Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: A comparative study between a Dutch postcolonial novel, Een vlek op de rug (1963) by J. van de Walle and an Afrikaans post-apartheid novel, Foxtrot van die Vleiseters (1993) by Eben Venter, produces fascinating results. Despite dissimilarities, e.g. the almost thirty years that separate these two texts and the fact that the stories take place in different centuries on different continents, there is an unmistakable unity of intention that binds them together. The similarities are most clearly seen in the criticism of two discriminatory policies, namely that of colonialism and apartheid (which can also be seen as a form of colonialism) respectively. In both novels the narrator attempts to come to terms with the past and his own feelings of guilt. Both narrators write from a socio-politically advantaged position with on the one hand mixed feelings of empathy with the suppressed other and problematic identification with their own group on the other hand. This study investigates ways in which these feelings of guilt manifest and how the storyteller deals with his conflicting emotions through the therapeutic process of telling the story. / AFRIKAANSE OPSOMMING: ’n Vergelykende studie tussen ’n Nederlandse postkoloniale roman, Een vlek op de rug (1963) deur J. van de Walle en ’n Afrikaanse post-apartheid roman Foxtrot van die Vleiseters (1993) deur Eben Venter, lewer boeiende resultate. Ten spyte van verskille soos die tydsgaping van 30 jaar tussen die verskyning van die twee romans en die feit dat die verhale afspeel op twee verskillende kontinente, in twee verskillende eeue, is daar tog sterk ooreenkomste wat ’n vergelykende studie tussen hierdie twee tekste sinvol maak. Die parallel is daarin gelee dat beide romans kritiek wil lewer op ’n onderdrukkende sisteem, hetsy kolonialisme of apartheid (wat ook gesien kan word as ’n vorm van kolonialisme). Die vertellers in beide verhale probeer om, vanuit ’n posisie van sosio-politiese bevoorregting, skuldgevoelens oor die verlede te verwerk. In beide gevalle vertoon die verteller empatie met die onderdrukte ander, maar ’n onoorbrugbare afstand bly enersyds bestaan. Andersyds is daar sprake van ’n problematiese identifisering met die eie groep omdal die verteller homself nie ten voile met hulle kan assosieer nie. In hierdie studie word onder meer aandag bestee aan die wyse waarop hierdie konflikterende skuldgevoelens na vore kom en hoe die onderskeie vertellers probeer om ’n mate van terapie te verkry deur middel van die vertelling.

Thesis (MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: In this thesis the potential of Eben Venter’s novel Ek stamel ek sterwe (1996) as a subversive text is investigated. The primary goal is to illustrate how Eben Venter depicts the stigmatisation of homosexuality, aids and death, but more specifically the death of a homosexual individual who has aids, in society. The secondary goal is to investigate the ways in which Venter depicts the impact that the heteronormative ideal has on homosexual individuals by means of the regulation of norms. Judith Butler’s theorisation of sex, gender, identity and performativity is used as a lens with which Ek stamel ek sterwe is read. The finding is that Ek stamel ek sterwe is a novel with subversive potential and the implications that this has is discussed. / AFRIKAANSE OPSOMMING: In hierdie tesis word die potensiaal van Eben Venter se roman Ek stamel ek sterwe (1996) as ’n ondermynende teks ondersoek met as primêre doel om die wyse na te gaan waarop Eben Venter die stigmatisering van homoseksualiteit, vigs en die dood, maar ook spesifiek die dood van ’n homoseksuele individu en ’n vigslyer, in die samelewing uitbeeld. Die sekondêre doel is om ondersoek in te stel na die maniere waarop Venter met die roman die impak van die heteronormatiewe ideaal se regulering van norme op veral homoseksuele individue uitwys. Judith Butler se teoretisering oor geslag, gender, identiteit en performatiwiteit, sowel as die ondermyning van heteronormatiewe norme, word as lens gebruik waarmee Ek stamel ek sterwe gelees kan word. Daar word uiteindelik tot die gevolgtrekking gekom dat Ek stamel ek sterwe wel as ’n ondermynende teks beskou kan word en die implikasies hiervan word bespreek.

Job for Organ is an eight movement organ cycle by the Czechoslovakian composer Petr Eben (1929-2007). This work is based upon the story of Job in the Old Testament. Eben perceived the dramatic depth of the Book of Job and created a musical work that vividly portrays the consequences of a wager between Satan and God on the fate of a human being--in this case, Job. The eight movements of this cycle tell the story of Job's struggle, perseverance, and triumph in the midst of human suffering. Job remains faithful to God throughout his trials, and in the end God rewards him for his faithfulness.This document thoroughly explores the methods Petr Eben used to illustrate the story of Job, as a musical program, in the organ cycle Job for Organ. My purpose is to find connections between the program and Eben's compositional techniques. This study focuses upon three specific musical devices and how each device is used to portray a musical program: musical quotations, associative themes, and dramatic musical contrasts.I isolate the musical quotations utilized in this cycle and demonstrate how each quotation supports the program. I identify associative themes and their interrelationships and demonstrate how these devices dramatize the story as it was written in the Book of Job. Associative themes include the canon, passacaglia, and numerous motives, textures, and melodies, all crafted to symbolize portions of the narrative as it unfolds. I demonstrate Eben's use of dramatic musical contrasts to convey a musical program, including the juxtaposition of tonal and polytonal harmonies, sudden changes in timbre and (or) dynamics, abrupt rhythmic interjections, the use of unique textures, unusual melodic and harmonic transformations, and changes in registration, dynamics, meter, and range. A complete list of the devices Petr Eben used to illustrate programmatic intent in the organ cycle Job for Organ would be quite extensive. Although there is no unimpeachable way of proving that my conclusions represent the way Eben intended the listener to interpret his work, my suggestions represent logical and plausible associations between musical devices and programmatic intent based upon a thorough examination of Job for Organ. Eben's compositional technique is dramatic in nature and his music lends itself to theatrical interpretation. This document provides a detailed musical analysis of each movement of the work, and the author offers a possible recreation of the plot and its interpretation, based upon extensive analysis of the score and Petr Eben's program notes. Detailed graphic maps of each movement vividly portray the musical themes, textures, musical quotations, dramatic musical contrasts, and their interrelationships, and reveal a fabric of allusion that suggests a plausible programmatic basis for this composition based upon these musical devices. The analysis demonstrates that Job for Organ is a product of utmost craftsmanship. It is a powerful musical drama that vividly portrays Job's ordeal utilizing an extended musical program.

The concept of surprise is as old as warfare itself. All battlefield commanders want to defeat their foe with the smallest number of lost lives and expenditure of resources. This study will analyse what factors are necessary to achieve surprise and what the effect of that surprise can be. This study will apply Jim Storr’s theory of surprise against two different cases where surprise can be found. The first case is when the German forces stormed the fortress of Eben Emael during the Second World War where a small force of 86 paratroopers successfully managed to defeat a garrison of about 1000 men. The second case is the second battle of El Alamein where the British 8th army beat Rommel and his Das Afrika Korps. The aim of the study is to see how surprise was achieved and what the effect of the surprise was in the two cases according to Jim Storrs theory of surprise. The result of the study indicates that there are some explanatory powers to these cases with Jim Storr’s theory of surprise. In the case of Eben Emael it is quite significant and in the case of El Alamein it is somewhat limited.

This study focuses on the representation of masculine imagos in the South African novelist Eben Venter’s novel oeuvre and more specifically on the multifaceted nature of Venter’s delineation of masculinity. His novels Foxtrot van die Vleiseters (1993), Ek stamel ek sterwe (1996) (translated into English as My beautiful death ((2004)) and Santa Gamka (2009) were selected to represent Venter’s novel oeuvre. The male protagonist in each novel may be viewed as typical representations of masculine imagos in his novels. The workability of cognitive narratology as a literary approach to analyse and interpret novels is tested by identifying the frames and scripts within the selected novels. Cognitive frames in narratives are those backdrops against which the events take place, while the actions executed by the characters are read as cognitive scripts. These scripts create the projected masculinity imagos of the male protagonists. When reading the novels, the reader is confronted with various cognitive choices of which three are especially important. The first is the choice to discard existing ideas and perceptions in order to make room for new ideas and perceptions. The second choice is to modify existing ideas and adjust them by means of the cognitive processing of information in the novels. The last choice entails the total rejection of the new ideas. Irrespective of the cognitive processes that occur during the reading process, the representation of masculinity in the novels will inevitably have an effect on the way in which the reader will experience masculinity in future. In the characters of Petrus Steenekamp (Foxtrot van die Vleiseters), Konstant Wasserman (Ek stamel ek sterwe) and Lucky Marais (Santa Gamka) Venter illustrates the complexity of the masculinity issue due to the cultural, social and political frames with which people are encoded. This encoding is also reflected in the scripts that are determined by the characters’ behaviour and actions. Venter demonstrates sensitivity and compassion for all the characters in his novels and his representation of masculinity instils sensitivity and compassion in readers. This instilment will most probably create a better understanding of masculinity, as well as humanity, within the cognition of the reader. The most important finding is that it is indeed possible to use cognitive narratology as literary approach to analyse and interpret the chosen novels in order to make valid conclusions – in this case with regard to the complex delineation of multifaceted masculine imagos within Eben Venter’s novel oeuvre. Further deductions include those made about the appearance of different images of masculinity within Venter’s novel oeuvre and especially how the farm frame and the father/son relationship frame manifest prominently in Venter’s novels. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

This study focuses on the representation of masculine imagos in the South African novelist Eben Venter’s novel oeuvre and more specifically on the multifaceted nature of Venter’s delineation of masculinity. His novels Foxtrot van die Vleiseters (1993), Ek stamel ek sterwe (1996) (translated into English as My beautiful death ((2004)) and Santa Gamka (2009) were selected to represent Venter’s novel oeuvre. The male protagonist in each novel may be viewed as typical representations of masculine imagos in his novels. The workability of cognitive narratology as a literary approach to analyse and interpret novels is tested by identifying the frames and scripts within the selected novels. Cognitive frames in narratives are those backdrops against which the events take place, while the actions executed by the characters are read as cognitive scripts. These scripts create the projected masculinity imagos of the male protagonists. When reading the novels, the reader is confronted with various cognitive choices of which three are especially important. The first is the choice to discard existing ideas and perceptions in order to make room for new ideas and perceptions. The second choice is to modify existing ideas and adjust them by means of the cognitive processing of information in the novels. The last choice entails the total rejection of the new ideas. Irrespective of the cognitive processes that occur during the reading process, the representation of masculinity in the novels will inevitably have an effect on the way in which the reader will experience masculinity in future. In the characters of Petrus Steenekamp (Foxtrot van die Vleiseters), Konstant Wasserman (Ek stamel ek sterwe) and Lucky Marais (Santa Gamka) Venter illustrates the complexity of the masculinity issue due to the cultural, social and political frames with which people are encoded. This encoding is also reflected in the scripts that are determined by the characters’ behaviour and actions. Venter demonstrates sensitivity and compassion for all the characters in his novels and his representation of masculinity instils sensitivity and compassion in readers. This instilment will most probably create a better understanding of masculinity, as well as humanity, within the cognition of the reader. The most important finding is that it is indeed possible to use cognitive narratology as literary approach to analyse and interpret the chosen novels in order to make valid conclusions – in this case with regard to the complex delineation of multifaceted masculine imagos within Eben Venter’s novel oeuvre. Further deductions include those made about the appearance of different images of masculinity within Venter’s novel oeuvre and especially how the farm frame and the father/son relationship frame manifest prominently in Venter’s novels. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

The theoretical section of the thesis Comparison of the misanthropic Show Jana Krause and the philanthropic Mark Eben's show Na plovárně aims to characterize the talk show genre both abroad and in the Czech Republic. It briefly outlines the development of the genre and its arrival in the Czech television stations. It also gives a definition of a presenter, describes the ways of communication, construction of the interviews with the guests, their selection, introduces Jan Kraus and Marek Eben and characterises both talk shows - Na Plovárně and Show Jana Krause. The practical section deals with an analysis of production in which interviews with representatives of both production teams are analysed. A qualitative analysis aims to answer the question: "How do the philanthropic and misanthropic concepts of the talk show differ, from the perspective of content and production intentions?" The conclusion contains a summary of the collected data.

In the dissertation the solution approaches for different fuzzy optimization problems are presented. The single-level optimization problem with fuzzy objective is solved by its reformulation into a biobjective optimization problem. A special attention is given to the computation of the membership function of the fuzzy solution of the fuzzy optimization problem in the linear case. Necessary and sufficient optimality conditions of the the convex nonlinear fuzzy optimization problem are derived in differentiable and nondifferentiable cases. A fuzzy optimization problem with both fuzzy objectives and constraints is also investigated in the thesis in the linear case. These solution approaches are applied to fuzzy bilevel optimization problems. In the case of bilevel optimization problem with fuzzy objective functions, two algorithms are presented and compared using an illustrative example. For the case of fuzzy linear bilevel optimization problem with both fuzzy objectives and constraints k-th best algorithm is adopted.

The Magisterial thesis deals with composers of jewish ancestry and their viola compositions. It consists of three parts. The first part describes the historical and religious context these composers lived in. The second part deals with the developement of jewish music and its characteristics. The last part is about the individual composers and their lives and works with focus on viola compositions.

Hierdie proefskrif bied ʼn nie-empiriese ondersoek en ʼn konseptuele analise van die verhouding tussen ruimte en identiteit in Eben Venter (1954-) se oeuvre binne die konteks van ballingskapliteratuur die postkoloniale diskoers. Die manifestasie van die ruimte- identiteitdialektiek, soos wat dit uitgebeeld word in Venter se skryfkuns, word beskryf aan die hand van postkoloniale teorieë en insigte wat verband hou met aspekte soos ruimte, plek, ballingskap, diaspora, ruimtelike verplasing, seksuele migrasie, intra-nasionale migrasie, internasionale migrasie, empiriese en kulturele landskappe, identiteit as sosio-kulturele konstruksie en Suid-Afrikaanse outobiografieë. Vir die doel van hierdie ondersoek is die volgende vertellings geselekteer: Ek stamel ek sterwe (1996), Twaalf (2000), Horrelpoot(2006) en Brouhaha (2010). In ʼn tydsgewrig van grootskaalse migrasie, globale onsekerheid, transnasionale kapitalisme en radikale dekolonisering in die vorm van geweldsmisdaad, gewelddadige betogings by universiteite, plaasmoorde, grondhervorming, haatspraak, arbeidsonrus, xenofobie en die aftakeling van minderheidsregte, sny Venter in sy verhale en outobiografie ʼn verskeidenheid van kwessies aan. Dit sluit in: die naweë van apartheid, die Afrikaner-diaspora, grondeienaarskap, die ideologiese toeëiening van grond, rassisme, homofobie, queer-migrasie, die haalbaarheid van ʼn inklusiewe Afrika-identiteit en die veranderde rol, plek en identiteit van Afrikaners sedert 1994. Die outobiografiese inslag van Venter se skryfkuns is opvallend en word bespreek deur te verwys na die verhouding tussen fiksionele en reële ruimtes en na outobiografie as hibridiese genre en kreatiewe projek. Hierdie studie bied ook ʼn krities-analitiese besinning van Venter se bemoeienis met skryftemas soos selfopgelegde ballingskap, die vervreemding tussen plek en self, globale plekloosheid en “exile as a discontinous state of being” (Said 2000: 177). Een van die belangrikste insigte wat Venter in sy skryfkuns demonstreer, is dat ruimte, soos identiteit, nie ʼn essensialistiese konsep is nie, maar ’n onvoltooide en vloeibare konstruksie wat voortdurend verander na gelang van sosio-politieke ingrepe, internasionale migrasiepatrone en die individu se subjektiewe gewaarwording van plekke, / This dissertation presents a non-empirical and a conceptual analysis of the relationship between space and identity in the works of prose of Eben Venter (1954) within the context of the postcolonial discourse and exile literature. The manifestation of the space-identity dialectic, as portrayed in Venter’s writing, is described on the basis of postcolonial theories and insights related to terms and concepts like space, place, exile, diaspora, spatial displacement, sexual migration, intra-national migration, international migration, empirical and cultural landscapes and identity as a social-cultural construction. For the purpose of this study the following narratives were selected: Ek stamel ek sterwe (1996), Twaalf (2000), Horrelpoot en Brouhaha (2010). At a juncture of mass migration, global uncertainty, transnational capitalism and radical decolonization in the form of violent crime, violent protests at universities, hate speech, farm murders, land reform, labour unrest, xenophobia and the dismantling of minority rights, Venter addresses an assortment of social issues. This include: the aftermath of apartheid, the Afrikaner-diaspora, landownership, the ideological appropriation of land, racism, homophobia, queer-migration, the viability of an inclusive African-identity and the altered role, place and identity of Afrikaners since 1994. The autobiographical element is evident in Venter’s writing and is discussed by referring to the relationship between fictional and real spaces and to autobiography as a hybrid genre and creative project. This study also presents a critical-analytical reflection of Venter’s involvement with writing topics such as self-imposed exile, estrangement between place and self, global displacement/non-belongingness and “exile as a discontinuous state of being” (Said: 2000: 177). One of the key insights Venter demonstrates in his writing, is that space, like identity, is not an essentialist concept, but an incomplete and diffuse construction that is constantly changing depending on socio-political interventions, international migration patterns and the individual's subjective perception of places. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)