The thesis, the topic of which is restricted to the polemical didactic poems, Apotheosis, Hamartigenia and Contra Symmachum 1-2, aims to establish the attitudes of Prudentius to the literary tradition and argues for his relationship with the Latin classical poets. Its main argument is that the hexameter poems as a group can be profitably studied from a stylistic angle, since they show how Prudentius combined, and used with innovation, the styles of several poets, namely Lucretius, Virgil and Juvenal, and in many cases engaged with the literary tradition as a whole. Chapter I surveys, as reflected in the poems, Prudentius' awareness of the political, religious and literary milieu in the Christian Empire of the West in his day. Chapter II examines how Prudentius employed the style of argument and imagery in the D.R.N. to present Christian doctrines on the body and the soul, and to reject pagan superstition. Chapter III shows how with much imagination and respect Prudentius adapted Virgil's phraseology and techniques to give new Christian interpretations of some mythical and historical themes in the Aen., such as the 'Golden Age' and the battle of Actium, and of topics on agriculture from the Georg. Chapter IV argues that, like other fourth century Christian writers, the poet entered into the spirit of Satire and alluded to Juvenal's themes and language in his treatment of the topics of sin and sexuality. Finally, in Chapter V Prudentius' adaptations of the biblical accounts in Gen. 19 and of Ps. 136 are used to demonstrate how allegory, which is a main feature of his poetry, was combined successfully with different classical techniques. In conclusion, the hexameter poems demonstrate that Prudentius did not reject classical poetry on the basis of its content, but used both its themes and poetic techniques in order to merge the ancient with the Christian literary tradition.

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The central argument of this inter-disciplinary study is that IsiXhosa written poetry of 1912 – 2012 is a terrain of the struggle between the contending dominant ideologies of Segregation, Apartheid and Charterism (post-Apartheid); and the subordinate/ subaltern ideologies of Africanism, Charterism (pre-democracy), Pan- Africanism, Black Consciousness Movement and other post Apartheid ideologies. The study highlights the mutual relationship between the text and the context by focussing on the ideological contest which manifests itself in both form and structure (i.e. aesthetic ideology) and the content (i.e. authorial ideology) of the poetry of different epochs between 1912 and 2012. The study is located within the framework of Antonio Gramsci’s theory of cultural construction. Gramsci postulates that ideology and culture play a significant role in the process of asserting hegemony. Important concepts that constitute Gramsci’s theory of praxis are: ideology, culture, hegemony, organic intellectuals and both ideological and repressive state apparatuses. The first chapter presents the problem, the objectives, the methodology, and the scope of the study. The second chapter presents Gramsci’s theory of cultural construction and the work of scholars who developed his theory further. The tool that is employed for analysis and interpretation of textual significations of IsiXhosa written poetry is the revolutionary aesthetics, which is proposed by Udenta. The third chapter analyses and interprets literature of the epoch of 1912-1934 and exposes the contest between Segregation and Africanism ideologies. The fourth chapter contextualises and analyses the literature of 1934 – 1948, the second phase of contestation between Segregation and Africanism. The fifth chapter deals with literature of the first and second halves of the Apartheid epoch (1948 - 1973). The Apartheid ideology contested with the Africanist ideology which transformed into the Charterism ideology in 1955. In 1960 Pan-Africanism ideology and in 1969 Black Consciousness Movement ideologies entered the contest. The sixth chapter examines literature of the period 1973 – 1994 which is the second phase of the Apartheid epoch that ends with the “glasnost” period of 1990 - 1994. The seventh chapter studies literature of the democracy period of 1994 – 2012. The eighth chapter is the summary and general conclusion. The illumination of the nexus between culture and ideology during the past century (1912 - 2012) will provide insights that will assist us in addressing the challenges we face during the democracy period, and in the development on Arts and Culture in general, and literature in particular

Concepts of life and death, time and self-denial are investigated in the poetry of Breyten Breytenbach, with specific reference to the similarities and differences between the Judeo-Christian and the Buddhist traditions. Biblical references in the poetry are examined, and their underlying concepts compared to related concepts in Tantric Buddhism and Zen-Buddhism. The conclusion is drawn that the biblical concepts are transposed in the poetry in order to create Buddhist concepts of life and death, time and a form of self-denial. De-sacralisation of the Christian. concepts is inevitable in this creative process. However, the primary intention of the author is not de-sacralisation, but the implementation 'of the Buddhist philosophy of life in which everything is experienced as "totally one". A comparison between the reconstructed intended reader of Breytenbach's poetry and elements of the Afrikaans reading public suggests that political comment on segregated South African society is intended. Breytenbach's poetry is compared to canonized Afrikaans poetry with respect to Buddhist influence, national protest, aspiration to holiness and transposed biblical concepts. The conclusion is that his poetry is highly innovative in these respects. In the broader spectrum of South African literature his poetry is compared, with reference to transposed biblical concepts and national protest, to the poetry of Black poets writing in English, and (where material is available) to those writing in Afrikaans. The conclusion is that Breytenbach's poetry is strongly linked to this poetry. However, the complexity of Breytenbach's poetry, and the advanced aesthetic level and linguistic code required of the intended reader determine his placing within the canon of Afrikaans poetry.

From Inleiding: In dié inleiding word die implikasies van die woord "teks", asook die resepsie van die Ingrid Jonker-teks in die lig van haar dood, en 'n eie benaderingswyse, in teenstelling met die tradisionele kritiese metodes, bespreek. 1.1 Die teks: Die Ingrid Jonker-teks behels (met die dood, die rninnaar en die OedipaIe struktuur as uitgangspunt) aIIes waarop die woorde "Ingrid Jonker", as teks - die parentese tussen die datums op haar grafsteen - dui. Dit beteken dat genre-onderskeidinge en die onderskeid biografie en literatuur opgehef word. Verdere implikasies van die woord "teks" gaan vervolgens ter inleiding ondersoek word. Daar sal ruim gebruik gemaak word van die literêr-teoretiese en filosofiese veronderstellinge van Julia Kristeva, Maurice Blanchot, Jacques Derrida, Jacques Lacan, Pierre Macherey en Roland Barthes.

The purpose of this study is to investigate the significance of Japanese theoretical writing on poetry of the Heian period (794 - 1192) (as manifested in the distinctive literary genre known as the karon) with special reference to the development of esthetic concepts in general and the influence of this kind of writing on the Japanese literature of later periods. An attempt is made to show through the presentation of one of the major works in this field, which is here translated into English, what factors were responsible for the distinctive characteristics of Japanese poetry. This kind of study has never been undertaken in English and no source material is available in translation; I therefore thought it best to make a start in this field with a complete translation of the Mumyōshō by Kamo no Chōmei, one of the most important Japanese theoretical works on poetry. By presenting the full text I wish to draw attention to the problems of poetic taste and criticism, as the Japanese of the Heian period saw them. Going back to the sources which Kamo no Chōmei used in his writing, I have tried to give an account (admittedly very incomplete) of poetical thought in Japan up to his time. I have analyzed some of the most influential ideas of the Mumyōshō and presented them in summary. This study has made it clear to me that much further research is necessary to show the genius of Kamo no Chōmei in its proper perspective and to demonstrate the importance of the karon of the Heian period for the development of Japanese literature in general. / Arts, Faculty of / Asian Studies, Department of / Graduate

While González Prada was mainly a prose writer and ideologist, he did write poetry throughout his life, beginning perhaps even before he began to write prose. Although his poetry itself had little influence on other poets, the ideas which lie behind it did. The purpose of this paper is to show that there are two incipient trends of Peruvian poetry in Prada's poems: Modernism and indigenism. Prada’s tendency towards Modernism is found to be mainly theoretical and ideological, as his adoption of modernist style occurs when Modernism has already been established by Rubún Darío, and disappears after the publication of Exóticas in 1911. Chocano serves as a counterpoint to Prada in showing the extent to which the latter had any real influence on the development of a particular modernist poet, and to which the full development of Modernism differed from the innovations which Prada had envisioned. The incipient indigenism in Prada's poetry is represented in Baladas peruanas, although the point in which Prada anticipates twentieth century writers is that of the use of poetry as a vehicle for ideas, and as such is also evident in Libertarias and Presbiterianas. The nature of Prada’s indigenism is compared to that of Chocano in order to show the extent of the modernists' failure to develop the trends which Prada had foreshadowed. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

This essay examines the interstices between geography and history in English Canadian poetry by analyzing the production of space through poetic imagery. It introduces two terms, "garrison temporality" and "geologic temporality," to demonstrate how poets created divisions in the Canadian landscape temporally, demarcating these divisions according to their understanding of the perceived spaces' historicity. In early Canadian poetry, poets tended to distinguish colonized spaces from uncolonized spaces by designating them as either historical or ahistorical. This was achieved, more specifically, by appropriating civil, or garrison, spaces into a narrative of English expansion which traced its historical lineage back to European antiquity. The space outside the garrison's perimeter was deemed to exist out of time, providing yet another justification for further colonization. Later generations of Canadian poets contested the ahistorical designations created by this narrative, as well as the division they draw between urban and non-urban spaces, by appealing to geologic time. Geologic temporality functions not so much as a viable explanatory model for the narration of history as it does a poetic device for contesting the centrality of Europe and of urban centers in assessing contemporary Canada's place in time. This essay traces the shift in attitudes towards time and space from Charles G.D. Roberts' "Tantramar Revisited" (1886) to Dale Zieroth's "Baptism" (1981). / Arts, Faculty of / English, Department of / Graduate

M.A. (African Languages) / Please refer to full text to view abstract

PhD (African Studies) / Lomsebenti ucwaninga ngekusetjentiswa kwetinongo tenkhulumo etinkondlweni teSiswati. Lolucwaningo lubuka kutsi tinongo tenkhulumo tibaluleke ngani nekutsi kufanele kutsi ekukhulumeni kwetfu kwemihla nemihla sifake tinongo tenkhulumo. Tinongo tenkhulumo betikhona mandvulo imfundvo isengakafiki ebantfwini. Imfundvo ifika itfola kutsi emaSwati angemagagu ekukhulumeni futsi anelulwimi lolunotsile ngenca yetinongo tenkhulumo. SEHLUKO SEKUCALA: Setfula lucwaningo kutsi lumayelana nani nekutsi yini umcwaningi lafuna kuyilungisa leseyonakele. Kuniketwe tinhloso telucwaningo. Kubuye kwaniketwa umkhawulo welucwaningo nekubaluleka kwelucwaningo, kubuye kwavetwa umgudvu welucwaningo lokuluhlelolwati lwenhlelembiso neluhlelolwati lwemsebenti. Kubuye kwavetwa kuchazwa kwemagama, kubaluleka kwetinkondlo, tinongo tenkhulumo nebudlelwano bato naleminye imibhalo, umlandvo lomfisha ngetinkondlo kanye nesiphetfo. SEHLUKO SESIBILI: Sibuke kuhlolisisa imibhalo, kwabukwa libhayibheli, tincwadzi telucwaningo, nemajenali. Kubukwe netinhlobo tetinkondlo letisetjentiswa eSiswatini. SEHLUKO SESITSATFU: Sibuke tinhlobo tetinongo tenkhulumo tehlukaniswa ngalendlela: Tinongo tenkhulumo letifanisako nguleti letilandzelako: sifaniso, sifanisongco, simuntfutiso, silwanatiso kanye nakhulumango/umbiti. Tinongo tenkhulumo letihhlukanisako nguleti letilandzelako: silutfo, sicatsaniso, siphukuto kanye neluteku Tinongo tenkhulumo letigcamisa budlelwano nguleti letilandzelako: Sihabiso, simeli/simeleli, siphindzaciniso/imphindzaciniso, silandzakhashane/malandzakhashane nesihloniphiso. iv    SEHLUKO SESINE: Sibuke tinongo tenkhulumo ngaloluhlobo: Siphindzamagama, siphindzamisho, secamagama, sifanagwaca,sifanankhamisa nesentakutsi. SEHLUKO SESIHLANU: Sisongela ndzawonye lonkhe lucwaningo, sibuye siphawule ngaloko lokutfolakele elucwaningweni, tincomo sigcine ngesiphetfo.