This thesis explores the potential fruitfulness of drama for Christian theology through a close analysis of particular dramatic works by Dorothy L. Sayers (1893-1957). This project contends that to determine the extent to which drama can be more than a mere metaphor in theological writing, it is vitally important for theologians to attend to specific instances of dramatic performance. The approach of this project is, therefore, one of taking time over particular plays, examined with sensitivity to the circumstances of the original productions of these works. Through such close study of Sayers’ plays, a case is made for drama’s capacity to show forth God’s action in history. At the heart of the theology which emerges from the plays is an incarnational and participatory dynamic: a movement which brings embodied, time-bound specificities into an intimate relationship with the excessive, uncontainable, superabundance of divine being. This thesis aims to contribute to the growing body of work which is discovering deep resonances between drama and theology. It also makes a significant contribution to the study of Sayers’ writings. Whilst Sayers’ detective fiction and other prose, in particular her book The Mind of the Maker, has received attention from scholars interested in theology, the theological significance of her plays has been overlooked. The thesis examines in detail four of Sayers’ dramatic works. Chapters Two and Three each treat works written for broadcast on BBC radio: first, Sayers’ 1938 nativity play, He That Should Come; second, her series of twelve plays depicting the life of Christ, The Man Born to Be King, broadcast between 1941 and 1942. Chapters Four and Five discuss plays written for performance in ecclesial settings: The Just Vengeance, commissioned as part of a festival at Lichfield Cathedral in 1946, and The Zeal of Thy House, the Canterbury Cathedral Festival play for 1937.

The life of the controversial Irish nationalist Roger David Casement, who was sentenced to death for high treason by the British Crown, has inspired writers to produce works of various literary genres: prose, poetry, drama and critical essays. This doctoral dissertation aims to investigate, under the light of trauma theory as suggested chiefly, but not solely by Cathy Caruth, Ron Eyerman and Dominick La Capra, the ways in which the figure of Roger Casement can be associated with traumatic events that have sealed Anglo-Irish relations. Thus, I have selected works that deal with Casements Life as he acts both for and against the trauma inflicted by imperialism respectively as a Victorian hero in Arthur Conan Doyles The Lost World (1912) and as an oblique presence in the 1916 Easter Rebellion in Jamie ONeills At Swim, Two Boys (2001); the trauma surrounding his Trial and the discovery of the homosexual Black Diaries that culminated in his hanging through his representation as a whole man in Mario Vargas Llosas The Dream of the Celt and in Patrick Masons The Dreaming of Roger Casement (2010); and finally, the trauma that persists unresolved in his Afterlife, as a ghost in David Rudkins Cries from Casement as his Bones are Brought to Dublin and as traumatic memory in the Annabel Davis-Goffs The Foxs Walk. As a result, we have found that the representation of Roger Casement in these works, although in various ways, is a metaphor for the traumatic process itself: an embodiment of the disjunction of temporality, [and] the surfacing of the past in the presente (Whitehead) as his presence continues to haunt the story of the transatlantic world. / A vida do controverso nacionalista irlandês Roger David Casement, condenado à morte por alta traição pela Coroa Britânica, inspirou a escrita obras de diversos gêneros literários: prosa, poesia, teatro e ensaios críticos. Esta tese de doutorado tem como objetivo investigar, sob a luz da teoria do trauma, tal como sugerido principalmente, mas não exclusivamente por Cathy Caruth, Ron Eyerman e Dominick La Capra, diferentes maneiras pelas quais a figura de Roger Casement pode ser associada a eventos traumáticos que selaram as relações Anglo-irlandesas. Dessa forma, foram selecionados trabalhos que lidam com a Vida de Casement, como ele age a favor e contra o trauma causado pelo imperialismo como herói vitoriano em The Lost World (1910) de Arthur Conan Doyle e como uma presença oblíqua na Revolta da Páscoa de 1916 em At Swim, Two Boys de (2001) Jamie ONeill; o trauma em torno de seu Julgamento e da descoberta dos Black Diaries que o levaram à forca por meio de sua representação como um homem completo em The Dream of the Celt (2012) de Mario Vargas Llosa e em The Dreaming of Roger Casement (2012) de Patrick Mason e, finalmente, o trauma não resolvido que persiste em sua Vida após a Morte, como um fantasma em Cries from Casement as his Bones are Brought to Dublin (1973) e como memória traumática em The Foxs Walk de Annabel Davis-Goff. Verificamos que as representações de Roger Casement nessas obras, ainda que de formas distintas, representam uma metáfora do processo traumático em si: Uma personificação da disjunção da temporalidade, [e] o surgimento do passado no presente (Whitehead), visto que sua presença continua a assombrar a história do mundo transatlântico.

The aim of this investigation is to examine and discuss the growth and development of the Sepedi drama. With the aim in mind, both written (stage) dramas and radio dramas that were broadcast and appeared in book form at a later stage were taken into account. Traditional rituals that are regarded as dramas by some researchers also received attention. A comparison of these various works shows (a) how the way of life and cultural views of the Bapedi have changed due to adaptation to changing circumstances, (b) how the authorship of the authors has developed and (c) which tendencies are present in drama. In a study such as the one undertaken here, it is essential that the concept ‘drama’ be defined very clearly, mainly because the so-called traditional production differs vastly from conventional works such as the stage drama and the radio drama. The works of Finnegan (1970) and Dhlomo (1939) played a very important role in the discussion of the traditional drama. Differences and similarities between stage, radio and traditional drama were recorded in detail. The period from 1935 (the year in which the first written literary work appeared in Sepedi) to 1994 is covered with regard to written works. Problems in connection with the publication of literary works compelled the researcher to use 1994 as the cut-off date in his research. Such problems are only briefly mentioned. The growth and development of the Sepedi drama is presented mainly in the form of an evaluative historical report. At the same time, it is also pointed out how the writing skills of the dramatists improve, particularly after the sixties when radio dramas were first broadcast in Sepedi. In order to point out the different tendencies in Sepedi drama, other literatures were examined for criteria that can be used for such groupings. The Serudu (1983) and Groenewald (1983) classifications that cover phases or periods in literature as a whole and not just drama were also examined. Whereas the English discuss the growth of drama in terms of historical, social and political happenings or circumstances, Serudu (1983) and Groenewald (1983) divided their discussion of the phases of development into periods of ten years. In order to discuss the development of Sepedi drama in terms of tendencies or phases, this study has concentrated on two issues, namely the content and the arrangement of the facts by the author. Authors started writing more and more about apartheid and the decay of traditional manners and customs. The latter clearly represents the drastic changes that took place on a socio-cultural level. With regard to the second task, namely the processing of material to form a drama, there are two distinct groupings in connection with written works: (a) stage drama and (b) radio drama. Although the writing skills in the creation of stage drama did improve in the course of time, the stage drama was never of the same standard as the radio drama. The reason for this is obvious; stage drama has hardly ever been performed and there is no feedback from the spectator body (like critics). These works were furthermore kept alive artificially by the school syllabus. This has the result that these two drama groupings constitute the important development phases of the Sepedi drama. One may not, however, lose sight of the fact that the traditional drama not only still exists and is still being ‘performed’ but that it has been renewed and has adapted to modern circumstances. Three groupings that reflect the development and growth of Sepedi drama can thus be distinguished at present. / Thesis (DLitt (General Literary Theory))--University of Pretoria, 2007. / African Languages / DLitt / unrestricted

Since its rise to prominence in the 1920s, Canadian radio drama has become a topic of growing interest among scholars in the fields of media studies, communications, and literature. During the Second World War, radio drama became an important medium of entertainment for home front civilians, and was utilized as propaganda by the CBC to garner support for the Canadian war effort. At this time, radio drama also became an important artistic outlet for wartime artists to express their political and social values and beliefs during the war. While scholars have examined the art of radio drama in light of its artistic, dramatic and literary value, few have yet to examine the music composed for these dramas. This thesis draws on these scholars as well as archival materials from the John Weinzweig fonds and the CBC Music Library fonds located at Library and Archives Canada, and the CBC radio drama script collection located at the Concordia Centre of Broadcasting and Journalism Studies to examine the incidental music written by John Weinzweig for CBC wartime radio dramas. By considering how composing for this artistic medium impacted his musical language at this time, this thesis examines his scoring for the series New Homes for Old. Specifically, I problematize the modification and simplification of the serial technique in his incidental works, and consider the challenges that informed Weinzweig’s approach to radio drama composition. I propose that Weinzweig’s simplification of his serial technique may be understood in relationship to the social and political climate of the 1930s and 1940s, and within the context of leftist socialist movements, notably the Popular Front. I argue that Weinzweig’s engagement with radical socialism during this period may have prompted him to adopt a simpler and more accessible musical language that reflected and embodied the cultural, political, and aesthetic ideals of the Popular Front. Le théâtre radiophonique canadien est devenu un sujet très prisé parmi les chercheurs dans les domaines des médias, des communications, et de la littérature. Pendant la Deuxième Guerre mondiale, le théâtre radiophonique est devenu une forme de divertissement populaire pour les Canadiens et était souvent utilisé comme un outil de propagande par la CBC. À cette même époque, le théâtre radiophonique est aussi devenu une forme d’expression pour les artistes du temps de guerre pour exprimer leurs valeurs sociales et politiques. Bien que plusieurs chercheurs aient examiné l’art du théâtre radiophonique sous l’angle de sa valeur artistique, dramatique, et littéraire, peu ont examiné la musique qui a été composée pour ces drames. En se servant des matériaux d’archives trouvés dans les fonds “John Weinzweig” et les fonds “CBC music library” situés à la Bibliothèque et Archives Canada (BAC), ainsi que la collection “CBC Radio Dramas” située au Centre for Broadcasting and Journalism Studies (CCJBS) à l’Université Concordia, cette thèse examine la musique de scène écrite par John Weinzweig pour les émissions de théâtre radiophoniques présentées par la CBC pendant la Deuxième Guerre mondiale. En considérant comment le genre radiophonique a influencé le langage musical de Weinzweig, cette thèse examine ses oeuvres pour la série New Homes for Old. Plus précisément, cette thèse examine la modification et simplification de la technique sérielle utilisé par Weinzweig dans ses oeuvres radiophoniques, et considère les défis qui ont influencé son approche compositionnelle. Je suggère que la simplification de la technique sérielle utilisée par Weinzweig peut être étudiée en fonction des conditions politiques des années 1930 et 1940, et aussi en fonction des mouvements politiques de gauche et plus particulièrement du Front populaire. Je soutiens que l’engagement de Weinzweig avec les valeurs socialistes lui a permis d’adopter un langage accessible qui reflète les idéaux culturels, politiques, et esthétiques du Front populaire.

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique. / This research work is based on the study of the play Adiós, Robinson (Goodbye, Robinson), a radio script written by Julio Cortázar in 1977, published in 1984, reedited in 1995 -after the death of the author-, and broadcast in every continent in the late 1970s. The analysis of this piece was carried out taking into consideration two different but complementary perspectives: one more formal or technical and the other ideological. Thus, on the one hand, radio drama is examined as a type of discourse that uses a specific language -radiophonic language-, and constitutes “a theatrical presentation written for radio", based on the works of Rudolf Arnheim, Armand Balsebre and Etienne Fuzellier. On the other hand, the text contextualized by referring to the troubled situation in Latin America in the 1970s, and relating the topic of "decolonization" to that of liberation. Before addressing the subject of radio drama -including its origins in Argentina, the first pieces for radio, and the characteristics of its format- and taking the author Jesús Martín-Barbero as a source of reference, a brief history of melodrama is presented. This genre, characterized by strong emotional content, is very much present in Latin America, particularly in radio drama and soap operas. After describing Cortázar’s writing style, the script is analyzed from a viewpoint that focuses mainly on the categories of space and time, which are especially of interest when studying a piece of radio drama. Finally, this study pretends to demonstrate that Julio Cortázar did not write Adiós, Robinson as a mere piece of radio entertainment. On the contrary, the author, aware of the power exercised by this type of media, uses it to reach a wider audience and present it with an anti-colonial fable.

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique. / ABSTRACT This research work is based on the study of the play Adiós, Robinson (Goodbye, Robinson), a radio script written by Julio Cortázar in 1977, published in 1984, reedited in 1995 -after the death of the author-, and broadcast in every continent in the late 1970s. The analysis of this piece was carried out taking into consideration two different but complementary perspectives: one more formal or technical and the other ideological. Thus, on the one hand, radio drama is examined as a type of discourse that uses a specific language -radiophonic language-, and constitutes “a theatrical presentation written for radio", based on the works of Rudolf Arnheim, Armand Balsebre and Etienne Fuzellier. On the other hand, the text contextualized by referring to the troubled situation in Latin America in the 1970s, and relating the topic of "decolonization" to that of liberation. Before addressing the subject of radio drama -including its origins in Argentina, the first pieces for radio, and the characteristics of its format- and taking the author Jesús Martín-Barbero as a source of reference, a brief history of melodrama is presented. This genre, characterized by strong emotional content, is very much present in Latin America, particularly in radio drama and soap operas. After describing Cortázar’s writing style, the script is analyzed from a viewpoint that focuses mainly on the categories of space and time, which are especially of interest when studying a piece of radio drama. Finally, this study pretends to demonstrate that Julio Cortázar did not write Adiós, Robinson as a mere piece of radio entertainment. On the contrary, the author, aware of the power exercised by this type of media, uses it to reach a wider audience and present it with an anti-colonial fable. Keywords: Cortazar, Robinson Crusoe, decolonization, semiology of radio drama.

An exposition of South African English radio drama tracing the historical, cultural and political issues which led to the demise of the art form in 1999, and its resurrection at ICASA’s insistence in 2006. The research demonstrates the ideological influences of both British Imperialism and Afrikaner Nationalism on the development of South African radio drama, drawing parallels between the development of Afrikaans radio drama, Zulu radio drama and English radio drama. The study also deconstructs the role played by English language radio drama in underpinning the ideologies of whiteness, and illustrates attempts made towards transformation from 1985. The recent development of an essentially South African form of radio drama is described, and the effects of new ideological constraints imposed by the SABC are discussed. The study also provides a critical lens through which the SABC’s failure to observe its public service mandate is made evident. / Afrikaans & Literature / M. A. (Afrikaans & Theory of Literature)

An exposition of South African English radio drama tracing the historical, cultural and political issues which led to the demise of the art form in 1999, and its resurrection at ICASA’s insistence in 2006. The research demonstrates the ideological influences of both British Imperialism and Afrikaner Nationalism on the development of South African radio drama, drawing parallels between the development of Afrikaans radio drama, Zulu radio drama and English radio drama. The study also deconstructs the role played by English language radio drama in underpinning the ideologies of whiteness, and illustrates attempts made towards transformation from 1985. The recent development of an essentially South African form of radio drama is described, and the effects of new ideological constraints imposed by the SABC are discussed. The study also provides a critical lens through which the SABC’s failure to observe its public service mandate is made evident. / Afrikaans and Literature / M. A. (Afrikaans & Theory of Literature)

Performance in isiZulu radio drama is imaginative and abstract to the listeners and radio drama writers make use of semiotic signs to convey intended action or information to the listeners. This research is meant to uncover the role of semiotics in the isiZulu radio drama and the impact it has on the culture of the isiZulu-speaking community. This study was dedicated to answer the following research questions: • How does semiotics play its role in isiZulu radio drama? • To what extent does semiotics play its role in isiZulu radio drama? • What impact it has on the culture of isiZulu-speaking community? To answer these research questions the researcher formulated the following objectives: • To identify different semiotic signs that plays a significant role in isiZulu radio drama. • To explore the role of semiotic signs in isiZulu radio drama. • To analyse the role of semiotic signs in isiZulu radio drama. • To examine the extent to which semiotic signs can influence the revival of cultural knowledge in isiZulu-speaking community. • To suggest for further research on the role of semiotics in isiZulu radio drama and the impact it has on the culture of isiZulu-speaking community. The researcher used a mixed method consisting of quantitative and qualitative approaches which examined the research problem by surveying isiZulu radio drama listeners, observing selected isiZulu radio drama scripts and conducting a telephone interview with the participant. The researcher found that semiotics play significant and different roles in isiZulu radio dramas and has the potential to revive cultural knowledge of the isiZulu-speaking community. The researcher recommended further research on the grounds that this study did not focus on the infringement that exists in isiZulu language, which is used in isiZulu radio dramas to fit the socio-economic, political, technological and demographic changes whether such infringement still restore and revive cultural knowledge of the isiZulu-speaking community. / African Languages / M.A. (African Languages)

Performance in isiZulu radio drama is imaginative and abstract to the listeners and radio drama writers make use of semiotic signs to convey intended action or information to the listeners. This research is meant to uncover the role of semiotics in the isiZulu radio drama and the impact it has on the culture of the isiZulu-speaking community. This study was dedicated to answer the following research questions: • How does semiotics play its role in isiZulu radio drama? • To what extent does semiotics play its role in isiZulu radio drama? • What impact it has on the culture of isiZulu-speaking community? To answer these research questions the researcher formulated the following objectives: • To identify different semiotic signs that plays a significant role in isiZulu radio drama. • To explore the role of semiotic signs in isiZulu radio drama. • To analyse the role of semiotic signs in isiZulu radio drama. • To examine the extent to which semiotic signs can influence the revival of cultural knowledge in isiZulu-speaking community. • To suggest for further research on the role of semiotics in isiZulu radio drama and the impact it has on the culture of isiZulu-speaking community. The researcher used a mixed method consisting of quantitative and qualitative approaches which examined the research problem by surveying isiZulu radio drama listeners, observing selected isiZulu radio drama scripts and conducting a telephone interview with the participant. The researcher found that semiotics play significant and different roles in isiZulu radio dramas and has the potential to revive cultural knowledge of the isiZulu-speaking community. The researcher recommended further research on the grounds that this study did not focus on the infringement that exists in isiZulu language, which is used in isiZulu radio dramas to fit the socio-economic, political, technological and demographic changes whether such infringement still restore and revive cultural knowledge of the isiZulu-speaking community. / African Languages / M.A. (African Languages)