Diss.--Frankfurt am Main--Johann Wolfgang Goethe-Univ., 1986. / Bibliogr. p. 187-210. Index.

Diss.--Fachbereich Geschichtswissenschaft--Universität Hamburg, 1993. / Contient un choix de documents. Bibliogr. p. 202-211. Index.

M.A. (Afrikaans) / This study explores the nature, role and function of letters (i.e. epistolary communication) in Etienne van Heerden’s novels, In stede van die liefde (In love’s place) (2005) and 30 nagte in Amsterdam (30 nights in Amsterdam) (2008). Existing theoretical insights into the so-called epistolary novel (novel of letters), as well as the role of letters in literary texts, are used as point of departure for an in-depth analysis of each novel. Botha (1987:149) defines the epistolary novel as “a novel consisting entirely or in part of letters, diary fragments or other relevant documentation, while a foreword and/or conclusion by a fictional editor/publisher can also be included” (my translation – FB). Though neither In stede van die liefde and 30 nagte in Amsterdam at first sight seem to be epistolary novels, both meet with the requirements of Botha’s (1987:149) definition in the sense that they partly consist of letters. Botha’s (1987:149) definition also contains no specific indication of exactly how many letters or diary fragments a novel should include to be considered an epistolary novel. From a study of the letters in Van Heerden’s novels it becomes evident that In stede van die liefde and 30 nagte in Amsterdam do not display all the features of the epistolary novel. Some defining characteristics are deliberately deviated from or undermined, while other characteristics are identified in the novels that serve as supplement to existing theoretical approaches to the epistolary novel. In both novels, for example, letters function as catalysts for action, while they are sometimes used as part of the narration or to expose the inner life (thoughts) of characters. In addition letters are also used to provide background information and to act as historical documents. Among other things, it is indicated that most of the letters in In stede van die liefde and 30 nagte in Amsterdam do in fact not fulfil the traditional purpose of letters, as two-way communication is not established in all of them. It can justifiably be argued, therefore, that letters rather reveal something more symbolic about the psyche of the characters who act as letter writers in the novels. A textual analysis of the two Van Heerden novels clearly indicates that both In stede van die liefde and 30 nagte in Amsterdam should be considered innovative with regard to the use of letters. The complexity, richness and literary quality of these novels require many different interpretations, however, with the investigation into the role of letters as only one possible way in which insight can be obtained into these impressive literary achievements.

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Some equilibrium and non-equilibrium properties of a gas of hard spheres with a long range attractive potential are investigated by considering the properties of an equation, proposed by deSobrino (1967), for a one-particle distribution function for the gas model considered. The solutions of this equation obey an H-theorem indicating that our gas model approaches local equilibrium. Equilibrium solutions of the kinetic equation are studied; they satisfy an equation for the density η(r) for which space dependent solutions exist and correspond to a mixture of gas and liquid phases. The kinetic equation is next linearized and the linearized equation is applied to the study of the stability of the uniform density stationary states of a Van der Waals gas. A brief asymptotic analysis of sound propagation in dilute gases is presented in view of introducing an approximation of the linearized Boltzmann collision integral due to Gross and Jackson (1959). To first order, the dispersion in the speed of sound at low frequencies is the same as the Burnett and Wang Chang-Uhlenbeck values while the absorption of sound is slightly less than the Burnett value and slightly greater than the Wang Chang-Uhlenbeck value; all three are in good agreement with experiment. Finally, using the method developed in the previous section, an approximation for the linearized Enskog collision integral is obtained; a dispersion relation is derived and used to show that the uniform density states which correspond to local minima of the free energy and traditionally called metastable, are in fact stable against sufficiently small perturbations. / Science, Faculty of / Physics and Astronomy, Department of / Graduate

In the late summer of 1888, Vincent van Gogh undertakes to paint a number of canvases intended to decorate the Yellow House, his rented accomodation in Aries. Between mid August 1888,when this project is initiated in anticipation of sharin the Yellow House with Paul Gauguin, and October 23 or 24, 1888, when Gauguin arrives in Aries from Pont Aven, seventeen size 30 canvases for this decoration are painted. In describing two of these canvases to Theo van Gogh, Vincent expli-citely states that much of the meaning of his subject matter is to be conveyed by the use of suggestive or expressive colour. Several other times during the period in which the decoration is Vincent's major concern, a reference is made in the letters to Theo, to a concern with exploring the suggestive and expressive possibilities of colour. This thesis examines the nature of Vincent's concept of suggestive colour and it's role in the decoration canvases for the Yellow House As neither aspect of this topic have been examined in the van Gogh literature, this thesis is divided into two parts. In Part One, the concern with suggestive colour is shown to have it's roots in Nuenen in 1884 and 1885 where Vincent was introduced to several art texts that attributed the impact cfDelacroix' paintings to his understanding of the colour laws, in particular the various effects achieved through the juxtaposition or admixture of complementary colours. An analysis of Vincent's writings at this time shows that he gives a symbolic significance to his use of complementary admixtures and uses such colours to convey a particular aspect of his subject matter. While Vincent's palette and technique change radically in Paris and Aries due to Vincent's contact with impressionism and neoimpressionism and the exaggerated colour effects of the Japanese print, the re-emergence of a concern with the suggestive properties of colour which is announced in the early summer of 18 88, is based to a large extent on the significance given to complementary relationships formed in , s-Nuenen. An analysis of the colour structures in several canvases executed in July and early August of 1888, in light of the special role given to complementary relationships, shows that Vincent intended his use of complementary colours to convey much of the meaning of his images. Part Two examines the decoration canvases for the Yellow House. A study of Vincent's letters reveals the Yellow House as an essential part of Vincent's vision of a studio in the south that would give asylum and refuge to artists in need. This studio was to provide for artists of the present and the future, as Vincent sees his own role as a painter as a link in a chain of artists working with colour. By establishing a studio that is to remove the threat of poverty and hardship from artistic life Vincent hoped to create a stable and serene environment, enabling artists to work productively/ in turn effecting an artistic renaissance and a new art of colour. Examined individually within this - context several of the decoration canvases are shown to refer to ijhi.s vision, suggesting a thematic link for the series as a whole. Suggestive colour continues as a major concern during the period in which the decoration canvases are painted. Vincent sees complementary harmonies and contrasts as able to convey "l'idees poetiques" and uses such colour relationships in several of the canvases of the series to convey important aspects of meaning. The decoration for the Yellow House thus emerges as a crystallization of Vincent's vision of an association of artists working towards a renaissance, and as a major effort to formulate an expressive art in the summer and fall of 1888. Both aspects establish the series as an important development in the evolution of Vincent's art and theory. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

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Thesis (doctoral) : Littérature : Universiteit van Amsterdam : 1983. / Proefschrift Letteren Amsterdam, Universität van Amsterdam : 1983. - Extr. de Simolius vol. 9-12, 1977-1982. -Résumé en néerlandais. Notes bibliogr.