Many critics have argued that Englishness was forged on the peripheries of the British Empire - that, as Simon Gikandi puts it, Englishness was "elsewhere". In this thesis, I take this argument in another direction, and ask whether travel to London enabled South Africans not only to think about London and Englishness, but also to forge ideas about South Africanness. In order to answer this question, I explore South African representations of London from 1948 onwards. I focus on the writing of Peter Abrahams, Dan Jacobson, Todd Matshikiza, Arthur Nortje, J.M. Coetzee, Justin Cartwright, and Isthtiyaq Shukri, providing an alternative and transnational history of both South African literature and London by exploring the interface between London and South African authors across a broad timespan. My comparison of the writing of Peter Abrahams and Dan Jacobson highlights London's role in the midst of important debates about liberalism, artistic independence and the role of the South African writer during apartheid. My study of Todd Matshikiza's London-based writing exemplifies the layered, transhistorical counterpoint between South Africa and London that is common to many South African narratives about London. Matshikiza's writing also includes references to other spaces - in his case, a global black imaginary - foregrounding the global resonances that are present in both London and South Africa. Arthur Nortje's poetry about London evinces a shifting dialectic between traumatic alienation and bodily embeddedness in the city, suggesting the need to rethink how exiled South African writers have engaged with places of exile. In my study of novels by Justin Cartwright and J.M. Coetzee, I focus on the metonymic role that London plays in South African writing, and explore how writing about London enables or occludes self-reflection on the part of "white" writers. In my epilogue, I read Ishtiyaq Shukri's The Silent Minaret (2005) in order to consider the interlinked histories of South Africa and London, but also to look forward and outwards to South African literature's broader global reach. In this thesis, I argue that a study of South African writing in London enriches our understanding of the historical development of South African culture and identity in response to exile, and specifically in relation to one of the most important international touchstones within the South African imaginary.

書寫行為與書寫者的人格特質關係密切。書寫筆跡並非僅是單純的手部活動的結果， 且係書寫者人格（Personality ）的表現，書寫者的人格各有不同，則筆跡必因之而 異；從書寫行為中，我們可以推知書寫者的人格特質，而在書寫行為中，筆壓（Pen pressure）和書寫速度（Writing speed ）是較不可能被學習、模仿的，因此，在書 寫過程中，具有高度的自然性（Naturalness ）和即興、自發性（Spontaneity ）。 基於上述假設，在本論文中，我們選擇書寫行為中筆壓與時間變項來探討其與書寫者 在內－外向（Extroversion -Introversion）勇猛性（Psychoticism）、神經質（ Neuroticism ）及場地獨立－依賴性（Field independent v.s. depedent ）等四項 人格特質的關係。 本研究收集26名男女大學生及13名精神病人在書寫行為中之筆壓變項，與人格特質變 項一分別以艾氏人格問卷（Eysenck Personality Questionnarire）、藏圖測驗二種 人格測驗測量之一間的關係。所得之主要結論如下： 1.性格愈內向的，筆壓愈重。 2.性格愈外向的，筆壓愈輕。 3.場地獨立性傾向愈高的，筆壓愈輕。 4.場地依賴性傾向愈高的，筆壓愈重。 5.精神病人之筆壓平均高於正常人組。 6.筆壓愈重者，書寫速度愈慢。 7.筆壓愈輕者，書寫速度愈快。

Comment les formes et les figures d’un catalogue d’exposition numérique ou d’un récit de fiction enrichi pour tablette, cadrées dans des pages-écrans et ancrées dans un dispositif numérique, modélisent-elles des lecteurs et des pratiques de réception ? Comment les concepteurs imaginent-ils ces modélisations de pratiques et comment celles-ci s’actualisent-elles de diverses manières dans une situation de réception précise en fonction des attentes des lecteurs ? Il n’existe pas encore de travaux sur le livre numérique enrichi confrontant les pratiques réelles ou imaginées de communautés de producteurs et de récepteurs aux pratiques modélisées par l’artefact, ses formes graphiques, ses signes alphabétiques et ses relations rhétoriques entre pages-écrans. Cette thèse retrace la genèse d’une méthodologie d’analyse socio-sémiotique, alliant en profondeur l’étude empirique des contextes de production et de réception du livre numérique enrichi avec l’analyse des stratégies sémiotiques et rhétoriques de ses interfaces. Souhaitant favoriser l’émergence d’une culture critique du design numérique, la méthodologie propose d’identifier les rapports de pouvoir qui traversent les pratiques en conception pour se loger dans la matérialité des artefacts. À travers un croisement expérimental d’approches sémiotique, sociologique et économique, nous faisons émerger un vocabulaire original des « figures de la lecture » du livre numérique enrichi. Indexé sur les pratiques des concepteurs, celui-ci met en avant le rôle des représentations, habitudes et normes sociales dans la sémiose. Il est enrichi par une étude en réception sur l’un des artefacts du corpus. / How will an exhibition catalog or a fictional story, enhanced for digital tablets, translate the visitor’s reading habits and expectations into pages-screens? How do the e-books’ designers understand and conceive these reading practices? How will concrete readers’ expectations meet the implicit reader of the text? This thesis is based on a social semiotic methodology, deeply intertwining the empirical study of the current e-books creative and consumption practices with a methodical analysis of the semiotic and rhetorical strategies of their editorial interfaces. Empirically merging semiotic, sociological and economical research, we bring to light a new original vocabulary of “reading features” of enhanced e-books. Combining it with the designers’ practices, this vocabulary exhibits the role played by usages and social standards in semiosis. It is also enriched with a reception study on a specific artifact.