As many Indigenous voices and teachings reveal, individual practices of leadership are an everyday commitment to cultural resurgence and actualize within the personal spaces of the home, kitchen table, garden, birth-room and familial relations. Individual enactments of leadership are further determined by personal sense of agency derived from feelings of personal wellness, community well-being, relational balance and alignment of the mental, spiritual, emotional and physical selves. Healthy environments, including territories that encompass Land and Water, are essential for overall community wellness. This issertation examines emergent themes of Indigenous wellness, governance and gender to broaden current definitions of Indigenous governance and leadership towards a gendered, storied and embodied understanding. Countering the notion that governance and wellness are separate entities within the field of Indigenous Governance, this paper draws the Indigenous body into focus as a crucial site for self-determination in what I define as embodied governance. In doing so, we situate the Indigenous body within a self-determination framework that brings together critical Indigenous studies, Indigenous governance and culturally grounded wellness practices. Utilizing narrative inquiry, storytelling methods, relationship based models of accountability, this research project included the guided conversations of 17 self-identified Indigenous Womxn between 21-60 years of age from 10 different Nations, to explore: definitions of leadership in their everyday lives, the conditions for their personal wellness and community well-being, and finally, how these notions are predicated upon meaningful relationship to Land/Waters. My research defines wellness and well-being within the Cree-Michif framework of Miyo-Pimatisiwin (personal wellness, self-care, healing, internal balance) and Miyo-Wîchêtowin (care for others, accountability and belonging, kinship, relational governance, external balance). These concepts inform what I define as an embodied governance framework of self-determination to engage in ongoing efforts of personal, community, Land/Water-based healing for the purpose of protecting the future of generations to come. The final analysis celebrates and honours on-the-ground practices of embodied governance by focusing on rooted examples of creative resurgence, Land-Water based healing practices and a focus on an emergent theme of embodied birth and reproductive governance. These learnings support that determinants of individual leadership must be supported by a sense of personal wellness contained by relationship to Land and Waters. The dissertation begins with a critical examination of the colonial underpinnings that sabotage community healing, wellness and traditions of governance as derived by relationship to home Lands and Waters. In this way, I aim to interrupt the predominant trope of the Indigenous body or community as continuously in crisis. Instead, this paper situates Indigenous healing practices as radical sites of governance. This dissertation argues for the reconsideration of self-determination as embodied governance, which begins with the body as a site of regeneration, resurgence and renewal. / Graduate

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This thesis employs the concept of 'voice' in order to explore the variety of dialogic relationships between men and women in seven Shakespeare plays. Here, 'voice' is defined as an ideological position held by a character and voices within a dialogical relationship test dominant social ideas. In doing so, the aim is to explore how employing a linguistic approach allows us to develop a more nuanced perspective towards women and female voices in Shakespeare. Taking the early modern tradition of an all-male-cast into consideration, this project acknowledges the tension between the idea of embodiment and voice; however, it argues that even though there is no biological female body of the Shakespearean stage, there is a female voice. Dialogism, of course, derives from the work of the Russian theorist Mikhail Bakhtin. These 'voices' are analysed in the context of a theoretical framework informed by his writings on the novel, which are also increasingly being used to make sense of drama in line with Bakhtin's own awareness of a nascent dialogism in Shakespearean drama. 'Polyphony', in particular, assumes a separation between the author's and the characters' points of view. Thus, this project considers Shakespeare's texts as dialogic and his plays as a dialogue of voices, in which the characters have the capacity to hold dialogical relationships where no voice holds more importance than any other. This is significant because these conflicting voices are what make the Shakespearean text different from those in which a single voice is heard - that of the author, for example. As this study talks about an oppressive authoritative/patriarchal language, a dialogic approach unlocks the languages of the others which it tries to marginalise and silence. The research reveals a complex relationship between space, time and voice. More precisely, the carnivalesque becomes visible in Shakespeare's use of innovative discursive devices, such as 'active parody', 'Menippean dialogue' and 'Socratic dialogue', which suggests a multi-toned and ambiguous female voice; a voice that has the capacity to covertly and overtly oppose and challenge social ideologies surrounding gender. The thesis offers new perspectives on the presentation of women and speech. Importantly, it offers a more sophisticated and complex Bakhtinian framework for looking at carnival in Shakespeare. Additionally, a linguistic model of analysis also develops current scholarly use of Bakhtin's concept of carnival. Rather than viewing carnival as simply a time-space of betwixt and between, this project looks at carnival in the context of language (the carnivalesque). More specifically, it reveals how Shakespeare¿s female figures find pockets of carnivalesque space in everyday existence through dialogue. Thus, suggesting that emancipation is not limited to an allocated time or space, rather, it can also be achieved through language.

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Typescript (photocopy). / Digitized by Kansas Correctional Industries

It is evident in Antjie Krog's oeuvre that autobiographical aspects and themes play an important role in her work, and that such aspects are in fact characteristic of all her work. In this study the relation between the autobiographical material in 'n Ander Tongval (2003) and in some of her volumes of poetry is researched. It is clear from the theoretical works that were consulted that the relation between the text and "reality" can be extremely complex, because all autobiographical texts always contain both autobiographical and fictional aspects. In the autobiographical text the writer must constantly negotiate between the public and the private; in other words what the writer chooses to remember and reveal, and what is concealed. There are significant similarities between the autobiographical memories in 'n Ander Tongva/ and a number of Antjie Krog's poems from the volumes Dogter van Jefta, Otters in bronslaai, Jerusa/emgangers, Lady Anne, Gedigte 1989 - 1995 and Kleur kom nooit aileen nie. It is evident, however, that the same information is presented very differently in the poetic and narrative texts. Krog uses her memory very selectively and she manipulates her memories in the representation of the poems. A reason for this may be that she regards her poetry as personal, while the autobiographical text was written for a bigger audience. The same argument applies to her use of different voices ("I" as well as other voices) which is used in both texts. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

It is evident in Antjie Krog's oeuvre that autobiographical aspects and themes play an important role in her work, and that such aspects are in fact characteristic of all her work. In this study the relation between the autobiographical material in 'n Ander Tongval (2003) and in some of her volumes of poetry is researched. It is clear from the theoretical works that were consulted that the relation between the text and "reality" can be extremely complex, because all autobiographical texts always contain both autobiographical and fictional aspects. In the autobiographical text the writer must constantly negotiate between the public and the private; in other words what the writer chooses to remember and reveal, and what is concealed. There are significant similarities between the autobiographical memories in 'n Ander Tongva/ and a number of Antjie Krog's poems from the volumes Dogter van Jefta, Otters in bronslaai, Jerusa/emgangers, Lady Anne, Gedigte 1989 - 1995 and Kleur kom nooit aileen nie. It is evident, however, that the same information is presented very differently in the poetic and narrative texts. Krog uses her memory very selectively and she manipulates her memories in the representation of the poems. A reason for this may be that she regards her poetry as personal, while the autobiographical text was written for a bigger audience. The same argument applies to her use of different voices ("I" as well as other voices) which is used in both texts. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

Thesis (M.S.)--University of Wisconsin--Madison, 1968. / For unison to 4-part children's chorus (specifically, 5th graders) with piano (in part also with flute or percussion). Ms. (arranger's holograph). Includes bibliographical references. eContent provider-neutral record in process. Description based on print version record.