Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Dr. John Fenstermaker, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Sept. 21, 2005). Document formatted into pages; contains iv, 150 pages. Includes bibliographical references.

Thesis (D.A.)--Illinois State University, 1999. / Title from title page screen, viewed July 26, 2006. Dissertation Committee: M. Paul Holsinger (chair), Lawrence W. McBride, John B. Freed, Steven E. Kagle. Includes bibliographical references (leaves 225-239) and abstract. Also available in print.

This research provides an analytical reading of five southern African war novels, in a transnational study of the experience of war as represented by the novels' authors. In order to situate the texts within a transnational tradition of writing about modern warfare, I draw on Paul Fussell's work on the fictional writings of the Second World War in combination with Tobey Herzog's work on the writings of America's war in Vietnam. Through a reading of Sousa Jamba's Patriots and Mark Behr's The Smell of Apples. I illustrate that while these and other southern African war texts can be situated within a transnational tradition of writing about modern warfare, they also extend the tradition by adding new and previously silenced voices. I then turn to a focus on specific experiences of southern African anti-colonial war as represented in Pepetela's Mayombe and Mark Behr's The Smell of Apples. These texts are read in light of Franz Fanon's extensive writings on the nature of colonial violence and with a focus on the role of the victim and perpetrator in violent resistance to colonial oppression. Following this, and keeping with my examination of the experience of war in southern Africa, I read Pepetela's Mayombe. Sousa Jamba's Patriots and Chenjerai Hove's Bones with a view to highlighting their writing of women in times of war. Using the work of Florence Stratton, this section exposes the great difficulties faced by women in times of war as a result of war's complicity in the maintenance of patriarchal societal structures. Finally, I read Chenjerai Hove's Bones and Mia Couto's Under the Frangipani as post-war texts so as to highlight the authors' use of organic images to imagine post-war futures that are not tainted by the experience of war. In examining this topic, I aim to suggest that all of the texts studied show war to be a continuum that results in failed societies. I therefore read the texts as active interventions that seek to break the destructive cycle of the region's wars in the hope of better and constructive futures. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

Thesis (Ph. D.)--Uppsala University, 1983. / Includes index. Bibliography: p. 159-169.

Thesis (MA)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: It is asswned that events during the border war (SWAI Angola) had an influencelimpact on the lives of soldiers who took part in it. Some experiences have become embedded in their memories and are reflected in yams about such episodes and anecdotes that constitute a wealth of oral art. From a cultural history point of view, these therefore deserve to be recorded and conserved. The study interprets the narratives against the background of the border war and determines the relationship between these stories and the influence of the war on the lives of soldiers. Examples of war hwnour are grouped into stories about personal hygiene, misunderstandings, boyish pranks, practical jokes and other humorous incidents. As in any war, soldiers were confronted with unpleasant experiences such as bad news from home, the death of comrades and the enemy, adventures with wild animals and the loss of pets. Tales about soldiers' experiences during contact with the enemy allow one to gain insight into the functioning of the human mind. These stories are grouped into heroic deeds, narrow escapes and feelings experienced in contact with the enemy. As far as is known, no legends had their origin in the border war, but stories about quite a few legendary characters are told. Stories about helicopter pilots and trackers might eventually develop into legends, because of the fearlessness and skill of these people. Myths are stories originating in folkbelief, in which God or the gods play an important role. However, stories from the border war about chaplains and religion are not myths, but tales about personal experience with a religious inclination. It is clear from the narratives that religion played an important role in the lives of soldiers and that they had a child-like trust in a Supreme Being. Leaders, trackers and helicopter pilots were identified as important people in soldiers' battle for survival. They also had a need of female company and the presence of women. Pets played a significant role in allowing them to express their emotions. Each soldier experienced confrontation with death and the enemy in his own unique manner. In spite of hardships, many tales of a humorous nature were told. This can be regarded as a way of dealing and coping with unpleasant experiences. / AFRIKAANSE OPSOMMING: Die veronderstelling is dat gebeure gedurende die grensoorlog (SW AI Angola) In invloed/impak op die soldate wat daaraan deelgeneem het, se lewens gehad het. Sekere ervarings is in hulle geheue vasgele en kom in die vorm van belewenisvertellings en staaltjies na Yore, wat In ryke skat van volkswoordkuns bied. Dit verdien daarom om vanuit In kultuurhistoriese oogpunt opgeteken en bewaar te word. Die studie vertolk die vertellings teen die agtergrond van die grensoorlog en bepaal die verband tussen die vertellings en die invloed van die oorlog op die lewens van soldate. Voorbeelde van oorlogshumor word gegroepeer in verhale wat handel oor persoonlike higiene, misverstande, kwajongstreke, poetse en ander humoristiese insidente. Soos in enige oorlog, is soldate gekonfronteer met onaangename wedervarings soos slegte nuus van die huis af, die dood van makkers en die vyand, wedervarings met wilde diere en die verlies van troeteldiere. Vertellings oor soldate se ervarings tydens kontak met die vyand verleen insig in die werking van die menslike gees en is gegroepeer in heldedade, noue ontkomings en gevoelens wat ervaar is in kontak met die vyand. Sover bekend bestaan daar nie legendes uit die grensoorlog nie, maar daar is van In hele paar legendariese karakters vertel. Vanwee hulle onverskrokkenheid en vemuf kan verhale oor helikoptervlieeniers en spoorsnyers met verloop van tyd legendes word. Mites is verhale wat uit die volksgeloof spruit en waarin God of gode Inbelangrike rol speel. Verhale uit die grensoorlog wat handel oor kapelane en godsdiens, is egter nie mites nie maar belewenisvertellings met In godsdienstige strekking. Uit die vertellings blyk dit dat godsdiens In belangrike rol in die lewens van soldate gespeel het en dat daar In kinderlike vertroue in In Hoer Hand was. Leiersfigure, spoorsnyers en helikoptervlieeniers is geidentifiseer as belangrike persone in soldate se oorlewingstryd. Daar was ook In behoefte aan vroulike geselskap en teenwoordigheid. Troeteldiere het In belangrike rol gespeel om uiting te gee aan emosies. Soldate het konfrontasie met die dood en die vyand elkeen op sy eie unieke manier beleef. Ten spyte van ontberings, is daar heelwat verhale met In humoristiese strekking vertel en dit kan beskou word as In manier om onaangename ervarings te hanteer en te verwerk.

Dans le cadre des études littéraires, la notion d’événement a le plus souvent été abordée sous l’angle narratif. Cette étude ne rejette pas cette perspective, mais elle considère que l’on ne peut s’y limiter. L’événement est ainsi appréhendé dans le champ élargi des sciences humaines (historiographie, philosophie analytique, phénoménologie, etc.) afin de mieux saisir sa spécificité dans le texte littéraire. Les questions relatives à l’événement –qu’il soit historique, naturel ou quotidien– sont abordées dans les textes narratifs et poétiques :qu’est-ce qu’un événement pour l’écrivain –romancier (Simon, Rouaud, Savitzkaya) ou poète (Follain, Réda, Jacqmin) ?Quels sont les procédés linguistiques auxquels il recourt pour l’écrire ?Quelles sont les visées éthiques de l’écriture ?Le but ultime de notre investigation consiste en effet à proposer une « poéthique » (Pinson) pour chacun de nos auteurs, c’est-à-dire une interprétation relative à la portée éthique de leurs textes. / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished

Doctor of Philosophy (PhD) / This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.

Doctor of Philosophy (PhD) / This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.

\ / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished