Les communautés chrétiennes du paléo-christianisme ont été confrontées à la vie peccamineuse de leurs membres après le baptême, tout particulièrement face aux trois péchés que sont l’idolâtrie, le meurtre et l’adultère et qui constituaient déjà dans la bible l’antithèse absolue de la Torah. Si des auteurs anciens des IIème et IIIème siècles s’intéressent à cette question c’est pour y apporter une réponse, notamment par la mise en place d’une seconde pénitence, post-baptismale. Un groupe chrétien des environs de Rome en pose le principe avec Hermas avant qu’il ne soit développé par Tertullien dans sa communauté de Carthage. Pour sa part, une communauté syrienne qui nous a donné la Didascalie l’organise autour de la personne de l’évêque. Nos auteurs mettent en place des frontières destinées à protéger les membres de leurs communautés contre un retour tant au paganisme qu’au judaïsme. / The early Christian communities faced their members peccaminous lives after their baptism, especially with three sins : idolatry, murder and adultery. In the Bible, these sins already constitued the Torah antithesis. If ancient authors from the II and the III centuries were interested in this matter, it was to be able to give an answer while introducing a second penance post-baptismal. In the area around Roma, a group of christians established this new principle with Hermas before it started to be developped by Tertullien in Carthage. For its part, the Syrian community who gave us the Didascalia organised it around the personn of the bishop. Our authors started to place the boundaries to be destined to protect their community members to retourn to paganism and judaism.

This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu literary studies, this is an attempt to fill that void. This thesis provides some new insight into this concept, while also devising a practical method for the analysis of the radio trilogy. Chapter one outlines the aim of the study, scope of the study and the definition of some terms. This is followed by explaining the method of research and theories on radio serial dramas. There is also a discussion of the historical background in the development of Zulu radio serial drama and Ntuli's position and contribution to it. Finally, there is a review of previous research studies in Aincan Languages on radio drama. In chapter two plot structure of a radio trilogy is discussed. Theories of drama trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in detail. This is followed by an in-depth analysis of the plot structures of Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano. Chapter three deals with the characterization of radio trilogy. It distinguishes between the actors and characters. Different methods of character portrayal are investigated. Chapter four deals with perspectives on the theme of the radio trilogy. Types of themes are dealt with. Chapter five discusses the dialogue in radio trilogy. It deals with the differences between a dialogue, duologue and monologue, and explains the functions fulfilled by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic of the dramatic action is discussed. Chapter six concentrates on the style of radio trilogy. Elements and different types of styles are discussed. Kinds of images, figurative language, proverbs, idioms, biblical allusions and various influences are discussed in detail. Chapter seven concludes by summarizing the main finding ofthis study, and giving observations about the quality ofNtuli's contribution to radio drama trilogy. lt also explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)

This is a study ofD.RZ. Ntuli's radio trilogy: Isivumelwano, IsivumelwanoEsisha and Ngenxa Yesivumelwano. Since the term trilogy is not a familiar concept in Zulu literary studies, this is an attempt to fill that void. This thesis provides some new insight into this concept, while also devising a practical method for the analysis of the radio trilogy. Chapter one outlines the aim of the study, scope of the study and the definition of some terms. This is followed by explaining the method of research and theories on radio serial dramas. There is also a discussion of the historical background in the development of Zulu radio serial drama and Ntuli's position and contribution to it. Finally, there is a review of previous research studies in Aincan Languages on radio drama. In chapter two plot structure of a radio trilogy is discussed. Theories of drama trilogy by trilogists like Hitchcock, Bakhtin, Asimov and Norris are discussed in detail. This is followed by an in-depth analysis of the plot structures of Isivumelwano, Jsivumelwano Esisha and Ngenxa Yesivumelwano. Chapter three deals with the characterization of radio trilogy. It distinguishes between the actors and characters. Different methods of character portrayal are investigated. Chapter four deals with perspectives on the theme of the radio trilogy. Types of themes are dealt with. Chapter five discusses the dialogue in radio trilogy. It deals with the differences between a dialogue, duologue and monologue, and explains the functions fulfilled by dramatic utterances and dialogue. Lastly a nature of dialogue as a characteristic of the dramatic action is discussed. Chapter six concentrates on the style of radio trilogy. Elements and different types of styles are discussed. Kinds of images, figurative language, proverbs, idioms, biblical allusions and various influences are discussed in detail. Chapter seven concludes by summarizing the main finding ofthis study, and giving observations about the quality ofNtuli's contribution to radio drama trilogy. lt also explores some possibilities regarding future studies on Ntuli's radio trilogy. / African Languages / D. Lit. et Phil. (African Languages)

Jiri Trnka (1912 - 1969) ranks among the foremost representatives of Czech modern art in the 20th century and alongside the most remarkable protagonists of the visual art scene over a period ranging from the late 1930s through the end of the1960s. He stood out within that movement for his multiple talents, as a draughtsman, book illustrator, puppet designer, painter, animated film-maker, sculptor and stage designer. He achieved admirable success in these fields of activity. In the early 40s a new prospect opened up for him connected with work in theatre, as he took up the post of stage designer at the National Theatre in Prague, an assignment which enabled him to put to use his specific talent for stagecraft. He created 13 stage decorations together. Trnka was able to create unforgettable productions thanks the cooperation with Jiri Frejka or Karel Dostal. I documented and explained Trnka's work in the context of the Nation Theatre during the Second World War. I defined his style in the relation to his contemporaries in the end of work. KEY WORDS Jiri Trnka, National Theatre, set designer, scenography, stage decoration, costume, properties, scene, 40s, space, stage, style, set, constructed set, stage design, didascalia, theatrical space, animated film.