This doctoral project began in the early 1980s when I became involved in making a community theatre event on Salt Spring Island with a group of artists accomplished in disciplines other than theatre. The production was marked by an orientation toward creating stage images rather than a literary text and by the playful exploitation of theatricality. This experiment in theatrical performance challenged my received ideas about theatre and drama. As a result of this experience, I began to see differences in original, small-venue productions which were considered part of the English-Canadian alternate theatre scene. I determined that the practitioners who created these events could be considered a second generation to the Alternate Theatre Movement of the 70s and settled on identifying their practice as Second Wave. The singular difficulty which Second Wave companies experience is their marginalization by mainstream theatre reviewers. These critics not only promote productions but also educate audiences and other theatre practitioners about theatre practice. Second Wave productions defy conventional descriptive categories which are founded on the assumption that theatre practice is the interpretation of a literary drama; thus they seem to fall short of their artistic potential. At issue here is the way we talk about theatre in English Canada: the conventions which authenticate our discourse and the implications of this discourse which makes material the three-way dynamic--knowledge/power/practice--as it pertains to our theatre institution and cultural value systems. In this study, three Second Wave productions were selected as sample case studies. I recognized these theatre events as different because they employed performance practices from the popular theatre tradition to generate their plays. Tears of a Dinosaur (One Yellow Rabbit, Calgary) used puppets; Doctor Dapertutto (Theatre Columbus, Toronto) used clowning techniques; and Down North (St. Ann's Bay Players, Cape Breton Island) used local folk performance conventions. In English-speaking theatre, popular traditions are trivialized; they are spoken of in derogatory terms as lesser forms or entertainments. Sometimes they are discursively constructed as paratheatrical or outside theatre. I concluded that the Second Wave negotiation between the popular traditions and the conventional or literary paradigm for theatre as an art form is stylistically indicative of postmodernism. At the same time, this practice is politically subversive, a postcolonial gest, because the employment of paratheatrical traditions undermines discursive norms about English-Canadian theatre and thus destabilizes the dominant cultural narratives which sustain the hegemonic status quo. / Graduate

M.A. (Afrikaans en Nederlands) / Please refer to full text to view abstract

D.Litt. et Phil. / The following aspects are covered in this study: The historical development of Zulu drama. This development is divided into the following periods: Pre-colonial, Missionary and Post-Missionary; the period under discussion is the latter. Structuralism and Semiotics are applied to one-act plays. The Semiotic approach views drama as communication: every aspect of the dramatic space is viewed as a sign conveying meaning. Pfister's approach is also applied in this study. Research undertaken in African languages in South Africa on drama thus far is also examined so as to direct the present study toward a particular need. This is done in Chapter 1. In. Chapter 2 plot development and various types of plot in oneact plays are studied to ascertain which plot type is preferred by authors of one-act plays. Character is also studied in this chapter. In Chapter 3 theme is studied to determined whether it is open or closed. Dialogue is discussed in Chapter 4. Didascalies as a sign system and their significance and function are studied in Chapter 5. The final chapter, Chapter 6, is the evaluation of one-act plays in Zulu.

Magister Artium - MA / Louis Leipoldt is known as a canonical figure in the history of Afrikaans poetry, He is customarily included in the pantheon of writers such as C.J. Langenhoven who not only established Afrikaans as a standardized national language in the early twentieth century, but also contributed to the idea of the Afrikaner Volk as a distinct nation within South Africa. The recent publication of Leipoldt's Valley Trilogy, three novels written in English in the 1930's now reveals Leipoldt in a very different light. Today, in a time of national transformation, Leipoldt's liberal ideas deserve to be given the broader scope he had intended for them. / South Africa

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Dit het my herhaaldelik getref dat, by die beoordeling van bepaalde tipes Afrikaanse romans, deur die kritici sekere maatstawwe aangelê word wat as artistieke of literêre kriteria nie geldig, nie ter sake nie, en daarom meestal ook ontoelaatbaar is. Ek bedoel meer bepaaldelik die historiese en aktualiteitsromans: genres wat hul tematiese materiaal grotendeels betrek uit die verbye of hedendaagse "werklikheid" van die gemeenskap waartoe, in prakties alle gevalle, én die auteurs én die kritici van daardie romans behoort. Die ongeldige, slegs ten dele geldige of verkeerd gebruikte geldige kriteria vind hul oorsprong in 'n foutiewe vereenselwiging van die letterkundige kriterium "waarheid in die roman" met die aktualiteitsmaatstawwe "objektiewe werklikheid" en "oordeel oor hierdie werklikheid wat in die roman gevel word". 'n Ondersoek na die grondbeginsels van die romankritiek, die mate van ooreenkoms wat die Afrikaaner kritiek daarmee vertoon, en dus ook na die "waarheidsgehalte" van die betrokke romans self, vorm die opset van hierdie verhandeling. In die loop van die ondersoek het dit egter spoedig geblyk dat die onderwerp te wyd was, en dat dit die beste beperk kon word deur te konsentreer op 'n kleiner aantal romans binne een genre. Die keuse het geval op die aktualiteitsroman, en meer bepaaldelik op 'n negetal romans i.v.m. die "nie-blanke aktualiteit" en "rasseverhoudings in Suid-Afrika". Hierdie keuse is gedoen om twee hoofredes. Eerstens omdat die rasseprobleem veral sedert die Tweede Wêreldoorlog en meer bepaaldelik sedert die Atlantiese Oorkonde (1942) dié heersende wêreldprobleem geword het. Die rassebeleid in Suid-Afrika is derhalwe skerp in die lig gestel, met die gevolg dat Suid-Afrikaners daartoe gedryf is om hulle houding nie net in die praktyk te handhaaf nie, maar ook teoretiee en godsdienstig te verdedig. As aktualiteitsprobleem is die rassesituasie dus die interessantste en dié wat die meeste opspraak wek. Die tweede rede vir my keuae is die feit dat die kritieke oor die "romans oor rasseverhoudings", juis weens die aktualiteitstweedrag oor hierdie situasie, die volledigste voorbeeld vorm van die heersende "werklikheid"/"waarheid"-verwarring in die Afrikaanse aktualiteitsroman-kritiek. Die skripsie is in drie hoofdele verdeel: ʹn ondersoek na die waarheidemaatstaf in die kritiek, toepassing van hierdie maatstaf op romans oor die naturel en op die kritieke daaroor, en die verdere uitwerking daarvan i.v.m. romans oor die kleurling. Die nege romans wat ter sprake gebring is, mag beskou word as die noemenewaardigste kuns-en-aktualiteitspogings in hul genre, en tewens as 'n volledige aanduiding van die algemene ontwikkelingsgang van daardie genre. Die gekose volgorde van die romans dien dan ook om twee hooffaktore te omlyn: (a) die ontwikkeling van die aktualiteitsiening vanuit die idilliese plaasverband van Franz se romans, via die beperkte siening van die nie-blanke stadsproblematiek, na ʹn paging tot 'n volledige Suid-Afrikaanse probleemstelling in Rabie se Ons, die Afgod, en (b) die kunsgehalte van die betrokke romans en die mate waarin dit die draagkrag van die tendens beinvloed, en wederom die mate waarin die keuse van die tema en tendens die waarheidsgehal teen draagkrag van die romans as aktualiteitskommentare bepaal. Ons het gevolglik die romans oor die naturel, wat die eerste fase van die aktualiteitsiening behandel, in Deel II geplaas, en die romans oor die kleurling, van die staanspoor af meer problematies van aard, en as groep dié wat die mees gevorderde aktualiteitsiening vertoon in Deel III. Die slotbeskouing is ʹn kort samevatting van die mate van ontwikkeling in die Afrikaanse aktualiteitsroman oor die nie-blanke, en 'n vasstelling van die aard van die werklikheiq/waarheid-digotomie in die kritieke daaromtrent.

Kule ngxoxo kuqwalaswele indlela amasiko nezithethe asetyenziswe ngayo kwincwadi kaSaule, ethi, Inkululeko isentabeni. Le ngxoxo ijolise ekuncomeni indlela lo kaSaule awasebenzise ngayo amasiko kunye nezithethe zakwaNtu ukwakha isizwe esimnyama. Konke oku kudandalazisa ukubaluleka kokusetyenziswa kwawo ukwakha isizwe. Injongo yolu phando kukuphendla indlela umtshato, isithembu, ulwaluko, imbeleko, intonjane, ukufa, ukukhapha, ukubuyisa nokungenwa ezaziqhutywa ngayo nezizathu zoko. Le ngxoxo iza kuphonononga ixhaswe ngezithako eziziimbono zeengcali zohlalutyo kwintlalo kaNtu. Ingxoxo le yahlulwe yazizahluko ezintandathu. Isahluko sokuqala sivula ngentshayelelo, ze sidandalazise intsusamabandla yolu phando, kushukuxwe imbangeli yophando, ze kwenziwe uphengululo lweencwadi zeengcali kwisithako sobuNzululwazi Nkcubeko-Ntlalo. Isahluko sesibini, siqwalasela ukuxabiseka kolwendo ngokwengcinga yesiNtu kwincwadi kaSaule. Indlela isiko lokuthwala lalisenziwa ngalo mandulo xa kuthelekiswa kweyangoku, nemiceli-mngeni elijamelene nalo eli siko. Isahluko sesithathu, sijongene nesithembu, iimeko ezazinyanzelisa ukuthathwa komfazi wesibini nangaphezulu nemiceli-mngeni ekhoyo kwesi sithethe. Isahluko sesine, singolwaluko ngemihla yamandulo size sithelekiswe nale mihla siphila kuyo. Iingxaki ezikhoyo kweli siko ezibangelwa kukungakhathali kwengcibi, namakhankatha. Esesihlanu, isahluko singamasiko nezithethe, iindlela ezazisaya kusetyenziswa mandulo kuthelekiswa nezeli xesha lokhanyo ekwenzeni la masiko nezi zithethe. Isahluko sesithandathu, sesokuphetha, siyintyilazwi yeengxoxo ezikolu hlalutyo, kuxilongwa ubuzaza besithako sobunzululwazi nkcubeko-ntlalo.

This article seeks to investigate this balance and to interrogate the difference between horror and terror in an attempt to contribute to the development of a systematic genre typology. A brief history of the genre will be given, after which the focus will fall on contemporary Horror film, paying specific attention to the relationship between violence and horror, the theme of sacrificial violence, and the transgression of ‘natural’ laws. An eclectic approach is followed, drawing from literary theory, theology, psychology, and, of course, film theory.

Jakob Michael Reinhold Lenz (1751-1792), whose plays have been acclaimed as the prototype of the modern drama of Brecht and Durrenmatt, is a controversial figure who rose to prominence on the German literary scene in the early seventeen seventies. Among Lenz's theoretical writings is the influential essay "Anmerkungen ubers Theater," in which he introduces his innovative dramatic theories and describes the independent protagonists he envisions for the German stage. In the same essay, he demands "Zuwachs unsrer Existenz" (a heightened awareness of existence) from contemporary drama. However, in marked contrast to the "Anmerkungen," the protagonists of his two most prominent plays, Der Hofmeister (1774) and Die Soldaten (1776), are self-alienated, ontologically insecure individuals who seem victims of the socio-political realities of their times. Not surprisingly, critics are divided in their opinion as to what the contradictions in Lenz's oeuvre signify. Lenz was a student of Immanuel Kant's between 1768 and 1770, a time when the latter was formulating ideas that would find their full expression years later in his critical philosophy. In 1770, Kant presented his inaugural address "de mundi sensibilis atque intelligibilis forma et principiis" (On the Form and Principles of the Sensible and Intelligible World) to the assembled faculty and students of KCnigsberg Academy, among them J.M.R. Lenz. It is in the inaugural dissertation that Kant introduces his thesis of the individual as an inhabitant of two "worlds," the noumenal and the phenomenal, a central concept in his first critique, Kritik der reinen Vernunft, which would be published in 1781. This study examines Lenz's thoughts as they surface in his theoretical essays and his major plays and puts forward the thesis that it is Kant's division of the self into an intelligible and a sensible realm which prompts Lenz's call for "Zuwachs unsrer Existenz." Lenz's quest is fuelled, furthermore, by his acute awareness of the ontological insecurity of the individual self, an awareness which seems to anticipate the thought of Kierkegaard. The overriding purpose of this thesis is, through a reevaluation of Lenz's theoretical and dramatic works, to elucidate this eighteenth-century writer's quest for authentic being, a quest that he considered to be the individual's most urgent task. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Time and place are the media through which the eternal is manifested for the comprehension of fallible man. It is the response to environment which has determined and shaped the human attitude toward ultimate mysteries. The patterns of nature are translated by the artist and philosopher into the ritual behaviour of man. The challenge of adversity and the joy of the morning or the new season are motivation for the restless desire to overcome the imperfections of human and geographical landscape. The Canadian prairie, virgin and elemental, as old as the world and as new as the twentieth century, determines a particular kind of response which is both immediate and universal. It provides the traditional challenge of the desert with the inherent possibility of a Promised Land for the regenerate. The writers who have translated the prairie experience into words have tended to fuse traditional with personal mythology, elevating the moment in mutable time to time eternal. The prairie, for them, is at once the desert of the Old Testament and the modern wasteland. The response, although archetypal, has relevance for the individual. The quest motif, which is an aspect of the romantic tradition of all cultures, is central to prairie fiction. The optimism of the journey toward the light is felt even in moments of darkness, during drought or a dust storm. There is a prevailing sense, in the Canadian prairie novel, that man, through regenerate behaviour, will overcome. As he wanders through the physical and metaphysical landscape of the prairie, the individual regenerate behaviour, will overcome. As he wanders through the physical and metaphysical landscape of the prairie, the individual learns to know God and to know himself. As environment takes on traditional aspects of Godhead, the fictional characters find their analogues in the Bible and in traditional mythological figures. The sick king, the fisherman, the god, the messiah and the prairie farmer become fused in the symbolic struggle for identity. The names of the original pioneers in the Old Testament are given new vitality by the particularly contemporary dilemmas of their modern namesakes. In the major fiction of the Canadian prairie, the quest takes on many aspects. Sometimes it is a direct search for transcendental reality, as in Who Has Seen the Wind by W.O. Mitchell, and sometimes it is an effort to find heaven on earth, outside of the spiritual context, as in Margaret Laurence's The Stone Angel. Mitchell's journey after the meaning of God in Who Has Seen the Wind is primarily simplistic. He believes in the direct route. Reality is a means and not an impediment to supernatural revelation. For Sinclair Ross, whose characters in As For Me and My House are obsessed with transcendental reality, the quest is not so simple. Psychological realities distort divine ecstasy into grotesques. The Promised Land is circumscribed with irony. Margaret Laurence, who has rejected the vertical quest after God, is concerned with the voyage toward self knowledge. Her paths lead into the self. The individual is responsible for his own salvation. A tragic example of irresponsibility related to the horizontal quest motif is that of Abraham in Adele Wiseman's novel The Sacrifice. The questor is not always successful, but the knowledge he gains contains the promise of salvation. That promise is often realized in the messianic motif which is a corollary of the quest. Outsiders with the power to heal, like Gwendolyn MacEwen's magician and George Elliott's kissing man, have the traditional properties of the saviour. Their love embodies the promise of spring and the new season. The major and minor fiction of the prairie share a common vocabulary of optimism which is inherent in the quest literature of every tradition. Landscape is the objective correlative through which man learns by association about God and about himself. His struggle to comprehend particular environmental mysteries is analagous to the universal quest after truth. / Arts, Faculty of / English, Department of / Graduate