No description available.

No description available.

No description available.

Olu phando luza kuphendla ubugcisa bokusetyenziswa kwezicengo ekutshintsheni izimvo, iinkolo nokuziphatha kwabantu. Kuza kugxilwa kakhulu kwiinjongo noxinzelelo lwazo kuba zingunozala wezicengo. Kuza kugocwagocwa ‘Amaza’ kaQangule kwakunye no ‘UDike noCikizwa’ kaMmango. Apha kwezi ncwadi kuza kuhlutywa ukuba ulwimi olucengayo luyasetyenziswa ngabantu abantetho isisiXhosa, nokuba imingangatho eyinqobo (values), inkcubeko, nengqeqesho (socialization) zidlala indima enkulu kulwimi olucengayo. Isahluko sokuqala salo msebenzi siza kunika amagqabantshintshi ngolu phando. Esi sahluko siqulathe: Intshayelelo; Iingxaki zophando; Iinjongo zophando; Ukubaluleka kolu phando; Okusele kubhaliwe ngezicengo; Ingcaciso magama. Isahluko sesibini siqulathe iingcingane zolwimi olucengayo, abasunguli bazo, nemisebenzi yabo. Isahluko sesithathu siqwalasele ukusetyenziswa kwezicengo kwiincwadi ezichongiweyo. Isahluko sesine sijonge ubugcisa bokusetyenziswa kolwimi olucengayo kwizihlobo nakwiintsapho. Kwalapha, kujongwe nokusetyenziswa kolwimi oluchubekileyo ngamadoda nabafazi, igunya, umyalezo ocalanye kwakunye nokunikezela. Isahluko sesihlanu nesisesokugqibela – sishwankathela iziphumo zophando kukwanikwa neengcebiso.

In sy resensie van Die jogger (1997), lê Conradie (1997:31) ‘n verband tussen drie belangrike hoekstene van Afrikanerskap wanneer hy die hoofkarakter, Kilian, soos volg karakteriseer: Die verwikkeldheid van die karakter Kilian word versinnebeeld deur die relaas van grondbesitter, bywonerskap en uiteindelik amptenaar van die staat. Die siening word ook gehuldig dat bogenoemde elemente vir ‘n tyd lank die goue draad van Afrikanerskap verteenwoordig. Onderliggend aan al drie karakteriserings is die element van mag, asook die (geïmpliseerde) verband tussen mag en identiteit. In Brink se Die jogger word identiteitsmites veral die fokus van die dramatiese inhoud. Hierdie mites, wat hoofsaaklik verband hou met “mag”, “godsdiens” en “seksualiteit”, is vooropgestelde elemente in die drama. Soos Wasserman (1997:4) opmerk, is Kilian ‘n verteenwoordiger van ‘n bepaalde groep mans “met gesinne, kerkgangers, omies wat Saterdae langs jou gesit en rugby kyk het”, maar ook in die naam van ‘n politieke bestel bepaalde wreedhede gepleeg het. Van dié wreedhede word in herinnering geroep tydens Kilian se gedagtevlugte in die psigiatriese hospitaal. Binne die konteks van die drama, kan aangevoer word dat “mag”, “godsdiens” en “seksualiteit” sekerlik dié belangrikste identiteitsmerkers van die Afrikaner is. Die wyse waarop bepaalde identiteitsmites binne die dramatiese handelingsverloop van Die jogger gedemitologiseer word, lê hierdie studie ten grondslag. Kilian word in hierdie drama ‘n eksemplaar van ’n karakter wie se mag verbrokkel en waardeur die mites van die man – en magsgesentreerde bestaan - geproblematiseer word. Die probleemstelling vir hierdie studie kan dus omlyn word as die ontmitologisering van die gestalte van die man ná politieke transformasie in Suid-Afrika. As gewese kolonel in die Veiligheidspolisie, is Kilian ‘n voorbeeld van ‘n Afrikaner(man) wie se mag vanweë grootskaalse politieke magsverskuiwing gestroop is. / Dr. M.P. Beukes

This dissertation reopens the literature of the thirties by using a concept known in psychoanalytic discourse as "splitting" to analyze four representative works--Call It Sleep, For Whom The Bell Tolls, The Grapes of Wrath, and The Unpossessed. In object relations theory, splitting refers to the mental processes of projection and introjection that enable separation of comforting and discomforting thoughts. When subjected to analysis using this concept, new issues appear in each text. The dialectical role of splitting--the integrative and moral function of emotional exorcism--emerges as a central concern for Roth and Hemingway. The relationship of splitting to economic exploitation can be seen in Steinbeck's writing. The aesthetic implications of splitting becomes the topic of discussion when analyzing Slesinger's novel. I base my discussion on the assumption that the brutal ethnic, class, and national divisions of this decade suggest that these texts were conducting a correspondence about the mental position of the nation.

In this thesis I argue that William H. Sheldon's somatotypes can be seen as fictional constructions. The traditional notion of idealization in prose fiction intrudes into Sheldon's reading of his somatotypes; the same kind of idealization, based on anthropological stereotyping, that had marked the science, or pseudo-science, of physiognomy. An integral aspect of physiognomy had been biological hierarchy and distinction, which had undergirded both the ancient and the European class systems, and which had provided a palpable benchmark for identifying nobility, heroism, and aristocracy. Sheldon's constitutional psychology, I argue, is a thinly disguised revolt against the falling away of this biological hegemony. The demise of heroism and "Promethean Will" or individuality was, for Sheldon, a matter of nostalgia and alienation. The somatotype studies, while fostering the illusion of detached empiricism, actually allow Sheldon to judge contemporary humanity according to antique (heroic) standards. Sheldon's somatotypes, therefore, are artifactual; to the degree that they express as much about the "temperamene" of their "author" as they do about the somatotypes themselves. In this way, Sheldon constrlcts his subjects. Sheldon's proposed program of "biological humanics", a variety of eugenics, was, in truth, an agenda (a fantasy) for recapturing the glory of the past. It was a scheme to reinvest power, beauty, heroism (primitive splendor), into the physical body; qualities and relationships which had characterized the ancient world, and which had been compromised by the "shopkeeper" and cowardly mentality of modern society. / Master of Science

Thesis (Ph. D.)--University of Massachusetts Amherst, 2009. / Open access. Includes bibliographical references (p. 187-214). Print copy also available.

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2008. / Directed by SallyAnn Ferguson; submitted to the Dept. of English. Title from PDF t.p. (viewed Aug. 27, 2009). Includes bibliographical references (p. 245-273).

If the possible ends of art criticism are taken to include not only the provision of a detailed evaluation of the artwork, but, cognately, an elaboration upon how one has been, or believes oneself to have been, changed by a particular artistic encounter, then the very praxis of art criticism stands to benefit from a theoretical elucidation of the possible nature of the subjective transformations that may flow from the critical appreciation of art. We are entitled to enquire, in particular, into the conditions under which, and indeed the extent to which, such putative change at the personal level can be explicated in moral epistemological terms. It is pertinent in this context also to investigate the phenomenal character of the experiences that have been operative and their essential structures; to enquire, in short, into the phenomenology of the transformative artistic encounter. In this thesis, the bearing, in particular, of intersubjectivity upon the content and modalities of disclosure in a literary context will be investigated. It will be shown how an understanding of the relevance of intersubjectivity to the phenomenology of literary experience can inform an assessment of the claims of literary aesthetic moral cognitivism. Yet the intention to clarify the connection between literary experience and intersubjectivity also requires reflection upon what it is in the first place to encounter someone else, and to apperceive a foreign subjectivity and its motivations. For this reason, the contributions of Edmund Husserl and Edith Stein to the investigation of the phenomenology of empathy will be discussed and evaluated. This discussion will in turn be shown to be of assistance in clarifying the role of the imagination in the apperception and comprehension of another person’s mental life. The thought of Jean Starobinski will prove to elucidate the question of why the insights of the phenomenological tradition are highly pertinent to the investigation of literary experience, and to the development, in particular, of a conception of an imagined ‘Other’ who is (in a sense that will be clarified) embedded within the literary text, a person, that is, to whom one might coherently refer as the “implied author”. For reasons which will emerge in the course of this study, it will be argued that authentic empathy, in its fulfilling explication (in the Steinian sense), is given to the empathising consciousness in the manner of a semblance, and, consonantly, that the phenomenological structure of authentic empathy is characterised in its mature phases by an homological relation to pictureconsciousness. The epistemological significance of literature’s capacities for moral suggestion will be explicated principally in terms of the unfolding of values within the human personality, and in terms of the disclosure of the phenomenal character and structures of virtuous experience. It will be explained why the structure of empathy has implications for the aesthetic value of literature. The question of the relation between aesthetic and ethical value will be clarified. In this context, it will be argued on phenomenological grounds that the appresentation of moral virtue in an implied author could contribute to the aesthetic value of a literary work, although it will also be shown that implied authorial moral virtue could conflict irremediably with other qualities like moral doubt and uncertainty, which may themselves be important sources of aesthetic value. For this reason, the thesis will conclude by challenging the ethicist view that an aesthetically relevant ethical flaw in a literary work must count as an aesthetic flaw.