Mario Lavista (b.1943) is widely acknowledged as one of Mexico's foremost living composers. Having acquired his music education in his native Mexico and in Europe alike, he is similar to numerous other Latin composers who were building a career in the latter half of the twentieth century. During this time, composers were relying on international aspects of avant-garde techniques, and using nationalistic Latin rhythms and melodies less. Lavista embraced internationalism, and aimed to compose works devoid of identifiable elements of nationalism. This document argues that the absence of nationalistic elements in Lavista's music has affected his notoriety outside of Mexico. The role of nationalism is assessed through a brief examination of influential Mexican composers and educators prior to 1950, followed by a discussion of education and composition in the latter half of the twentieth century. These aspects are investigated with regard to Lavista's education and resulting compositional style. A theoretical analysis of Cinco Danzas Breves para quinteto de alientos (1994) serves as a representative example of Lavista's compositional style and influence. This document aims to highlight and increase exposure of Mexican composers outside of Latin America who do not compose nationalistic music.

Le théâtre de Jean Cocteau est dominé par le thème de l’illusion. Dans Les Chevaliers de la Table ronde (1937) et Renaud et Armide (1943), ce thème est illustré par les pouvoirs surnaturels de l’enchanteur Merlin et de l’enchanteresse Armide. Le présent mémoire cherche à montrer comment, dans ces deux pièces d’inspiration médiévale, le recours à ces figures légendaires éclaire de manière originale l’ethos auctorial de Cocteau. Dans leurs éthê de magiciens, Merlin et Armide apparaissent en effet comme des doubles du dramaturge. Comme lui, ils utilisent l’art de l’illusion pour ensorceler leur public, influencer et contrôler l’intrigue et ainsi parvenir à leurs fins. Mais leur échec les confronte aux limites de leurs capacités. L’analyse de l’ethos de Merlin et d’Armide met en relief une vision complexe de la création, où l’art théâtral, associé au maléfice, est finalement dominé par la poésie, associée au bien. Ainsi, au-delà du thème de l’illusion, ces personnages d’enchanteurs permettent d’éclairer la signification métadiscursive de la figure du double chez Cocteau. Leur étude fait émerger un reflet inédit de Jean Cocteau qui contribue à l’élaboration de son ethos discursif. / Jean Cocteau's theater is dominated by the theme of illusion. In Les Chevaliers de la Table ronde (1937) and Renaud et Armide (1943), this theme is illustrated by the supernatural powers of the enchanter Merlin and the enchantress Armide. This thesis seeks to show how, in these two medieval-inspired plays, recourse to these legendary figures sheds original light on Cocteau's auctorial ethos. In their magician's ethos, Merlin and Armide appear as doubles of the playwright. Like him, they use the art of illusion to bewitch their audience, influence and control the plot and thus achieve their ends. But their failure brings them face to face with the limits of their abilities. Analysis of Merlin and Armide's ethos highlights a complex vision of creation, where theatrical art, associated with evil, is ultimately dominated by poetry, associated with good. Beyond the theme of illusion, these enchanting characters shed light on the metadiscursive significance of Cocteau's figure of the double. Their study reveals a new reflection of Jean Cocteau that contributes to the development of his discursive ethos.

This thesis deals with a myth concept in Thomas Mann's and Ivan Olbracht's work. In regard to the tertium comparationis, which is myth, Mann's novels Joseph and His Brothers (Joseph und seine Brüder) and Doctor Faustus (Doktor Faustus) as well as Olbracht's novels The Bitter and the Sweet (Nikola Šuhaj loupežník) and Valley of Exile (Golet v údolí) are analysed. The concepts of these two authors are being compared both on a genetic level, which includes a possible influence of the tetralogy Joseph and His Brothers on Olbracht's work, and on a typological level. The second one includes analogies, which are independent of the possible direct influence. The thesis is methodological based on interpretation of fictional texts and their continuous comparison considering a literary-historical context and cultural-historical background of that time. Especially in some details, it can be considered that Thomas Mann had a direct influence on Olbracht's work in case of both of the novels. A number of analogies have been found, which exemplify a resemblance between the authors but which don't deny that Olbracht was an autonomous and creative personality at the same time. The specific myth concept of both authors harmonise with a period tendency in the modern literature.

This thesis is a biographical study of Erika Theron (1907-1990), an Afrikaner woman who played a significant role in many aspects of public life in South Africa in a critical time in the country‘s history. The study seeks to give recognition to her achievements, which have received scant attention in a historiography with a masculine bias. At the same time it examines her changing role from collaborator to critic of the apartheid system. Certain defining features of Theron‘s life have been highlighted. First, Theron grew up in a staunchly Afrikaner nationalist, service-oriented family which encouraged loyalty to her own people and civic responsibility. Second, she was unusual among Afrikaner women of her generation, in that she was highly educated, independent and ready to assume leadership roles. She became a pioneer in a number of fields, attaining high professional rank and holding important public offices – frequently as the first woman to do so in the country. The thesis focuses on five areas of Theron‘s public life. After returning from post-graduate studies abroad, she worked with Hendrik Verwoerd in the campaign to uplift poor whites, particularly the rehabilitation and re-integration of the Afrikaner poor. She thereafter commenced a long career as a social work academic, which included a number of milestones for her new discipline, for the profession of social work and for the advancement of women in academia. From the 1950s she served on the town council of Stellenbosch, including terms as deputy mayor and mayor. She played an important role in historic conservation but was also instrumental in the rigorous institution of apartheid structures in the town during the early days of National Party rule. In the early 1970s she served as chairman of the Commission of Enquiry into Coloured Affairs which influenced her personal views on the country‘s race policies. She became a public critic of many aspects of the apartheid system and vocal advocate for coloured rights. / History / D. Litt. et Phil. (History)

This work covering the period 1795 to 1948 has four main features. It firstly examines the role of international and domestic factors in determining regional interaction and cooperation between South Africa and Chile. Secondly, it documents the whims of the international community, and more particularly the world powers which was a motivating factor in Chilean and South African politics, economy, society and their bilateral relations. Thirdly it covers the period when Britain rose to world power status. Eventually, this gave way to her displacement by Germany and then ultimately the United States. This study's fourth feature is that it marks the first documented account of direct contact between the inhabitants at the Cape of Good Hope and Latin America. The period ends with a cornerstone in the history of South African-Chilean bilateral relations when direct diplomatic and consular relations were established by both South Africa and Chile in May 1948. / M.A. (History)

Fay Weldon is a popular, prolific author whose oeuvre stretches from 1967 to the present and includes 20 novels, three collections of short stories and numerous stage, radio and television plays, scripts and adaptations. This thesis limits itself to her fiction and follows the chronological course of Weldon's writing career in five chapters. Fay Weldon's fiction, situated at the intersection of postmodemism and feminism, is doubly subversive. It both overturns 'reasonable' narrative conventions and wittily deconstructs the specious terminology used to define women. Weldon's disobedient female protagonists - madwomen, criminals, outcasts and she-devils - assert the power of the Other. Gynocentric themes - single parenthood, sisterhood, reproduction, motherhood, sex and marriage - are transformed by Weldon into uproarious feminist revenge comedy. This she achieves through an intertextuality which often involves unorthodox typography, genreswopping and metafictional devices. Moreover, a unique ventriloquism enables her omniscient first-person narrators to mimic 'Fay Weldon' herself. Since her narrators are rebels and iconoclasts, Weldon has always been viewed as a subversive individual worthy of media attention, especially interviews. For this reason, and because she is a woman writer who struggled initially against social and domestic odds, the thesis incorporates in its argument the author's biography and public personae. Chapter One explores the connections between Weldon's first novels - notably Down Among the Women (1971) - and early liberationist and anthropological feminism. In Chapter Two, Bakhtin's dialogic imagination and Derrida's differance provide the basis for a discussion of multiplicity in Weldon's novels of the late 1970s, particularly Praxis (1979), shortlisted for the Booker prize. Chapter Three tests the limits of a psychoanalytical model in accounting for Weldon's novels of (m)Otherhood, including The Life and Loves of a SheDevil (1983). Theories of humour and carnival inform Chapter Four's analysis of how Weldon's wit - at its tendentious best in The Heart of the Country (1987) - declines into innocence. Finally, Chapter Five sees Weldon's flagging literary reputation as the symptom of authorial exhaustion and retreat from a feminist agenda. This concluding chapter is, however, ultimately optimistic that the mercurial author's undeniable talents may reassert themselves / English Studies / D.Litt. et Phil. (English)

This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest times up to the mid-century. Part Two researches string techniques and notation from the turn of the century up to 1990. The historical perspective demonstrates that after World War n, with the emergence o f the electronic age and a changing social and intellectual climate, traditional concepts were being challenged. Composers facing the dilemma affecting music in general, and the string quartet in particular, had to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the developmental paths took shape from the problem itself and different approaches emerged to master the multi-faceted dimensions available to composers. Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems and string techniques. Quartets of the first half of the century show that both the dissolution and the extension o f traditional processes were contained, importantly, within the continued use of conventional notation. The impact and significance of these quartets within the context of 20th century development cannot be ignored. However, the quartets researched post-1960 demonstrate that composers have enlarged all parameters of the genre through the extension of traditional resources and by radical innovation. This research demonstrates that the emergence of new symbols and string techniques in the second half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these elements is undertaken. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

his dissertation examines representations of the Zulu in a variety of discourses. It also examines the role of black nationalisms in the construction of Zuluist discourse. The production of images of the Zulu began with the first Anglo-Zulu encounter in the nineteenth century. In 1879, the Anglo-Zulu War set a trend for image-making which was developed further in the twentieth century. The appearance of The Washing of the Spears and Zulu, initiated a chapter in the study of the Zulu which gave rise to publications that created startling mages of the Zulu. Despite the publication of the James Stuart Archive, as well as serious studies of the Zulu, authors continued to use the same popular interpretations of the Zulu. During the early twentieth century, the 'native question' dominated South African politics, while in the 1990s, political protest, conceptualised as aggressive marches by 'warriors' and tourism have been the major representations. / History / M.A. (History)

This thesis is a study of how the American author Edith Wharton (1862-1937) in a number of novels and short stories written between 1876 and 1937 depicts cultural encounters between Americans and Europeans, mostly Frenchmen. Chiefly concerned with Fast and Loose, “The Last Asset”, Madame de Treymes, “Les Metteurs en Scène”, The Custom of the Country and The Age of Innocence, each of which articulates ideas relevant to the theme investigated, the thesis also contains a supplementary discussion of The Reef, The Glimpses of the Moon, The Mother’s Recompense and The Buccaneers. Borrowing terms and theoretical perspectives from Pierre Bourdieu and postcolonial literary criticism, particularly Homi Bhabha’s theories about inbetweenness, mimicry and otherness, the study contends through detailed analyses of single works that Wharton’s descriptions of Franco-American encounters are dynamic processes through which the parties involved are made aware of their own and “the other’s” distinguishing qualities and, in some significant cases, reach a heightened state of consciousness resembling Bhabha’s inbetweenness. Wharton’s cultural encounters often involve people with different levels of education and different economic and social positions, which justifies the use of Bourdieu’s method of analyzing the relationship between educational and social status in terms of different kinds of capital. While in her early works Wharton merely intimates the contours of the cultural encounter, in mature works such as Madame de Treymes and The Age of Innocence she views it as a highly complex process the many stages of which are intimated through the use of subtle narratological techniques. Throughout her work Wharton makes intricate use of imagery and keywords, some of them testifying to her interest in anthropology, to suggest the manifold dimensions of the cultural encounter, which is seen as both tempting and repelling. Her accounts of the Franco-American encounter are complexly related to the different phases of the American political and social situation described in her novels. The American experience of the meeting of the ‘old society’ and the ‘new’ is rendered even more complex by being seen as the background against which Europeans and Americans negotiate transactions of symbolic and economic capital. In most of her works these lead to tragic or tragic-comic misunderstandings; only in her last, unfinished novel does she describe a full-fledged Euro-American identity, a successful fusion of American and European experiences. / Den här avhandlingen är en studie i hur den amerikanska författarinnan Edith Wharton (1862-1937) i ett antal romaner och noveller skrivna mellan 1876 and 1937 skildrar kulturella möten mellan amerikaner och européer, främst fransmän. Avhandlingen behandlar huvudsakligen verken Fast and Loose, “The Last Asset”, Madame de Treymes, ”Les Metteurs en Scène”, The Custom of the Country and The Age of Innocence, som alla uttrycker idéer om kulturmöten; den innehåller även en kompletterande diskussion av verken The Reef, The Glimpses of the Moon, The Mother’s Recompense and The Buccaneers. Med termer och perspektiv hämtade från Pierre Bourdieu och postkolonial litteraturforskning, främst Homi Bhabhas teorier om in-betweenness (”mellanskap”), mimicry och otherness hävdar studien genom detaljerade analyser av enskilda verk hur Whartons beskrivningar av fransmäns och amerikaners möten är dynamiska processer där i bästa fall båda parter blir medvetna om sin egen och ”den andres” särart, och i vissa fall även når ett intensifierat medvetande som påminner om Bhabhas in-betweenness. Whartons kulturmöten sker oftast mellan personer med olika bildning samt ekonomisk och social position, vilket gör att Bourdieus perspektiv för analys av relationen mellan utbildning och social status som styrd av olika sorters kapital kommer till användning. I sina tidiga berättelser antyder Wharton konturerna av det kulturella mötet, i mogna verk som Madame de Treymes and The Age of Innocence gestaltar hon det som en mycket komplex process vars många skeden antyds via hennes användning av subtil berättarteknik. Alltigenom sina verk tillämpar Wharton ett komplext bildspråk och nyckelord, varav vissa vittnar om hennes intresse för antropologi, som antyder kulturmötets många dimensioner, framställt som samtidigt lockande och frånstötande/avskräckande. Hennes redogörelser av det fransk-amerikanska mötet är komplext relaterat till de olika faser av den amerikanska politiska och sociala situation som beskrivs i hennes berättelser. Den amerikanska erfarenheten av mötet mellan den ”gamla sociala grupperingen” och den ”nya” skildras som mer komplext genom att ses som den bakgrund mot vilken européerna och amerikanerna förhandlar transaktioner av symboliskt och ekonomiskt kapital. I merparten av hennes verk leder dessa transaktioner till tragiska eller tragikomiska missförstånd; bara i hennes sista, ofullbordade roman beskriver hon en fullt utvecklad euroamerikansk identitet, en lyckad sammansmältning av amerikanska och europeiska erfarenheter.

En este trabajo se analizan las representaciónes de dos categorías sociales, las mujeres y los indígenas en dos novelas latinoamericanas cuyas tramas acontecen en la primera mitad del siglo XX en Perú y México, respectivamente: La casa verde (1965) del escritor peruano Mario Vargas Llosa y Oficio de tinieblas (1962) de la escritora mexicana Rosario Castellanos. Nos proponemos analizar cómo diferentes formas de discriminación (referidas a clase social, género sexual y etnicidad) se entrecruzan en las novelas. Para ello vamos a realizar un análisis cuantitativo y cualitativo de una selección de diálogos de ambas novelas. Para llevar a cabo el análisis cuantitativo vamos a valernos del test de Bechdel. Mediante el cual podremos comprobar si hay una escasa cantidad de diálogos entre mujeres e indígenas en comparación con otros grupos sociales, lo cual nos permitirá visualizar posibles desigualdades en las representaciones de ambos grupos sociales en las novelas. En nuestra parte cualitativa, a través de un análisis crítico del discurso y utilizando una perspectiva interseccional, analizamos los diálogos directos en los que se habla sobre estos dos grupos sociales, las mujeres y los indígenas, para poder estudiar su representación en las novelas y para ver si encontramos elementos que puedan considerarse discriminatorios con respecto a estos grupos sociales. Finalmente, se compara el resultado cuantitativo con el resultado cualitativo para así poder también probar la conveniencia del test de Bechdel para analizar desigualdades en los medios de ficción. / The aim of this paper is to analyse the representation of two social categories, women and natives, in two Latin American novels, whose plot takes place in the first half of the twentieth century in Peru and Mexico, respectively: The green house/La casa verde (1965) by Peruvian author Mario Vargas Llosa and The book of lamentation/Oficio de tinieblas (1962) by Mexican author Rosario Castellanos. In this study, we will analyse how different forms of discrimination (regarding social class, gender and ethnicity) intersect in both novels. We will use a quantitative and qualitative analysis of selected dialogues of both novels. To perform the quantitative analysis, we will make use of the Bechdeltest. Through this test we can study a small amount of dialogues between women and natives compared to other social groups, allowing us to visualize possible inequalities in the representation of both social groups in the novels. In our qualitative part we will study the dialogues in which the interlocutors talk about these two social groups, women and natives, to interpret their representation in the novels and to find out if there are elements that may be considered discriminatory with respect to these social groups, through a critical discourse analysis and an intersectional perspective. Finally, the quantitative result is compared with the qualitative results so that we can test the suitability of Bechdel test to analyse inequalities in the media fiction.