Chinese University of Hong Kong, 1983