Doctorat en psychologie (D. Ps)--Université du Québec à Trois-Rivières, 2006. / Comprend des réf. bibliogr.: f. [118]-120. Également disponible en format microfiche.

Diss.--Philosophische Fakultät--München--Ludwig-Maximilians-Universität, 1992. / Bibliogr. p. 178-190.

Texte traduit de: Diss.--Leiden--Universität, 1993. / Bibliogr. p. [165]-189. Index.

Text in Afrikaans / Hierdie navorsing berus op die idee dat die tekste in die oeuvre van sommige skrywers op so 'n manier met mekaar verbonde is dat 'n mens dit as 'n eenheid kan begin lees en ervaar. Met Derrida se begrip van genealogiese verwantskap van tekste as vertrekpunt, het ek daardie intertekstuele verbande in J.C. Steyn se oeuvre nagegaan waardeur sy hoorspelteks, poesie- en prosatekste tot 'n verwikkelde weefsel ontwikkel het. Dit het gou duidelik geword dat daar twee hoofstrominge in Steyn se tekste aan die orde kom: 'n motief van persoonlike tekortkominge wat deurwerk na 'n groter sosiale groep toe is van vroeg af duidelik skering en inslag daarin. Reeds in "Die skuldige: 'n hoorspel" (1974) staan die homo­ erotiese geneigdheid van die sentrale karakter in noue verband met die sosio-ekonomiese vraagstuk van die gesin wat al hulle aardse besittinge verloor. Die gedigte in die eerste helfte van Die grammatika van liefhe (1975) word gekenmerk deur die digterspersoonlikheid se sterk weersin teen sy eie tekortkominge; in die laaste gedeelte gaan sy persoonlike gemoeidheid oor in 'n besorgdheid oor die Afrikaner en die voortbestaan van Afrikaans. Van Op pad na die grens (1976) af, oor Dagboek van 'n verraaier (1978) en Die verlore vader (1985) tot en met Hoeke Boerseuns ons was (1991) neem die hoofstrominge van Steyn se tekste duideliker vorm aan: aan die een kant is daar die nasionale problematiek waar hy voortbou op C.J. Langenhoven se Die pad van Suid-Afrika, en die bestaanstryd van die Afrikaner volg tot in die huidige tydsgewrig; aan die ander kant worstel die karakters van sy tekste met persoonlike vraagstukke waaronder veral 'n homo-erotiese geneigdheid waarmee hulle hul nie kan versoen nie. Oorkoepelend vertel Steyn die verhaal van die Afrikaanse elckerlijc wat hom as gevolg van teenstrydige sosiaal-politieke invloede toenemend in 'n toestand van leed, verwarring en geestelike ontreddering bevind. Ten slotte wys ek hoe Steyn deur middel van defiksionalisering in sy tekste homself en die Afrikaner ontmasker. Die invloed daarvan is heilsaam: op persoonlike vlak is dit suiwerend en die stukrag van sy kuns; in die geval van die Afrikaner vervul hy daarmee die rol van die Afrikaner se kollektiewe gewete. / This research is based on the theory that the texts in the oeuvre of certain writers are related to each other in such a way that one can read and experience them as a unity. Using Derrida's concept of the genealogical relationship of texts as a point of departure, I have examined those intertextual relationships in J.C. Steyn's oeuvre in which his radio play, poetry and prose texts have developed to a complicated fabric. It soon becomes clear that two main streams emerge in Steyn's texts: a motif of personal defect which percolates to a larger social group. Already in "Die skuldige: 'n hoorspel" (1974) the homoerotic disposition of the central figure is closely related to the socio-economic problems of the family who lose all their material possessions. The poems in the first half of Die grammatika van liefhe (1975) are characterised by the poetic personality's strong aversion to his own imperfections; in the final part, his personal concern about the Afrikaner and the continued existence of Afrikaans emerge. From Op pad na die grens (1976), through Dagboek van 'n verraaier (1978) and Die verlore vader (1985), up to and including Hoeke Boerseuns ons was (1991), the main streams of Steyn's texts become more clearly discernible: on the one hand, one encounters the national concerns in which Steyn develops themes found in C.J. Langenhoven's Die pad van Suid-Afrika and follows the Afrikaner's struggle for survival to the present juncture; on the other hand, the characters of his texts struggle with personal difficulties such as a propensity to homoeroticism to which they cannot reconcile themselves. An overarching concern of Steyn's is the story of the Afrikaans Everyman who, as a result of conflicting socio-political influences, increasingly finds himself in a state of sorrow, confusion and spiritual collapse. Finally, I reveal how Steyn exposes himself and the Afrikaner in his texts by means of defictionalisation. Its influence is beneficial: at a personal level, it is purifying and is the impetus of Steyn's art; and, in the case of the Afrikaner, it fulfils the role of the Afrikaner's collective conscience. / Afrikaans and Theory of Literature / D. Litt et Phil. (Afrikaans)

Text in Afrikaans / Spanning tussen stad en platteland is 'n belangrike tema in die oeuvre van S.J. Pretorius. In sy digkuns vergestalt hy en kom die ontwortelde, oorwegend landelike Afrikaanssprekende na die depressie en oorlogsjare aan die woord. Voortdurend word beelde van die "heerlike, gesonde" platteland gevolg deur beelde van die "bedrukkende" stad met al sy sleur en ellendes en die negatiewe uitwerking wat dit op sy inwoners het. As gevolg van die skrille kontraste groei die spanning in intensiteit. Sedert 1953 vind daar 'n mate van houdingsverandering plaas by die sprekers in Pretorius se poesie. Die digter aanvaar in die periode die stad as deel van die Afrikaner se aardse bestel en ontdek die landelike in die stad. vanaf 1963 word nie meer op nostalgiese wyse ge1dealiseer nie, maar word dit gemeld om aan te toon dat die Christelike heilsboodskap hol klink midde die ellende wat in die stad heers. / The tension that exists between country and city is a characteristic theme of the poetry of S.J. Pretorius. In particular, he deals with the "physical-concrete" destiny of the Afrikaans speaking people of the platteland in the city, Johannesburg. Images of a "beautiful and healthy" countryside are contrasted with the "dejected" city, full of tedium and misery. The negative portrayal of the latter serves to heighten the tension between the two. The year 1953 marks a slight change in attitude. From then on the poet accepts the city as part of the Afrikaner identity and strives to find the country within the city. The former is no longer idealized in a nostalgic way. Instead, the poet exposes the hollowness of the Christian promise of salvation in the face of urban poverty and tribulation. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Orientador: Edgar Salvadori De Decca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Resumo: Não informado / Abstract: Not informed. / Made available in DSpace on 2018-07-24T02:45:44Z (GMT). No. of bitstreams: 1 Fernandes_CassiodaSilva_M.pdf: 4511925 bytes, checksum: b217f270600d69234eea20f44eb0f36e (MD5) Previous issue date: 1998 / Mestrado / Mestre em História

In this thesis, we introduce a new space of Hermitian Jacobi forms, and we determine its structure. As an application, we study heat cycles of Hermitian Jacobi forms, and we establish a criterion for the existence of U(p) congruences of Hermitian Jacobi forms. We demonstrate that criterion with some explicit examples. Finally, in the appendix we give tables of Fourier series coefficients of several Hermitian Jacobi forms.

JacobTV has spent over thirty years utilizing his interest in American pop culture as the muse upon which he creates his works. Sources of popular culture including commercials, television evangelists, political speeches, interviews, and urban pop songs have earned him the title of the “Andy Warhol of new music.” His contributions to classical music are significant and include works for solo instruments and voice, chamber ensembles, and large ensembles. This study serves as an annotated bibliography of selected pieces written for saxophone and boombox written by JacobTV. Chapter 2 provides a brief historical background of electronic music and chapter 3 describes JacobTV’s compositional style and vocabulary. The pieces included in the bibliography of chapter 4 are Believer (2006) for baritone saxophone and soundtrack; Billie (2003) for alto saxophone and soundtrack; Buku (2006) for alto saxophone and soundtrack; Garden of Love (2002) for soprano saxophone and soundtrack; Grab It! (1999) for tenor saxophone and soundtrack; May This Bliss Never End (1996) for tenor saxophone, piano, and soundtrack; TaTaTa (1998) for tenor and baritone saxophone and soundtrack; Heartbreakers (1997-98) for saxophone quartet, soundtrack, and video; Jesus Is Coming (2003) for saxophone quartet and soundtrack; Pitch Black (1998) for saxophone quartet and soundtrack; and Take A Wild Guess (2007) for saxophone quartet and soundtrack. In addition, chapter 5 provides a detailed analysis of JacobTV’s composition Pimpin’ and offers further insight into his “avant-pop” compositional style.

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