In this essay I study the intertextual connections between The Line of Beauty by Alan Hollinghurst and The Spoils of Poynton by Henry James. Using the critic Harold Bloom’s theories about misreading, as well as other theories on intertextuality by Roland Barthes, I examine how the intertextual connections between Hollinghurst’s protagonist Nick Guest and James’s main character Fleda Vetch present themselves. I discuss allusion, especially focusing on how the disappointments of the principal characters in both works mirror one another. Furthermore, using Bloom’s framework, I examine how Henry James is a precursor to Hollinghurst, and how Hollinghurst becomes an ephebe to James. I follow this idea, and I support it by exploring the many references to James’s writing in the Line of Beauty. Ultimately, I argue that Hollinghurst’s misreading of James leads to his supplanting him through the process named kenosis by Bloom.

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Old Testament & Ancient Near Eastern Studies / D. Litt. et Phil. (Biblical Studies)

The Song of the Vineyard, Isaiah 5:1-7, portrays YHWH as a vinedresser who has carefully prepared land and planted a choice vine, a symbol of the people whom the deity has chosen. When the reasonable expectation that the vine produce good fruit is thwarted, the vinedresser destroys the vineyard. YHWH, the vinedresser, may seem to be characterised by these actions as a demanding god who will swiftly and harshly recompense any failure to meet expectations. This thesis poses the hypothesis that although this brief song may at first seemingly present a monochromatic characterisation of YHWH, it may actually present a spectrum of characterisations when viewed through multiple interpretive lenses. Socio-rhetorical criticism is the methodology used to examine this hypothesis. This methodology, developed by Vernon K. Robbins, encompasses diverse interpretive approaches, examining five aspects, or “textures,” of the text to obtain a broad interpretive spectrum. In this thesis, three of the textures, innertexture, intertexture, and socio-cultural texture, are considered in separate chapters. The chapter on innertexture examines the world of the text itself, in particular its progressive nature and emotive content. The next chapter examines the intertextural relationship between this Isaian song and two other ancient songs (The Song of the Reed Sea and the Song of Moses), associative references to Sodom, and parallels with the Song of Solomon. The chapter on the socio-cultural texture examines the portrayal of YHWH in light of the socio-economics and socio-cultural values of the world of the story, eighth century B.C.E. Judah. Through this interpretive lense, YHWH is seen as a patron or benefactor who has been dishonoured by his people. In socio-rhetorical criticism, ideology is often presented as a separate texture; in this thesis, it is considered as part of the act of interpretation of all textures, since readers’ ideologies interact with the text. The sacred texture, the last of Robbins’ proposed textures, is presented as the conclusion, with a summary of the spectrum of characterisations of YHWH that the multi-lensed interpretive approach uncovers. The conclusion also includes suggested implications of these finds for the community of faith. / Biblical and Ancient Studies / D. Litt. et Phil. (Biblical Studies)

SAKLETARHISTORISKA RIKSMUSEET / THE NATIONAL MUSEUM OF SEARCHING FOR STUFF is Karolina Willebrand Vinnberg’s Independent Degree Project within the Master's Programme in Acting at Stockholm University of the Arts 2021-2023, examining and performing the Swedish children's book character Pippi Longstocking as if she were a museum artifact. With tools such as parody, intertextual analysis and immersive performance her hitherto (imagined) unknown inner life is excavated, dissected and exposed. This research also explores what happens in the encounter between actor and audience when performing and co-existing in an immersive museum space. The research process ended with a performative exhibition set in and produced in collaboration with The Swedish Museum of Performing Arts in Stockholm. This exhibition included seven scenographic installations and exhibit objects with associated audio guides, four video works and four immersive performances and an actress being present as the character of Pippi Longstocking throughout the days.

Tamthilia ya Kiswahili imedhihirisha, kwa njia moja au nyingine, uhusiano wa kimwingilianomatini. Makala haya yanadhamiria kuchunguza viwango na aina za mwingilianomatini baina ya tamthilia mbili za Kiswahili. Tamthilia hizi ni Mashetani (Hussein 1971) na Kijiba cha Moyo (Arege 2009). Tathmini hii inaongozwa na nadharia ya mwingilanomatini. Tumeteua na kuhakiki tamthilia hizi kwa misingi kwamba, kwa muda mrefu, Ebrahim Hussein ameaminika kuwa mmojawapo wa watunzi bora wa tamthilia ya Kiswahili katika eneo la Afrika Mashariki. Wahakiki wa fasihi wanaelekea kukubalia na kwamba Ebrahim Hussein ameathiri watunzi wengi wa baadaye wa tamthilia kimtindo, kimaudhui na usawiri wahusika. Lengo la makala haya ni kujaribu kuonesha jinsi tamthilia za Mashetani na Kijiba cha Moyo zinavyofanana kwa kuchunguza viwango vya mwingilianomatini baina ya tamthilia hizo kwa kurejelea, motifu, maudhui, matumizi ya lugha, na wahusika. Je, ni kwa kiwango gani mtunzi wa Kijiba cha Moyo ameathiriwa na mtunzi wa Mashetani? Je, amemnukuu, kudondoa au kumwiga mtangulizi wake kwa kiwango gani?

This study attempts to offer a reading of Msimang's poetry from the perspective of deconstruction. In this course it is necessary to introduce and elaborate on certain deconstruction strategies. This is mainly effected in the second chapter, where consideration is given to diachronic and synchronic perspectives on deconstruction. However, not all the ramifications of the various radical insights offered by deconstructive approaches into the various fields are explored, only the significant texts by mainly French theorists and their American disciples are investigated. Secondly, this study seeks to show that the Zulu poems under consideration are highly amenable to a deconstruction reading. This thesis examines the various practices to absorb, transform, and integrate deconstruction and to make the theory applicable as a critical method within the African languages critical environment. In the third chapter, I am chiefly concerned with the claim that a text never has a single meaning, but is a crossroads of multiple ambiguous meanings. Explaining the historical context, the interdisciplinary scope, and the philosophical significance of Derrida' s project are explored in the fourth chapter. Language has no determinate centre nor any retrievable origin or truth. Belief in such is no more than nostalgia, says Derrida. What actually exists is a complex network of differences between signifiers, each in some sense carrying the traces of all others. With psychoanalysis in the fourth chapter, the focus is not on the differences between the deconstructive and psychoanalytic critics, but on their shared assumption that works ofliterature are in some sense indeterminate. These properties lead to the sixth chapter, which deals with intertextuality according to Derrida, Barthes and Bloom. The seventh and last chapter is the general conclusion in which main observations are summarized and important aspects highlighted. Finally, this thesis attempts to illustrate why the deconstructive procedure of analysing texts in such a way as to explicate their partial complicity with the theory, makes this deconstructive reading of Msimang' s poetry possible. / African Languages / D.Litt. et Phil. (African Languages)

This thesis explores the intertextual nature of Irenaeus' reading of Genesis 1-3. In this study, we assume a different mode of investigation than previous works on Irenaeus' use of scripture. Drawing from contemporary discussions on intertextuality in Fishbane, Boyrin, Hays, and Young, we challenge a tradition of investigation into Irenaeus' exegesis that has marginalized the significance of scriptural networking inherent to his hermeneutic. This perspective is evident in the previous works on Irenaeus' reading of Genesis in Orbe, Jacobsen, Kannengiesser, Steenberg, and Holsinger-Friesen. This thesis, on the other hand, brings together an appreciation for Irenaeus' hermeneutic with respect to his exegesis of Gen 1-3. We show that in every instance Irenaeus interprets Gen 1-3, not in isolation, but in correlation with other texts by means of a variety of intertextual reading strategies that shape his theological polemic. In chapter one we investigate the nature of Irenaeus' hermeneutical orientation based upon studies of patristic exegesis and his own descriptions of the exegetical task. We show that Irenaeus purposes to interconnect texts in his refutation and exegesis and we formulate a methodology that appreciates his reading of Gen 1-3 within this theological networking of texts. In chapters 2-6, we provide a literary analysis of the echoes, allusions, and citations of Gen 1-3 in each book of Adversus Haereses. In each case we isolate the allusions to Gen 1-3 and the corresponding interrelated texts that form a hermeneutically symbiotic relationship with Gen 1-3. We show how these textual relationships yield a more comprehensive appreciation for the meaning and function of Gen 1-3 in Irenaeus. In chapter 7 we conclude with a summary and cumulative evaluation of the intertextual relationships fashioned with Gen 1-3 and the reading strategies that guide his intertextual use of Gen 1-3. In doing so, this thesis exposes the intricacies of Irenaeus' theological and intertextual reading of Gen 1-3 and the various ways that Irenaeus harmonizes scripture.

The Hebrew Bible is the product of scribes. Whether copying, editing, conflating, adapting, or authoring, these ancient professionals were responsible for the various text designs, constructions and text-types that we have today. This thesis seeks to investigate the many practices employed by ancient scribes in literary production, or, more aptly, scribal composition. An investigation of scribal composition must incorporate inquiry into both synchronic and diachronic aspects of a text; a synchronic viewpoint can clarify diachronic features of the text and a diachronic viewpoint can clarify synchronic features of the text. To understand the text as the product of scribal composition requires recognition that the ancient scribe had a communicative goal when he engaged in the different forms of scribal composition (e.g. authoring, redacting, etc.). This communicative goal was reached through the scribal composer's implementation of various literary techniques. By tracing the reception of a text, it is possible to demonstrate when a scribal composer successfully reached his communicative goal. Using Malachi as a test-case, three autonomous yet complementary chapters will illustrate how investigating the text as the product of scribal composition can yield new and important insights. Chapter 2: Mal 2.10-16 focuses on a particularly difficult portion of Malachi (2.10-16), noting patterns amongst the texts reused in the pericope. These patterns give information about the ancient scribe's view of scripture and about his communicative goal. Chapter 3: Wordplay surveys Malachi for different types of the wordplay. The chapter demonstrates how a poetic feature such as wordplay, generally treated as a synchronic element, can also have diachronic implications. Chapter 4: Phinehas, he is Elijah investigates the reception of Malachi as a finished text. By tracing backwards a tradition found throughout later Jewish literature, it is evident that the literary techniques employed by the composer made his text successfully communicative.

It is widely agreed among scholars that the third part of the Hebrew canon, the Writings, is a miscellaneous collection of materials, as its name would seem to suggest. My thesis re-examines this assumption. The introduction sets out the critical issues, outlines the thesis and charts the larger picture from which the thesis makes a limited contribution. Chapter one explains my approach. In critical conversation with Brevard Childs and his adherents, I examine the need for contours within the canonical context that respect the discrete voice of each book, while understanding it in relationship to the larger collection in which it is located. The canon is not like a street map, rather, it is more like a topographical map providing contour and depth to the canonical terrain. Taking Childs’ approach one step further; I examine the formation of the Twelve Minor prophets and the Psalter in order to develop a redaction critical grammar for the compilation of texts into collections that serves as a methodological check for the project. This grammar includes the use of catchwords or phrases to bind adjacent books near their seams, the juxtaposition of similar or contrasting themes, framing devices, and superscriptions to provide an overall structure. Chapter two analyzes the formation of the Writings in antiquity. There were a number of different conceptions of sacred literature within Judaism, but probably within temple circles the canon of the Jews was closed prior to the end of the first century C.E. The Prologue to Ben Sira testifies to a tripartite arrangement of the Jewish canon, and 4 Ezra, which provides solid evidence that the canon was closed sometime prior to the end of the first century C.E., confirms the antiquity of a tripartite arrangement. Chapter three explores the various orders for the Writings. Within the conceptual world of Judaism, the concern with the order of the books is not the result of the invention of the codex or long scroll, but rather arises from the holiness attributed to these books in association with their strong connection to the temple and its sacred space. Despite the consensus that there are a vast number of orders for the collection, in fact there is only evidence that the Masoretic (Leningrad Codex) and the Talmudic (Baba Batra 14b) orders existed prior to the twelfth century C.E. The grouping of the Megilloth in the Masoretic tradition is probably not the result of liturgical practices within Judaism, as is commonly thought, which leaves room to re-examine the antiquity of this order. Both arrangements reveal a similar logic of association among the books of the Writings with the possible exception of Ruth. Chapter four explores the location of Ruth in the Former Prophets between Judges and Samuel and in the Writings after Proverbs and before the Psalter. Ruth has been purposefully figured into the Former Prophets and then later was integrated into the Writings after Proverbs as a wisdom book. In this case, different orders bear witness to the search for meaningful associations within the canon. Chapter five probes Esther’s position as part of the sub-collection of Lamentations, Esther, Daniel and Ezra-Nehemiah, in which it always follows Lamentations and is juxtaposed to Daniel. Within this canonical frame I explore Esther’s links to Daniel 1-6 and Lamentations 5 and the way this sets in relief Esther’s theology. Chapter six briefly observes some compilational phenomena in Song of Songs, Ecclesiastes and Lamentations. I also examine the structure of the Megilloth as a whole and the forces at work in this sub-collection. The thesis concludes, due to historical and exegetical reasons, that the codification of the Megilloth into a collection is an integral part of the canonical process rather than a formal feature that is the result of some supposed effort to close the canon.

Thesis (MDram)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The productions of Breyten Breytenbach's dramas created unprecedented (negative) reaction amongst the audience members. The themes and the representation of these themes through the use of language and images caused the alienation of many audience members. One of the main causes of alienation was the problem the audience had in understanding the text. The two Afrikaans dramas, Boklied and Die Toneelstuk will be placed in the postmodern theatrical tradition to give a methodology for the reading of the texts. The study also examines the nature of intertextuality to show how the use of intertextuality helps to create meaning. The theatrical productions bring the texts to life and therefore the study will also refer to the productions of these texts. The experience of a postmodern theatre piece does not imply that no meaning can be attributed to language and action. The attribution of meaning in production and texts like Boklied and Die Toneelstuk is not always based on the use oflanguage. The audience/reader of these texts becomes the cocreators of meaning. This study tries to show a range of interpretations and possible meanings of these texts. / AFRIKAANSE OPSOMMING: Die dramas van Breyten Breytenbach het met die produksie daarvan ongekende en negatiewe reaksie onder die Afrikaanse gehore ontlok. Die temas en die uitbeelding van hierdie temas in produksie en in die taal wat Breytenbach gebruik het, het tot vervreemding by die gehoor gelei. Een van die hoofredes vir die vervreemding by die gehoor was dat hulle probleme gehad het om die teks te verstaan. Die twee Afrikaanse dramas, Boklied en Die Toneelstuk word in hierdie tesis binne die postmoderne teaterstroom geplaas om aan te toon hoe dié tipe teatertekste gelees kan word. Die studie ondersoek ook die aard van intertekstuele verwysings in die dramas- om aan te toon hoe hierdie verwysings help met die skepping van betekenis by die kyker/leser van hierdie tekste. Die geskrewe dramateks kan eers ten volle in die lewe geroep word in die produksie van die teks en daarom word daar in die bespreking van die tekste ook na die opvoerings verwys. Die belewing van 'n postmoderne teaterstuk beteken nie dat daar nie betekenis aan aksie en taal toegeskryf kan word nie. Die toeskrywing van betekenis is, in gevalle soos die produksies van Boklied en Die Toneelstuk, nie altyd tekstueel gebaseer nie. Die toeskouer/leser van hierdie tekste is medeskepper van betekenis. Die studie poog om die vele moontlikhede van interpretasie en die betekenis van hierdie tekste uit te lig.