The composition of Joshua 3 and 4 forms the main focus of this study. Although Joshua 3 and 4 have been the subject of many studies, there have been no satisfactory explanation of the many contradictions and incoherence in these chapters. Apart form the literary problems regarding the composition of Joshua 3 and 4, some challenging historical questions arise from the study of these chapters. Therefore, this literary study of Joshua 3 and 4 will not also involve some broader literary questions like the position of the book of Joshua in the Canon, but it will also attempt to answer historical questions about Israel`s past. My hypothesis is that that the final text of Joshua 3 and 4 is the result of several redactions. The original narrative of the Jordan crossing forms the main part of these chapters. This original deuteronomistic narrative was originally part of a Deuteronomistic History that encompassed Deuteronomy, Joshua, and some parts of 1 and 2 Samuel as well as the books of 1 and 2 Kings. The Deuteronomistic History originated in the exile, and was the subject of major editing up to the Persian era. Joshua 3 and 4 reflects the process of the formation of the Pentateuch. The original deuteronomistic narrative of the Jordan crossing was subsequently supplemented by a post-priestly narrative which enhanced the miracle of the crossing. This supplement probably took place when the priestly composition (Ex-Num) was joined to the deuteronomistic composition (Deut-2 Kon) as part of an compromise between rival priestly groups. The book of Deuteronomy was eventually incorporated in the foregoing books (Ex-Num) to form a Pentateuch. As a result of this process, the book of Joshua was cut off from Deuteronomy and became a post-Deuteronomic book. This explains not only the affinities and differences between Joshua and Deuteronomy, but also the peculiar position of the book of Joshua in the Canon. The narrative of the twelve memorial stones (Joshua 4) forms part of an etiological formula, found throughout Joshua 1-12. These etiological reference points reflects the lists of the returning exiles and the builders of the Jerusalem`s walls in the books of Ezra and Nehemiah. Furthermore, these etiological references reflects the borders of the post-exilic Israel. Joshua 4 is the post-exilic Israel`s way of interpreting the pre-exilic conquest narratives in Joshua 1-12 in order to make sense of their present situation. There are also references to the post-deuteronomistic emphasis on many sanctuaries (which probably served to legitimize the Samaritan Temple at Mount Gerizim. The book of Joshua is not to be classified as history. This study enhances the hypothesis that the book of Joshua embodies the ideology of post-exilic Judaism. In its final form, the book probably served as an attempt to bring a compromise between rival priesthoods and rival ideologies. Although the book had pre-exilic (deuteronomistic) origins, it was subsequently edited to function in a post-exilic context when the people of Israel were facing a new future with new possibilities. / Thesis (PhD)--University of Pretoria, 2010. / Old Testament Studies / unrestricted

Our cultural values and socio-political perspectives are perhaps most clearly reflected in our material environment. When this environment is subjected to drastic change, the effects on these values and perspectives are likely to be profound. This dissertation considers the wide-ranging socio-cultural effects of material change through a close reading of three literary texts, each of which presents a portrait of a particular city in transition. The three texts which form the basis of this study are Orhan Pamuk's Istanbul: Memories and the City, William Dalrymple's City of Djinns: A Year in Delhi, and Ivan Vladislavic's Portrait with Keys: The City of Johannesburg Unlocked. In my reading of the effects of material change as depicted in these texts, I draw on architectural theorist Fred Scott's three possible approaches to existing material and cultural infrastructure, namely demolition, preservation and re-appropriation. Using this framework, and extending it in several ways, I discuss the ways in which processes of demolition/destruction, preservation, and adaptation/re-appropriation are inscribed in these texts. In Pamuk's Istanbul, the founding of the modern nation state of Turkey is shown to have stimulated two opposing responses, namely Mustafa Kemal's discourse of Turkification, concerned with development and modernity, and a reactionary melancholy yearning for the past, called hüzün. Dalrymple's City of Djinns highlights the various forms of socio-cultural destruction which accompanied Partition while also documenting the many examples of accidental preservation within the rapidly modernising city; also important in City of Djinns are descriptions of material and cultural re-appropriation, highlighted in depictions of urban resilience and the formation of new heterogeneous communities capable of transcending former divisions. Vladislavic's Johannesburg is also concerned with three possible responses to change in the urban environment after the abolition of apartheid: the urge to demolish and emigrate, the contrary need to preserve and fortify, as well as the compromise offered by the decision to re-appropriate and adapt. / Orhan Pamuk / Dissertation (MA)--University of Pretoria, 2017. / English / MA / Unrestricted

This study investigated the approximations of disciplinary literacy in high school English Language Arts students’ writing. To study the development of these disciplinary conventions, the portfolios of written literary analyses were examined from fourteen twelfth-grade students over their last two years in high school. The conceptual framework for analysis of data was informed by a developmental approach. Intermediate forms, approximations, or incremental moves students made as they progressed toward the more expert or conventional forms of literary discourse were identified. Analysis focused on macro-characteristics of literary analysis, adapted from the literature on literary studies, rhetoric and composition, and systemic functional linguistics, including Appreciation, Interpretation, Textual Evidence, Warrant, and Response to Literature Genres. Analysis included a cross-case descriptive analysis of macro-characteristic scores on a rubric designed for the study and a cross-case analysis of literary discourse approximations as seen in students’ writing portfolios. Analysis of scores on midterms and finals found that students’ scores increased from Year 1 to Year 2, with Appreciation scores increasing the most. Analysis of literary discourse approximations resulted in several findings: 1) Development in Interpretation was characterized by increasing accuracy of comprehension, logical consistency, and depth of interpretative meaning; 2) Development in Appreciation was characterized by a growing awareness of the role of the author in a literary text; and 3) Response to Literature Genres demonstrated a range of genres, including Character Analysis, Thematic Interpretation, Thematic Analysis, Critical Response, and alternative or hybrid genres. Thematic Analysis is a proposed new genre that differed from the Thematic Interpretation on the elements of subject, audience, and purpose. Additional analysis of student writing portfolios found a growing awareness in many students of the values and beliefs of the academic literary community, or habits of mind of literary disciplinary literacy, including 1) Increased level of familiarity with the audience’s common knowledge in the field, as demonstrated in use of definitions; 2) Understanding of the value of multiple interpretations of literature, as demonstrated in use of graduation resources, such as epistemic hedges or epistemic boosters; and 3) Ability to engage with multiple voices, as demonstrated in instances of intertextuality.

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Can journalism be avant-garde? This question arises from the body of work produced by the New Journalists, whose leading figures include Truman Capote, Tom Wolfe, Joan Didion, and Norman Mailer. Today, this question is urgent for considerations of the journalist’s role within a political landscape increasingly hostile to the news media. Yet it is a question that has not been sufficiently explored in the field of literary study. Scholars of literary journalism have identified the features of an experimental journalism, traced its historical origins, and made claims about how to situate the New Journalism generically. While important, this scholarship overlooks the relationship between experimentation with conventional journalistic form and similar experimentations in other artistic fields. As a result, the stakes of the New Journalism’s experimentations with conventional reporting have not been sufficiently mined. In order to remedy this, I place the New Journalism within a broader history of avant-garde art. The agitation of mainstream journalistic practice undertaken by each of the writers above was spurred by a questioning of a foundational journalistic practice: objectivity. The New Journalists challenged the authority of fact and its capacity to represent the human condition. This challenge to objectivity drove an experimentation with journalistic form that produced a deeply innovative body of work; however, these innovations are not merely formal. They also call into question the epistemological assumptions that tether journalism to a phenomenal world assumed to be fully representable. Significantly, the challenges to objectivity posed by the New Journalists parallel the challenges to representation posed by avant-garde artists like Paul Cezanne and Karel Appel. My dissertation thus situates the challenges to journalistic form undertaken by the New Journalists within a broader history of artistic experimentation and demonstrates that the significance of these experimentations exceeds the fields in which they occur. These arguments provide a framework for understanding not only the formal innovations of avant-garde artists, but also the epistemological consequences, and ethical imperatives, inherent in these innovations. My understanding of avant-garde art is informed by the work of Jean-Francois Lyotard. Over the course of his career, Lyotard illuminated the philosophical dimensions of artistic innovation. For Lyotard, one of the hallmarks of avant-garde experimentation is its ability to confront and redress problems across a variety of discursive fields. That is, Lyotard values avant-garde experimentation because it responds to discourses beyond its own, and much of Lyotard’s writing about avant-garde art establishes connections between artistic innovation and broader issues of ethics, politics, and justice. Over the course of this dissertation, I demonstrate how the New Journalism participates in this tradition by asking questions about the role and responsibility of the reporter through the self-conscious development of an experimental journalistic aesthetic. / English

The present thesis considers the allusive and narrative function of fate and its associated concepts of providence, free will, necessity, and natural law in Paradise Lost. It argues that the narrative function of these concepts is shaped by Milton's allusions to classical epic, and assesses their impact on the Christian theology of the poem. It identifies unnoted allusions to well-known epic models (Homer, Vergil, Lucan), and examines how Lucretius' account of natural laws and post-Vergilian representations of epic aftermath influence Milton's own depiction of transgression and its aftermath in Paradise Lost. Chapter 1 considers Satan and other fallen angels' definition of fate as a materialist alternative for the personal rule of the Father. It traces several allusions to fate in cosmological and ethical settings, in Lucretius, Vergil, Lucan, and Statius, and analyses how these allusions interact with the Hesiodic mythical material in the opening books of Milton's epic. Chapter 2 focuses on a pattern of previously unnoted allusions to Lucretius' De Rerum Natura in the narrative of the Fall, culminating in Book 9. It argues that in his temptation of Eve, Milton's Satan subverts Lucretian teachings about the boundaries governing the physical universe as he persuades Eve to transgress her natural state in Eden. Chapter 3 discusses the appearance of the Father in an allusive epic council scene in Book 3. In the dialogue between Father and Son, I suggest, Milton evokes negotiations between the Homeric and Vergilian deities, depicting his God as surpassing his pagan epic counterparts who can only delay the fate of mortals, but not change them. Chapter 4 suggests that Milton's depiction of the aftermath of the Fall is indebted to post-Vergilian epic narratives of 'aftermath'. The final Books of Paradise Lost and the portrayal of Adam and Eve's moral freedom as they leave paradise, with providence their guide, should be read, I posit, against the backdrop of scenes and imagery from Lucan's Bellum Civile and Statius' Thebaid.

This research is premised on Armstrong's (1990:7) argument that „every interpretive approach reveals something only by disguising something else, which a competing method with a different assumption might disclose.‟ This statement indicates that preference or marginalisation of some literary theories impedes progress in African-language literary criticism because different literary theories tend to focus on one or a few selected aspects of a work art. This flows from the assumption that no literary theory can unearth all aspects and meanings of a literary text. This research comes against rigidity, conservatism and narrow-mindedness of those literary critics and scholars who refuse to open up and embrace literary theories which they are opposed to. The research is an attempt to demonstrate the benefit of flexibility and ability to accommodate even those opposing literary views that can make positive contribution in the field of African-language literary criticism. The research further calls for pragmatism, tolerance and co-existence of opposing literary views for the benefit of progress in the field of African-language literary criticism. This research is an acknowledgement of the fact that no literary theory is infallible because all literary theories have their own strong and weak points. In this research, a survey of literary approaches commonly applied in African-language criticism is conducted. This is followed by an analysis of a Tshivenḓa novel (i.e. A si ene) from different literary angles to prove that every literary theory can help to unmask a particular meaning of a literary text which no any other literary theory can do. For example, the intrinsic literary approaches will, most certainly, unlock the meaning of a literary text differently from the way the extrinsic literary theories do because diverse literary approaches focus on different aspects or elements of a work of art. This research is an endorsement of the argument that through multiple-reading of a literary text, readers‟ understanding of the same literary text is broadened and deepened. / African Languages / D. Litt. et Phil (African Languages)

Résumé Students of the 1st grade of four-year-grammar school are not well-informed about contemporary literary life. They think that only books that are currently being published should be classified as literature, knowing only the world bestsellers from all of the books that have actually been published. Students have almost never visited any reading or literary fairs. They know nothing about the various Czech literary awards. Some Czech writers, to them, are no longer relevant, for example Arnošt Lustig or Karel Šiktanc. In their minds, the success of an author is measured by the volume of sales and value of money. The severely marginalized authorial status, by viewing the writer not as a "prophet", but instead as an entertainment producer. People generally prefer special effects which offer immediate gratification, because they don't want to spend the time and concentration it takes to read. As far as the students are concerned, reading is boring and difficult. Czech students aren't tought to see value in reading. This could be the result of the methods which are used at Czech schools - suppressing critical thinking and paying more attention to the acquisition of knowledge. A five day project was created for this vary reason. Activities which could be integrated in the domain of literary life are...

This thesis deals with the evolution of vampire as a literary character in contemporary production for young adults. Its aim is not to describe all existing works but to cover only the most interesting representations of a vampire in various epochs. The thesis describes the most influential works building the literary stereotype of a vampire and proposes an evolution line. The crucial works in this genre are: Vampire, Carmilla, Dracula, Interview with a Vampire, The Vampire Diaries, True Blood, Twilight, House of Night, Vampire Academy and Vampire Boardingschool. Based on them we create a typology according to the appearance, character and narrative role of a vampire. The thesis begins with an anthropological introduction, especially with the origin of the vampires in Easteuropean folk tradition. Farther more we deal with most common genres used to enrich the vampire literature and theory of a literary character as a narrative category. The analysis covers the evolution of a vampire character from its naturalistic appearance to its very civilized pole in the contemporary young adults fiction. We close with the chapter describing the character of a vampire as a literary symbol.

À travers une enquête qualitative auprès de lecteurs et lectrices de romans, cette thèse se propose d’interroger l’influence de la position et de la trajectoire sociales des publics sur leurs choix de lecture ainsi que sur leurs pratiques de recours à la prescription littéraire, à l’ère numérique.Face à une offre éditoriale pléthorique, lecteurs et lectrices se trouvent en effet en situation d’incertitude quant à la qualité des œuvres littéraires. Il s’agit alors d’interroger les influences respectives et cumulées d’instances de prescription et de recommandation — en tant qu’elles contribuent à produire de la valeur — telles que la prescription scolaire, la prescription médiatique, les prix littéraires, les professionnels du livre ou encore les groupes de pairs. L’intérêt que portent les lecteurs interrogés aux discours produits par ces instances de légitimation est mis en relation avec leur position sociale ainsi que leur trajectoire — en mettant l’accent sur le contexte dans lequel leur goût et leur pratique se sont développés, et sur les modalités de la pratique. Ce faisant, ce travail de recherche — fondé sur 36 entretiens semi-directifs et 457 questionnaires menés auprès de lecteurs parisiens et actifs — a pour objectifs d’apporter via l’angle du choix une meilleure compréhension des pratiques de lecture ainsi que des usages de la prescription littéraire. / This thesis looks at participants’ interests in the discourses of legitimizing bodies, depending on their social class backgrounds and locations, in the digital era. Confronted to an overabundant offer, this study examines participants’ interests in the discourses of legitimizing bodies, depending on their social class backgrounds and locations. In a context where readers often remain unsure about the quality of literary works, this thesis looks at the wide variety of institutions/intermediaries that contribute to the production of value such as school, media, literary awards, booksellers, publishers and peer groups. The aims of this research work are to provide a better understanding of reading practices and of the uses of literary prescription. Methodologically, this study is drawn from 457 questionnaires and 36 interviews of participant 18-65 aged and based around Paris who read a book in the last 12 months.The study finds that the consumption of book recommendations depends on social class location. Although more dependent on recommendations to reduce the uncertainty of the quality of books, occasional readers – most often working and middle class participants – consume less book recommendations. To the contrary, the results suggests that the participants with a higher cultural capital i.e. those who are familiar with the wide variety of books available, tend to consume more recommendations, albeit with detachment.