A dissertation submitted to the Faculty of Humanities and Social Sciences, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Masters of Arts in Fine Arts by Dissertation / In this research I examine how the ineffable is addressed and explored in selected artworks by British-Indian artist Anish Kapoor (b 1954) and South African artist Karel Nel (b 1955). I introduce the notion of the ineffable, described as that which is too great or profound to be expressed in words; the ungraspable, indescribable, indefinable. It is often linked to the spiritual, the fluid and unfixed, the transcendent and the notion of the revelatory. I consider it alongside related terms such as the sublime, the numinous, the mystical etc. In examining how it can be seen to link to artists’ aesthetic pursuits, I briefly consider the idea of the shamanistic role of the artist in providing a ‘transformative event’ of bringing the invisible into visible form. My primary focus is on how both Kapoor and Nel can be seen to use their chosen materials, forms, and means of display to engage with ideas that relate to the metaphysical and allude to the intuitive and the spiritual. Their interest in Buddhist philosophy and the notion of reconciliation of opposites as well as their exploration of space and the idea of the immaterial becoming object is related to my discussion of their artworks in terms of evoking the ineffable. Kapoor's biomorphic sculptural forms covered in powder pigments, examples of his reflective stainless steel sculptures and two recent sitespecific installation artworks using smoke and water are closely examined as are examples of Nel's two-dimensional drawings using pastels, powdered earth pigments, carboniferous salts and dust and two of his site-specific installation artworks involving the use of water and refracted/reflected light. I finally discuss my own creative work in relation to the above as presented in my exhibition titled Ātmān / MT2016

Proefschrift Universiteit van Amsterdam. / Met bibliogr., lit. opg., reg. - Met samenvatting in het Engels.

Th.--Lett.--Paris, 1952.

Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 144-145). Available also in a digital version from Dissertation Abstracts.

Proefschrift Paris. / Met bibliografie van J.K. Huysmans.

When Karel Čapek´s R.U.R. (the acronymic title is short for ??Rossum?s Universal Robots??) was first performed in 1921, it became a major international success and made Čapek an internationally known playwright. Although R.U.R. may appear slightly dated nearly hundred years later, the concerns expressed by the playwright are still interesting to modern audiences which explains why this play was chosen to be stage designed in the first place.

Thesis (MPhil)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: The aim of this study is to produce an English translation of the first part of Karel Schoeman's novel Hierdie lewe, translated as This Life. The thought processes of the translator are illustrated by means of descriptive annotations. The choice of source text is motivated and the specifications of the target text are formulated. The problem is stated that relatively few of Schoeman's fictional works have been translated into English or other languages and it is suggested that this might be because Schoeman's work is difficult to translate, or even untranslatable. A possible reason for this may be Schoeman's distinctive style: rhythmic, lyrical and rich in imagery. The source culture may also be too specific and the cultural gap too wide. A hypothesis is formulated that translation is possible if the translational problems are identified. Certain strategies are devised and solutions suggested. A hermeneutic interpretation of the source text and an overall strategy of resistancy are advocated, resulting in a target text with a marked source-text inscription. However, a measure of domestication is unavoidable in the light of the final goal to create an equivalent text which is still readable and will not alienate its addressees. A discussion of relevant concepts from translation studies theory substantiates and motivates the choice of translation strategies and solutions. A thorough reading analysis of the source text supplies the context for an interpretation. Descriptive annotations focus on the translator's methodology. Conclusions are drawn about the effectiveness of the chosen strategies and suggestions are made for further study. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is die produksie van 'n vertaling in Engels van die eerste deel van Karel Schoeman se roman Hierdie lewe, vertaal as This Life. Daarby word deur middel van beskrywende annotasies verslag gedoen oor die denkprosesse van die vertaler tydens die vertaalproses. Die keuse van bronteks word gemotiveer en die vereistes vir die doelteks word geformuleer. Die probleem word gestel dat relatief min van Schoeman se fiksie reeds in Engels en ander tale vertaal is, moontlik as gevolg van 'n persepsie dat Schoeman se werk moeilik vertaalbaar, of selfs onvertaalbaar is. Een rede hiervoor is 'n besondere beeldryke, liriese, ritmiese skryfwyse, kenmerkend van Schoeman. Dat die bronkultuur te spesifiek en die kulturele gaping te groot is, kan ook 'n rol speel. 'n Hipotese word gestel dat vertaling wel moontlik is mits die vertaalprobleme geïdentifiseer word en strategieë om die probleme op te los, bedink word. 'n Hermeneutiese interpretasie van die bronteks word aanbeveel en 'n oorhoofse weerstandstrategie word voorgestel, met die bronteksinskripsie duidelik in die doelteks waarneembaar. Sekere toegewings aan die brontekskultuur (domestication) is egter onvermydelik in die lig van die einddoelom 'n ekwivalente teks te skep wat tog ook leesbaar is en nie die teikenlesers sal vervreem nie. 'n Bespreking van relevante konsepte uit die vertaalteorie ondersteun en motiveer die keuse van vertaalstrategieë en -oplossings. 'n Deeglike analise van die bronteks verskaf die konteks vir 'n interpretasie. Beskrywende annotasies bevat inligting oor die werkwyse van die vertaler en afleidings word gemaak oor die doeltreffendheid van die gekose strategieë. Die moontlikheid van verdere studie word aangedui.

The problem is to relate four parameters, thematic development, chord tension, tonality, and rhythm to musical Growth in Karel Husa's Music for Prague 1968. The analytical technique consists of determining a typology and relating that to Growth and is applied in small dimensions to the "Introduction" and in large dimensions to the whole composition. Movement in the composition is goal oriented, and each parameter contributes in different ways, one providing contrast, another continuity, and another variety. Shapes are delineated by cadences characterized by a decrease followed by an increase in Movement. Growth is characterized by Shapes in which Movement starts at a low level, moves to a climax three quarters through, and relaxes for the end of the Shape.

This thesis focuses systematically on the phenomenon of collective housing which emerged in the late 1920s in the USSR, western Europe and also in Czechoslovakia. It concentrates mainly on Czechoslovak architectonic scene with a specific variant of ideas about collective housing, adopted largely due to an influential Czech theoretist Karel Teige. In the first chapter, the architectonic millieu of 1920s and 1930s is introduced; in this period, theprogram of "scientific" functionalism which is crucial for the rise of the concept of collective house, was formulated,. The following chapters summarize collective housing efforts in the USSR and Sweden as an influential sources for Czechoslovak architects. The next sections are dedicated to two collective houses built in Czechslovakia after WWII: one in Zlín and another in Litvínov. The whole text is concluded by a brief summary of how the idea of collective houses developed further in 1960s and by an interpretation of the phenomenon through the work of Pierre Bourdieu and David Harvey.

On Speech in the Poetry of Karel Šiktanc The diploma thesis focuses on the poetry of Karel Šiktanc from the 1970 s to the present. It aims to identify and describe those invariables that could characterize his poetic work. In order to accomplish that, two main theoretical sources are used. First, Martin Heidegger's essay Básnicky bydlí člověk, and second, a cognitive ethnolinguistics approach. The overall goal of the thesis is to demonstrate how language (or, more precisely speech) might be conceptualized (cf. the metaphor of speech as space) and what function does speech have in the magical thinking. Using Eugène Minkowski's term zvučení, a noticeable contrast between the sound of speech and silence in Šiktanc's imagery is commented on. Due to the vastness of data, the analysis concentrates on selected poems that are somehow emblematic of each collection.