Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis (M.A.R.)--Emmanuel School of Religion, Johnson City, Tennessee, 2003. / Vita. Includes bibliographical references (leaves 90-94).

The thesis is divided into five parts. The first consists of a revue of the opinions of the critics on the work of Georges Bernanos, and then proceeds to define the aims of the thesis: (i) to combat the pernicious idea that we are dealing with a "Catholic Opus", one where the term "Catholic" would imply "idealistic" or "out of touch with reality", and to arrive at a different way of approaching the work; (ii) to lay bare the hidden unity of the work since the new interpretation we are seeking will derive from the relation of the parts to the whole; (iii) to show the radical nature of Bernanos's thought which lays bare the roots of the Discontents of our Civilisation and, by so doing, imparts a prophetic tone to his writings. In the second part Bernanos is placed within the context of his times and compared to other intellectuals, both Catholic and non-Catholic, in order to separate the "Catholic" from the "non-Catholic" elements in his work. Next, using the methods of Charles Mauron, we study the Youthful Works. In the third part, following the methods of Lucien Goldmann, we place the Novels in the context of Ecclesiastical Politics. In the fourth part we trace the transformation of the Novelist into the political pundit, then we go back to La Grande peur des bien-pensants to retrace the origins of his political thinking. Chapter twelve, "Birth of the Modem World", traces the development of capitalism in France and concomitant evolution of the value-system and ways of thinking. The fifth part contains the second half of the "Ecrits de Combat" entitled "The Modem World" which gives us Bernanos's view - a prophetic view - of the world we inhabit at present, Then the Conclusion. / Whole document restricted, but available by request, use the feedback form to request access.

The value of literature in the contemporary age is a controversial issue. The challenge posed by the interpretation of this era is expressed by the provocative remarks of critics such as Karatani Kōjin and Suzuki Sadami maintaining that after the 80s modern "pure" literature died (History and Repetition, 2012; The Concept of "Literature" in Japan, 2006). Reading Karatani and Suzuki's comments as merely provocative, signifying that a form of literature has died, this study enquires into how literature (and the arts) have changed and found new ways of expression after the historical break of 1989. The dissertation offers immediacy as a possible answer. Immediacy is a theme, a literary device stressing the present moment submerging clear notions of past and present. The precondition for immediacy is an ideological vacuum, experienced by characters across age groups and genders, where they do not share social ideologies or collective purposes. In this isolation, they concentrate only on their local realities, on what they perceive directly (physically and emotionally), acting quickly and repeatedly in the absence of critical thought. The constant action is often carried out in response to corporeal stimuli, specifically violence and sex, that grant immediate gratification in the vacuum. However, at the core characters indulging in immediacy long for inter-personal connections. Building a community based on critical thought and mutual understanding is the solution to escape from immediacy. The dissertation explores manifestations of immediacy in contemporary Japanese literature and popular culture (manga and anime) published or broadcast between 1995 and 2011. Through the analyses of cultural theories, literature by Takahashi Genichirō, Taguchi Randy and Hirano Keiichirō, and influential works in manga and anime (Neon Genesis Evangelion, Psycho-Pass and Shingeki no kyojin), it shows the theme's relevance and discusses how it contributes to the broader fields of contemporary Japanese literature and popular culture. By doing so, the dissertation also provides a study of the current artistic panorama in Japan, one that is often neglected critically, but that speaks of its culture with great force and imagination.

The main focus of this thesis is to examine how identity and culture are conceived and articulated in a representative selection of contemporary South African poetry. In the introductory chapter, an examination is made of the concepts of identity and culture, in the course of which the polarities of inside and outside, self and other, personal and political, subjective and objective, are carefully examined. Then, through close textual reference to relevant poems considered under the titles “Poetry of the Self”, “Black Consciousness Poetry”, “The Poetry of Revolution”, “Worker Poetry” and “Feminist Poetry”, the thesis attempts, by tracing the dialectical relationship of these polarities, to analyse how each putative body of poetry conceives and articulates cultural identity. The concluding chapter of the thesis, titled “Towards a New Aesthetics”, argues that current research into the relationship between identity and culture opens the way to a “new” aesthetics, a new literary-critical practice, one that takes into cognisance the intersubjective complexities that shape cultural expression.

No description available.

Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: The issues of culture and gender are not a well researched subject in Xhosa literature. So far there is one doctoral research study by Mtuze (1990) conducted on prose works of 1909 - 1980. This study aims to investigate culture and gender in Mayasi's novel, Iqhina lomtshato (1995). The main reason for this research is that Xhosa culture has been viewed in literature to be patriarchal, which means that it is organised in such a way that it depicts male domination. Women on the other hand are being regarded as inferior or subordinate. Findings in this research are that the character Sindiswa is presented here as a victim of male domination and oppression when she is forced into a relationship without her consent. The fact that Max, who is a much older man and unsuitable as her lover, leaves her with no choice but to accept what we may call "his induced proposal" of love. Sindiswa's oppression is also intensified by the urban culture that is new to her. / AFRIKAANSE OPSOMMING: Die vraagstukke rakende kultuur en gender is tot nog nie goed ondersoek vir die Xhosa letterkunde nie. Tot dusver is daar een studie, deur Mtuze (1990), wat gedoen is oor prosawerke in Xhosa vanaf 1909-1980. Hierdie studie het as doelstelling die ondersoek van die verband en aard tussen kultuur en gender in Mayosi se novelle Iqhina lomtshato (1995). Die doelstelling van die navorsing is dat Xhosa kultuur dikwels in die letterkunde as patriargaal uitgebeeld is, met ander woorde, dit is op 'n wyse uitgebeeld wat manlike dominering weergee terwyl vroue as ondergeskik of minderwaardig weergegee word. Bevindinge van die studie is dat die karakter Sindiswa hier uitgebeeld word as 'n slagoffer van manlike dominering en verdrukking wanneer sy ingedwing word in 'n verhouding sonder haar toestemming. die feit dat Max 'n veelouer man as sy is wat ongeskik is om haar geliefde te wees, laat haar met geen keuse as om sy 'gedwonge huweliksvoorstel' te aanvaar nie. Sindiswa se onderdrukking word ook vergroot deur die stedelike kultuur wat nuut is vir haar.

Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: The study examines issues of culture in Mcani's drama Uhambo Lwenkululeko (Journey of Freedom). Following Bauerlein (1997:63), it is argued that the study of women in literature forces a critical examination of the way women in literature have been portrayed in the past because of male domination. The study aims to establish what the progress is in the portrayal of women characters after the introduction of the new dispensation in South Africa. This study shows in the discussion of the theoretical aspects of culture in Chapter 2 that culture is an elusive concept because it has different definitions. Culture is that complex whole which includes knowledge, belief, art, law, morals, customs and all other capabilities and habits acquired by man as a member of society. This implies that culture entails everything that contributes to the survival of man, comprising both physical and social factors. In Chapter 3, it is established that the author has excellently handled both characterisation and the plot in Uhambo Lwenkululeko (Journey of Freedom). The plot structure of Uhambo Lwenkululeko (Journey of Freedom) in particular, has been handled successfully by the author. For example, by opening his drama with conflict, in the exposition, the author has managed to show is that conflict is the source of action in drama. It is the aspect that triggers characters to respond either positively or negatively to a particular opposing force. We have established in Chapter 4 that societies have certain basic needs or requirements that must be met if they are to survive. For example, a means of producing food may be seen as a functional pre-requisite since without it, members of society could not survive. This might have been one of the reasons why the boys are busy fishing in the drama. According to the findings in this study, men and women are portrayed equal with regard to reason. We established that the belief that women lack the capacity to fully exercise the powers of human reason is a deeply rooted prejudice. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek vraagstukke oor kultuur in Mcani se drama Uhambo Iwenkululeko. In navolging van Bauerlein (1997:63), word daar aangevoer dat die studie van vroue in die letterkunde 'n kritiese ondersoek noodsaak van die wyse waarop vroue in die verlede voorgestel is in die letterkunde op grond van dominering deur mans. Die studie poog om vas te stel wat die vordering is in die voorstelling van vroue in die letterkunde na die invoer van In nuwe demokratiese bestel in Suid-Afrika. Die studie toon aan in die bespreking van die teoretiese aspekte van kultuur in hoofstuk 2 dat die kultuur In ontwykende konsep is wat verskillende definisies het. Kultuur is 'n komplekse geheel wat insluit aspekte soos kennis, geloof, kuns, regsisteem, morele sieninge, gewoontes en ander vermoens wat deur mense verwerf word as lede van In gemeenskap. Oit impliseer dat kultuur alles behels wat bydra tot die oorlewing van rnense, insluitende fisiese sowel as sosiale faktore. In hoofstuk 3 word dit bevind dat die skrywer die karakterisering sowel as die intrige in Uhambo Iwenkubuleko meesterlik hanteer. Veral die intrige is op 'n uitstaande wyse hanteer deur die skrywer. Oeur in die begin van die drama konflik in te voer, het die skrywer daarin geslaag om aan te toon dat konflik die bron van aksie in die drama is. Oit is die aspek wat karakters aanspoor om of positief of negatief te reageer op In spesifieke opponerende krag. Oaar is bevind in hoofstuk 4 dat gemeenskappe sekere basiese behoeftes en vereistes het waaraan voldoen moet word indien hulle wil oorleef. In Wyse vir die produksie van voedsel is In vereiste, aangesien In gemeenskap nie daarsonder kan oorleef nie. Oit kon In moontlike rede wees waarom die skrywer verwys na die seuns wat visvang in die drama. Volgens die bevindings van die drama, word mans en vroue gelykwaardig voorgestel wat betref redeneringsvermoe. Oaar word bevind dat die siening dat vroue 'n onverrnoe het om die magte van redenering te beoefen 'n diepgewortelde vooroordeel is.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study investigates the role of women in the Xhosa novel, Unyana Womntu, written by Saule. The main aim is to investigate how images of women have developed or deteriorated as a result of the changes in the South African society. It will be remembered, for instance, that in traditional and colonial eras, images of women were subjected to patriarchy. One expects a change in the status of women as depicted in literature because of consistent demands that women are entitled to equal opportunities. The theoretical aspects of gender and culture are discussed in Chapter 2 as the framework of the study. Chapter 3 deals with plot, character and space in Saule's novel, Unyana Womntu and how they are viewed in relation to gender and culture. A detailed analysis of gender and culture is done in Chapter 4 of Unyana Womntu. In the analysis of the gender and culture in Unyana Womntu, it is found that the images of women presented in the novel are undergoing radical changes, such that some women seem to fail to cope with changes. However, this does not mean that all women are incapable of making informed choices in terms of their depiction in xhosa literature. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die rol van vroue in die Xhosa novelle Unyana Womntu geskryf deur Saule. Die hoofdoelstelling is om 'n ondersoek te doen van hoe voorstellings van Xhosa vroue ontwikkel of verswak het as gevolg van veranderinge in die Suid-Afrikaanse gemeenskap. Dit word byvoorbeeld onthou, dat in tradisionele en koloniale eras, die voorstellings van vroue onderwerp is aan patriargale uitbeelding. 'n Mens sou 'n verandering verwag in die status van vroue soos voorgestel in die letterkunde, op grond van die voortdurende eise dat vroue geregtig is op gelyke geleenthede. Die teoretiese aspekte van gender en kultuur word in hoofstuk 2 bespreek as die raamwerk vir die studie. Hoofstuk 3 ondersoek die intrige, karakters en ruimte in Saule se novelle Unyana Womntu, en hoe hierdie aspekte uitgebeeld word met betrekking tot gender en kultuur. 'n Gedetailleerde analise van die uitbeelding van gender en kultuur in Unyana Womntu word gedoen in hoofstuk 4 van die studie. In die ontleding van gender en kultuur in Unyana Womntu word daar bevind dat die voorstellings van vroue wat aangebied word in die novelle aansienlike veranderinge ondergaan, tot so In mate dat vroue daarin faal om met verandering tred te hou. Dit beteken egter nie dat alle vroue 'n onvermoë het om ingeligte keuses te maak in terme van hulle uitbeelding in die Xhosa letterkunde nie.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study examines gender relations in four Xhosa drama books. It aims at establishing the influence of culture on gender representations of female and male characters. Culture is observed in the context of patriarchy, which influences the way men and women are portrayed in the dramas. Men and women in the dramas are portrayed as cultural stereotypes. They behave in similar and predictable ways. These characters illustrate a moralistic theme thus conveying a patriarchal message. In this study, culture is viewed as too comprehensive, a concept to be forced into definition that will be acceptable to everyone. Culture can be used to refer to a general process of intellectual, spiritual and aesthetic development. It might be to suggest a particular way of life, whether of people, a period or a group. Storey (1993 : 20) "Culture" embraces everything, which contributes to the survival of man. According to Payne (1997 : 190) "gender" refers to the ensemble of cultural forms, meanings, and values conventionally associated with women and men. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the four dramas. A critical evaluation of the dramas is undertaken. Chapter 3 deals with a man and a woman as character in Xhosa drama under a study. A detailed analysis of the main male and female character in each drama is undertaken. Furthermore, a critical summary of how the male and female character has been portrayed in the dramas is presented. Chapter 4 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 5 summarizes the findings of the study. / AFRIKAANSE OPSOMMING: Die studie ondersoek die verhoudings tussen geslagte in vier Xhosa drama boeke. Die doel is om die invloed wat kultuur op die manlik en vroulike karakters teenwoordig, vas te stel. Kultuur word waargeneem in die konteks van patriargisme, wat die manier waarop mans en vrouens in die drama uitgebeeld word, beïnvloed. Mans en vrouens word in die dramas as kulturele stereotipes uitgebeeld. Hulle tree op dieselfde en voorspelbare maniere op. Die karakters illustreer In moralistiese tema en dra sodoende In patriargale boodskap oor. In die studie, word kultuur as te omvattend beskou, In konsep wat aanvaar word deur almal. Kultuur kan gebruik word om na In algemene ontwikkelingsproses wat intellektueel, spiritueel en asteties is te verwys. Dit mag wees om In sekere soort leefwyse uit te beeld, hetsy van mense, In periode of In groep. Storey (1993:20) beskryf "kultuur" as alles wat tot die oorlewing van die mens bydra. Volgens Payne (1997: 190) verwys "geslag" na die samestelling van kulturele vorms, menings en waardes wat konvensioneel met mans en vrouens geassosieer word. Die tesis is as volg uiteengesit: Hoofstuk 1 stel die doel, die omvang, die teorie en metodes van die studie voor. Hoofstuk 2 handeloor die ontwikkeling van die komplot binne episodes van die vier dramas. In Kritieke evaluasie van die dramas word gedoen. Hoofstuk 3 handeloor die karakters van In man en In vrou in die Xhosa dramas. In gedetailleerde ontleding van die dominante manlike en vroulike karakters van elke drama word gedoen. In Kritiese opsomming van hoe die manlike en vroulike karakters uitgebeeld word, word ook gedoen. Hoofstuk 4 stel die tipiese uitbeelding van die Xhosa kultuur in die Xhosa dramas voor. Vanuit elke drama word sekere selektiewe aspekte van kultuur ondersoek en In inspeksie van die uitbeelding van die aspekte word gedoen. Hoofstuk 5 bevat die bevindinge van die studie.