South African society was in a state of flux by the early 1960s. The main reason for this state of affairs was that the National Party government had, for the last decade or so, plied social engineering at degrees previously unheard of in the history of the country with a view to consolidating apartheid at all levels and in all spheres of South African life. As a result tensions flared and reached breaking point in urban and rural areas alike within a matter of months. In some cases these situations escalated into fully fledged uprisings; most of which ultimately were put down in a heavy handed manner by the apparatus of state. This study busies itself with an uprising that may well be described as the apex of resistance in the South African countryside during the period mentioned, for it not only stood out due to its intensity, but also for the remarkable levels of its organization and for the length of its duration. What is more, if secondary sources are to be believed, it galvanized the struggle movement in its decision to take up arms a year or so later. By looking at a vast array of primary and secondary source documents an attempt is made at: (1) critically weighing up what has been written about the revolt that took place in Eastern Pondoland in 1960 and 1961; (2) describing the situation in the area immediately prior to it taking place; (3) analyzing the causes thereof; (4) describing the course of events that constituted the revolt; and (5) attempting to establish the class positions of a sample of people resident at the epicenter of the revolt, who were directly affected by it. Due to its scope this study is by no means meant to be exhaustive. It is merely intended to contribute to the existing literature as an exploratory inquiry into the focus areas listed above. / Dissertation (MHCS)--University of Pretoria, 2007. / Historical and Heritage Studies / unrestricted

Master of Arts / Department of Modern Languages / Amy L. Hubbell / Much of the critical work on Marie Cardinal's Les Mots pour le dire has focused primarily on the hysteria of the novel‘s narrator and her subsequent journey through psychoanalysis. More recently, research on the novel has expanded to include the issues of the narrator‘s pied-noir identity, nostalgia and memory. While such criticisms shed light on the intent of the novel, they do not necessarily explain the enigmatic and oftentimes overlooked final line of the text: "Quelques jour plus tard c‘était Mai 1968." In this thesis, I propose that this line is the key to understanding the novel; as such, I seek to re-examine Les Mots pour le dire through a feminist lens in order to explicate the seemingly malapropos reference to May 1968 and use it to explain central elements of the novel, including the narrator‘s madness, her tumultuous mother-daughter relationship and her eventual authorship. That the events of May 1968 represent one of the most subversive and socially destructive periods in recent French history as well as a giant shift towards the moral left establishes the value of revolt in Les Mots pour le dire. Specifically, I argue that Cardinal attacks the collusion of the ballasts of patriarchal society, religion, capitalism and class, and how these institutions have profited from the subjugation of women in society. When viewed in this light, the narrator‘s madness cannot simply be the product of her mother‘s psychological abuses. Instead, her madness and subsequent detachment from society symbolize the ultimate rejection of a world in which she finds herself oppressed and manipulated. She thus emerges not as a woman consumed by insanity but as a woman in revolt.

The aim of this research is to establish the bond between Friedrich Nietzsche and the anarchists, through the apparatus of elective affinity , and to challenge the boundaries of several anarchist trends especially 'classical' and 'post' anarchism and 'ideologies' like anarchism and libertarian Marxism. Moreover, it highlights the importance of reading Nietzsche politically, in a radical way, to understand his utility for the contemporary anarchist movement. The review of the literature concerning the Nietzsche-anarchy relationship shows the hitherto limited bibliography and stresses the possibility of exploring this connection, with the methodological help of Michael Löwy s concept of elective affinity . The research opens with a discussion of anarchism, following the dominant model for categorizing anarchist traditions, presenting its basic features and currents and drawing on its historical development. This leads to the introduction of two points (the questioning of the anarchist canon and the exposure of the diversity that basic anarchist concepts bear among different anarchist currents) which contest the rigid ideological perception of anarchism in favour of a fluid and dynamic anarchy. There emerges the elective affinity with Nietzsche, serving a double goal: the unification of the distinct anarchist tendencies and the definition of the anarchist parameters in relation to other ideologies. The following section of the thesis examines Nietzsche, by presenting the evolution of his philosophical thought and the fundamental theses of his perception of politics. It, then, continues with a detailed analysis of the main concepts of his philosophy based on the interpretation made by Gilles Deleuze, Alexander Nehamas and Keith Ansell-Pearson, thus structuring its interpretative context for establishing the Nietzsche-anarchy connection. This establishment is realized in a dual way. Firstly, by exploring the elective affinity through the presence of Nietzsche in the thought and politics of anarchist/libertarian thinkers (Goldman, Landauer, Benjamin) and currents (post-anarchism), and secondly by recognizing the anarchist worldview in the Nietzschean philosophy. The first path (Nietzsche in anarchism) shows how Nietzsche has interacted with or has been absorbed by the anarchist way of thinking, whereas the second path (anarchism in Nietzsche) reveals the affinal worldview of the two parts by extensively using the interpretation context mentioned above. The final section of the thesis applies the whole analysis above on a Nietzschean reading of the December 08 revolt in Athens based on the Of the Three Metamorphoses discourse from Thus Spoke Zarathustra. What has been found is the existence of a clear bond, between Nietzsche and the anarchists, which even reaches the upper levels of Löwy s elective affinity , that is Nietzschean Anarchism as a result of the two parts interactive fusion. The significance of this finding is that the relevant affinity may contribute to an alternative, to the dominant, perception of anarchism as an ideology. It may also designate its special features together with its weaknesses, meaning the objections of Nietzsche to certain aspects of the anarchist practices and worldview (violence, resentment, bad conscience), thus opening a whole new road of self-criticism for the anarchists of the twenty first century. In addition, the location and analysis of the elective affinity serves the debunking of the Nietzschean concepts used by conservative and right-wing readings in order to appropriate Nietzsche, and of the accusations that the German philosopher had unleashed against anarchists, which reveals his misunderstanding of anarchist politics.

O presente trabalho é uma análise das obras de Albert Camus e de Jean-Paul Sartre sob o ângulo do que o crítico russo E. M. Mielietínski designou, em sua A Poética do Mito, de remitologização moderna, fenômeno de revalorização do mito, forma de discurso e de pensamento supostamente arcaica, mas que, em pleno século XX era que deveria marcar o auge da dessacralização e autonomização racional do homem, ressurge como representação poderosa de explicitação da condição humana e do tempo presente. Um ressurgimento mais patente na literatura com as obras de Joyce, Kafka e Thomas Mann, entre outros, crítica literária e ciências humanas (especialmente a psicologia freudiana e junguiana e a etnologia), mas que também intervém de maneira significativa na filosofia ocidental, em bases que nos propomos a abordar em suas figurações particulares em Albert Camus e Jean-Paul Sartre. A célebre querela entre os dois, por conta da publicação por Camus de O Homem Revoltado, em 1952, oferece o contexto objetivo para uma investigação que, contudo, vai além de tal episódio, e mesmo das diferenças exclusivamente ideológicas e filosófico-doutrinais ali em questão. Tomando por eixo privilegiado de análise justamente O Homem Revoltado, pretendemos estudar os principais aspectos da armação mitopoética da obra, à luz de suas ressonâncias em outras obras do autor, para depois lançar pistas para um cotejo deste específico \"mitologismo moderno\" que também propomos desvendar enquanto fenômeno de \"camuflagem do sagrado\", segundo Mircea Eliade com o que Sartre apresenta especialmente na peça As Moscas, em suas concepções dramatúrgicas em geral e também em textos como \"Erostrato\" e o \"Prefácio\" de Os Condenados da Terra, de Frantz Fanon, no que nos propomos chamar de a antropo(a)gonia mítica sartriana, calcada no valor simbólico da violência para a gênese do humano, em contraste com a \"nostalgia participativa\" que, em Camus, une os homens entre si e com a Natureza. / This thesis analyzes the works of Albert Camus and Jean-Paul Sartre by the perspective designated by the Russian critic E.M. Mielietínski in his book The Poetics of Myth, as modern remythologization, the phenomenon of revalorization of myth, a form of discourse and thought supposedly archaic but that in the 20th century an era that should mark the apex of man\'s secularism and rational autonomy reemerges as a powerful representation of the universal human condition and/or the present time. An evident resurgence in literature through the works of Joyce, Kafka and Thomas Mann, among others literary criticism and the humanities (especially Jungian Freudian and psychology as well as ethnology) but one that also intervenes in a significant manner in Western philosophy, on foundations which we propose to approach through the particular case of Albert Camus and Jean-Paul Sartre. The famous quarrel between the two, due to Camus\'s publication of The Rebel in 1952, offers the objective context for an investigation that reaches beyond that episode and the exclusively ideological differences and philosophical doctrines in question. Privileging an analysis of The Rebel, we intend to study the principal aspects of the book\'s mythic-poetic motif, in light of its resonance with the author\'s other works, in order to set the stage for a comparison of this specific \"modern mythology\" which we further propose to reveal using the \"camouflage of the sacred\" phenomenon, according to Mircea Eliade with that which Sartre presents, particularly in the theatrical piece The Flies, in his dramaturgical concepts in general and also in written works such as \"Erostrato\" and the preface to Franz Fanon\'s Wretched of the Earth, in what we propose to call the mythic Sartrian anthropo(a)gonv, draped in the symbolic value of violence to the human genesis, in contrast with the \"participatory nostalgia\" which, in Camus, unites men within themselves and Nature.

A presente tese de doutorado analisa, em perspectiva comparada, as convergências e divergências entre as dramaturgias do francês Jean Genet e do brasileiro Plínio Marcos, sob o prisma de três tópicos inegavelmente presentes, nelas: a violência, a revolta e a religiosidade. As questões de margem, borda, periferia, ex-centricidade, dissenso etc são abordadas neste trabalho para situar a ideia de outro como o referencial ontológico que sustenta a obra teatral de ambos. As respectivas biografias dos autores em questão, direta ou indiretamente, tem relação com a aura de marginalidade artística atribuída (e até assumida por eles próprios) a sua produção em geral (seus romances, poemas, ensaios e contos). Pode-se dizer que muito da persona que ambos assumiram correspondia às expectativas que os círculos intelectuais engajados tinham em adotar uma figura que viesse a encarnar o papel de autêntico porta-voz do segmento marginalizado da sociedade na qual cada um deles se criou. Ambos gozam de certo status de vanguardistas no caso do metateatro de Genet, na sua atribuída vinculação ao Teatro do Absurdo, e, no caso do hipernaturalismo dramático de Plínio, na sua atribuída (e mesmo confessa) descendência da linhagem criativa de caracteres e motivos do teatro de Nelson Rodrigues. Outro aspecto comum à dramaturgia de Genet e Plínio que abordamos é a problematização de dois espaços alegóricos definidores por excelência do ethos dos tipos humanos que o habitam: a prisão e o prostíbulo. Para tanto, ganham destaque, aqui, Alta vigilância e O Balcão, de Genet, e Barrela e O abajur lilás, de Plínio. Nelas também se verifica a figuração de motivos de inspiração religiosa que, no autor francês, concorrem para uma espécie de sacralização ritual do crime (o que ecoa o ideário de Antonin Artaud) e, no brasileiro, funcionam como um exercício catártico de compaixão à sombra de uma cristandade de feição primitiva que se insinua no tratamento que dá à degradação dos párias sociais que compõem seu universo dramático. Por fim, analisamos comparativamente três peças brasileiras (Pedro Mico, de Antonio Callado; Gimba, o presidente dos valentes, de Gianfrancesco Guarnieri; e Oração para um pé de chinelo, de Plínio Marcos) tomando como ponto de partida uma situação dramática comum a elas para traçar, assim, as afinidades e distinções de cada qual quanto à abordagem da criminalidade. E, assim, também, poder apontar o tipo de projeto de teatro a que cada uma se vincula, trazendo à tona questões caras ao momento histórico-cultural no qual foram compostas, como a figuração do negro e do favelado na sociedade brasileira / The present doctoral thesis analyses, in comparative perspective, the convergences and divergences between the dramaturgies of french Jean Genet and brazilian Plínio Marcos, through the prism of three topics which are undeniably present in both: violence, revolt and religiousness. The issues of margin, border, periphery, eccentricity, dissent etc are approached in this work in order to situate the idea of other as the ontological framework that supports the theatrical work of both authors. The biographies of both authors, directly or indirectly, are related to the aura of artistic marginality attributed (and even assumed by them) to their production in general (their novels, poems, essays and short stories). One may say that much of the persona assumed by the authors corresponded to the expectations that the engaged intellectual circles had of adopting a character that could embody the role of authentic spokesman of the marginalized segment of society in which each one of them were created. Both authors enjoy a certain avant-garde status in the case of Genets metatheatre, in his assigned binding to the Theater of the Absurd, and, in the case of Plínios dramatic hipernaturalism, in his assigned (and even confessed) ancestry of the creative lineage of characters and motives from Nelson Rodrigues theater. Another common aspect of the drama of Genet and Plínio that has been approached is the problematization of two allegorical spaces that perfectly define the ethos of human types that inhabit them: the prison and the whorehouse. Therefore, the highlights here are Deathwatch and The Balcony, by Genet, and Barrela and O abajur lilás, by Plínio. In all of them there is also the figuration of religion-inspired motifs that, in the french authors case, contribute as a type of ritual consecration of crime (which echoes in Antoin Artauds ideas) and, in the case of the brazilian author, function as a cathartic exercise of compassion in the shade of a primitive Christianity which is insinuated in the treatment given to the degradation of the social outcasts that compose his dramatic universe. Finally, we comparatively analyzed three brazilian plays (Pedro Mico, by Antonio Callado; Gimba, o presidente dos valentes, by Gianfrancesco Guarnieri; and Oração para um pé de chinelo, by Plínio Marcos) using as a starting point a dramatic situation common to them in order to trace the affinities and distinctions of each one regarding the approach to criminality. And thus, also, be able to indicate the type of theater project to which the authors are linked, bringing up issues that are dear to the cultural-historical moment in which they were composed, like the figuration of the black men and the people who lived in slums in brazilian society