This paper examines the use of the anecdote in critical scholarship as an ethical approach to studying Aboriginal literature. As many scholars are now becoming aware of the damage that has been done to texts by critiquing Aboriginal literature from the position of cultural outsiders, this paper suggests that anecdotal theory proposed by Jane Gallop is an ethical approach to Aboriginal literature. The use of story to generate theory explored by Aboriginal scholars of literature is compared to anecdotal theory, which implies that the use of anecdotes is an ethical approach suggested by Aboriginal culture. Anecdotal theory, the practice of recording a personal anecdote and then reading it to generate theory, offers non-Aboriginal scholars as well as Aboriginal scholars a way to connect to the text. Using anecdotal theory helps scholars remain more responsible to the texts they are critiquing; anecdotes make scholars more self-aware and ground them in real experience, due to the anecdotes embodied nature and use of humour. This paper focuses on Aboriginal texts and scholars from North America. Helen Hoys critical work How Should I Read These: Native Women Writers in Canada is analysed for her use of the personal anecdote to examine its effectiveness. While Jane Gallop coins the term anecdotal theory, this paper attempts to connect personal anecdote, scholar, and literature in a way that Gallop does not.

The importance of the Qur'an can be gauged from the fact that it was the first book which Muslim scholars concerned themselves with and by virtue of the belief of Muslims in general that it is the verbatim Word of Alllih culminated in their associating utmost reverence to the Qur'an in its written form and oral recitation. Thus, it is for this very reason that great concern was directed to the correct reading and pronunciation of the Arabic Qur'anic text Moreover, in view of the fact that there were several Arabic dialects and no declensions were at that time assigned to the text of the Qur'an, scholars of the Qur'an found it imperative to assign correct reading and recitation of the Arabic text of the Qur'an. Scholars before al-JazarI's time assigned several rules for the correct rendering of the Qur' anic recitation. This was necessary because incorrect reading, recitation and pronunciation of the text of the Qur'an could result in changing the meaning of the text thus nullifying what was originally intended. , lmiim lbn al-Jazari's main contribution in this field is that after surveying the previous works on the subject, further refined and articulated the discipline of reading and recitation of the Qur'an. Hence, lmiim lbn al-Jazarf's works on this important discipline made an everlasting impact ,on the later history of discipline of the recitation of the Qur'an. Several of Imdm lbn al-Jazarf's works were published and there are still several of them which have been preserved in manuscript forms in various libraries throughout the 2 Muslim world, suchas in Turkey, Syria, Iran andEgypt Thesemanuscripts are not easily accessible to the general publicin our present times. The objectives of this studyare to: 1. trace the origin and development of 'ilm al-Qirli'at (the Science of Qur'anic Recitation); 2. give an account of the life ofImam Ibn al-Jazarf; 3. survey the worksImdm Ibn al-Jazari; and 4. to examine and evaluate the contributions of lmiim Ibn al-Jazari on later scholars/works. / Thesis (Ph.D)-University of Durban-Westville, 2004.

Habilitationsschrift--Graz, 1973. / Summary in English. Includes bibliographical references (p. 597-636) and index.

Thesis (Ph. D.)--Columbia University, 1921. / Vita: p. 227 (mounted on back cover). Bibliography: p. 219-225.

Thesis (Ph. D.)--Columbia University, 1921. / Vita: p. 227 (mounted on back cover). Bibliography: p. 219-225.

Habilitationsschrift--Graz, 1973. / Summary in English. Includes bibliographical references (p. 597-636) and index.

Orientador: Carlos Eduardo Mendes de Moraes / Banca: Marco Antonio Domingues Sant'Anna / Banca: Heloisa Helou Doca / Resumo: Esta dissertação objetiva analisar o primeiro capítulo das duas edições não póstumas (1872 e 1884) do romance Inocência, do Visconde de Taunay (1843-1899), sob o ponto de vista filológico. Para tal foram utilizados os referenciais teóricos da filologia, da crítica textual, da crítica genética, da edótica e da estilística segundo os seguintes autores: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d‟Escragnolle Taunay atuou e escreveu sobre várias esferas do Brasil do século XIX, mas sua fama é atribuída a apenas duas de suas produções: La Retraite de Laguna (1871) e Inocência (1872). Pelo fato de o meio acadêmico ainda não ter ressaltado a necessidade da elaboração de uma análise aprofundada da recepção e das alterações pelas quais o romance campestre possa ter passado após tantas publicações, é que este estudo propõe a aplicação de dois procedimentos da crítica textual, recensio e collatio, por meio dos quais se revelarão, a partir de uma amostragem, as alterações às quais o texto foi submetido e a importância dessas escolhas em função de algumas coordenadas indicadas pela fortuna crítica. Este processo contribui para desmistificar o processo criativo das obras de arte (crítica genética) e também auxilia na criação de um conjunto de regras que constituem marcas de estilo do autor, presentes no processo de edição e reedição da obra / Abstract: This dissertation aims to analyze the first chapter of the two not posthumous editions (1872 and 1884) of the novel Inocência, by Visconde de Taunay (1843-1899), using the philological approach. For this purpose, it was used the theoretical frame of references of philology, textual criticism, genetic criticism, ecdotics and stylistics according to the following authors: César Nardelli Cambraia; Bárbara Spaggiari e Maurizio Perugi; Cecília Almeida Salles; Segismundo Spina; José Lemos Monteiro e Nilce Sant‟Anna Martins. Alfredo d'Escragnolle Taunay acted and wrote about various spheres of nineteenth-century Brazil, but his fame is attributed to only two works of him: La Retraite de Laguna (1871) and Inocência (1872). Considering that academia has not emphasized the necessity of developing a thorough examination of the reception and the changes through which the country novel has spent after so many publications, this study proposes the application of two procedures of textual criticism, recensio and collatio, by means of which will show, from a sample, the changes to which the text was submitted and the importance of these choices on the basis of some coordinates indicated by critical fortune. This process helps to demystify the creative process of art works (genetic criticism) and also helps in creating a set of rules that constitute the author's style tags, present in the editing and re-editing process of the work / Mestre

This study aims at highlighting some crucial aspects of Xhosa drama. These aspects are of great significance for the understanding of Xhosa drama. It also aims to historicize and contextualize examinations of traditional Xhosa drama and modern Xhosa drama.

The full text of this thesis/dissertation is not available online. Pending permission from the author/supervisor access may be provided on <a href="mailto:upetd@up.ac.za">request.</a> Read the abstract in the section 00front of this document. / Dissertation (MA (Setswana))--University of Pretoria, 2007. / African Languages / unrestricted

The musical Bernarda Alba tells the story of a woman who is confined within the heavily patriarchal and Catholic society that was 1930s Spain. Because of this, I thought it the perfect arena to explore power dynamics on stage. My thesis will explore status, hierarchies, relationships, and identity via the stolid matriarchal character Bernarda Alba. Through analyzing the playwright's words, fleshing out the character, and exploring the character's relationships with others in rehearsal, I have studied how to activate status on stage. There are many sociology theories and psychological studies that can be applied to theatre-making in order to create fleshed out relationships, characters, and worlds. I have taken these theories into practice, as I battled with my own hierarchies in real life, and I let art and life do what they do best: imitate each other. I will analyze and play with the physical movement and posture of the character, the vocal choices in the delivery of the scripted words, and the psychological choices in the form of subtext and unspoken thought. There is an abundance of agency one holds when creating status and identity for a character, and I break down the different facets to explore. More importantly, outside of the stage, if we realize that status is more intricate and flexible than we think it is, then we as individuals can unlock invaluable freedoms that can unchain us from daily oppression.