M.A. / This is a survey of the use of imagery in both traditional and modern Zulu praise poetry. For the purposes of this corpus, emphasis will be placed on izibongo (praise poems) of the Zulu kings, chiefs, prominent figures, and also minor characters. The following are the main figures of speech which are worth mentioning in this study: metaphor, personification, symbolism, metonymy, simile, and hyperbole. The definitions of the aforementioned images by various critics will be given in this chapter. The study does not involve a stylistic analysis of izibongo as a whole; its primary focus is to assess the utilization of certain animals, objects and natural phenomena, as the basis of metaphors. In this study, I will confine myself to two texts. These are IZIBONGO ZULU PRAISE-POEMS, by T. Cope and MUSHO! ZULU POPULAR PRAISES, edited by L. Gunner and M. Gwala. The former contains mostly traditional praise poems of kings, chiefs, headmen, and two promiment women: Mnkabayi kalama and Nandi kaMbengi; the latter consists of izibongo of political figures and of anyone who was deemed praise-worthy. In recent years political leaders have become very prominent. Gunner and Gwala (1991: 11) acknowledge this when they state that, "the freed leaders will be honoured like kings ... and one of the country's most gifted izimbongi (praisers) wants to make sure the released men hear the story of the people's suffering". Often, at political gatherings, where leaders of the different parties are present, praises are recited which are fit for kings. Take the case of the inauguration of Dr Nelson Mandela, where one witnessed the presence of two izimbongi, who were reciting the praises of Mandela. Images of fierce battles and heroism dominate traditional praises, while images of nostalgia and the verbal war characterise modern praises. Most of the images used however, imitate those used in the praises of traditional kings. There are also the izibongo of the ancestors. Such praises are related to clan praises. These are rich in images, for imagery is the essence of poetry: URadebe! uMthimkhulu! uBhungane! uMashwabada Owashwabadela inkomo nezimpondo! UMafuza afulele njengefu lemvula! (Mzolo, 1977: 190) (Radebe! Mthimkhulu! Bhungane! Mashwabada Swallower of a cow and its horns! The stripper and thatcher just like a cloud of rain!) For the purpose of this study however, only the praises of kings, chiefs, political . leaders, prominent figures, and other people in traditional and modern poetry in Zulu will be examined. As mentioned earlier, the figures of speech employed in traditional praises are characterised by images of battle prowess, especially during the Shakan era. In contrast, in modern praise poetry, there is a shift from the idea of physical war. The modern praises do recount deeds performed in the heat of battle, but only as a sentimental memory of things in the past. To a large extent the imbongi incorporates the praises of the praised one's predecessors. Albert Luthuli's izibongo are a case in point: U-u-uDlungwane kaNdaba Odlung' emanxulumeni kwaze kwasa arnanxuluma ebikelana (Gunner and Gwala, 1991: 81.) (Fe-e-erocious One, of Ndaba Who raged among the crowded kraals until dawn and the news spread through the large villages.) Thus Luthuli and Shaka share similar praises; Shaka is: UDlungwane kaNdaba! UDlungwane womBelebele, Odlung' emanxulumeni, Kwaze kwas' amanxulum' esibikelana (Nyembezi, 1958: 19.) (Ferocious one of Ndaba, Ferocious one of the Mbelebele brigade, Who raged among the crowded kraals, until dawn the huts were being turned upside-down.) King Shaka and Chief Luthuli are both known for their heroic actions, hence they share the same praises. The absorption of part of Shaka's izibongo in Luthuli's praises shows that Luthuli like Shaka, was striving to unify various nations. Like King Shaka, he died before he could complete this mission. This corpus has been broken down into five chapters so that one can look more fully at images. Chapter one focuses on the aims and scope of the study. The definitions of the images are given and other related concepts are discussed. Chapter two is concerned with the metaphor, while chapter three focuses on the simile. Chapter four discusses personification, symbolism, and hyperbole, which are dealt with concurrently. Chapter five compares the use of imagery in traditional and modern praise poetry in Zulu and features a general conclusion which states the significance of the study, restates the main idea, unifies the discussion and impresses the main points discussed in the preceding chapters.

The motivation of my research is the massive problem of physical and sexual abuse of women and children we experience in South Africa. This is unacceptable for a society like ours where the rights of every citizen are entrenched in the constitution. Therefore, I have focused on the metaphor of the family in the Fourth Gospel, and how they are employed at micro-, meso- or macro-level. J.G. van der Watt’s book, Family of the King. Dynamics of Metaphor in the Gospel of John (2000) forms the basis of my study. He has pointed out that the metaphor of the family is the constitutive and most essential imagery in the Gospel. The story of the Samaritan woman in John 4 fits somehow into the family history of the father and the son. The questions I am concerned with are: 'How does Jesus' encounter with the Samaritan woman in John 4 fit into the network of imagery of the family in John's Gospel? What other imageries related to the imagery of the family, are also functioning in the story of the Samaritan woman and what significance does this encounter have in relation with the rest of the Gospel? In chapter 1 the research premise is worked out. Elements featuring in this chapter are: the problem statement, general and specific objectives, aim of the study, motivation and methodology. Literary criticism, social-scientific criticism, rhetorical criticism and theological criticism together are used into an integrated and approach to interpret this pericope. When they are used interactively, a rich and responsible approach is available for dealing with belief, action and life in the world today. In Chapter 2 the social-historical background of the Jewish and Roman family is discussed. Aspects like the meaning of family, family functions in the Jewish household and family and community solidarity were taking into consideration. The important role of cleanness and uncleanness in the Jewish family and the way they considered Samaritans as ‘menstuants from the cradle’ are underlined. Because John 4 is about the encounter between Jesus and a Samaritan woman, the origin of the Samaritans; their beliefs and traditions; and divorce in their community are important. The Samaritan education system; cleanness and uncleanness in their community and the place of a woman in the Samaritan family were also included in the discussion. At the end of this particular section the similarities and differences of the Jewish and Roman families were compared to be able to reconstruct and to obtain as much information as possible of the context of the Samaritan family. Chapter 3 contains the discussion of the meaning and function of metaphors in general and specific in the Gospel of John. In this study I have looked at the definition of a metaphor, types of metaphors and imagery in the Fourth Gospel. John emphasizes in his gospel the divinity of Jesus and his relationship with God. The author is using human relational images to portray this relationship as well as Jesus, the divine’s relationship to the world and to other people. In the words of Van den Heever: ‘The metaphors in John are all embedded in contexts made up by other metaphorical expressions: descent/ascent, living in you/you in me, partaking of Me as food, walking in the light, etcetera. It means that the connoted micro-level metaphors must be understood macro-metaphorically.’ (1992:94). This forms the basis of the discussion of the metaphor of the family in John 4. Chapter 4 is the focal point of the research and contains a detailed exegesis of John 4:1-42 in order to explain the functioning of the metaphor of the family on micro-level. The other metaphors that are linked with the metaphor of the family are also discussed, e.g. the metaphor of water and the significance of water in the Fourth Gospel as well as the metaphors of light and life. Because a family is about relationships, the family metaphors in John’s Gospel are about various relationships. It is in the first place about Jesus’ relationship with his Father, with the disciples and with the believers. In John 4 two other family relationships are portrayed: the Samaritan family and the Jewish family and they are in conflict with each other. Therefore, Jesus invites the Samaritan woman into a new family, namely the family of the Father. In this family she will have a special place and function. Other aspects of the Samaritan woman's relationships are also explored, e.g. her relationship with men, with the disciples and with men in the village. Jesus as a human being was also part of a family. The Gospel writers hesitated to say too much about it, but eventually we do know something about his family relationships. In the last chapter of my research families in South Africa are discussed. How the Fourth Gospel and particularly the story of the encounter between Jesus and the Samaritan woman can help to build families in South Africa that respects women; a society that gives women their rightful places in that society. / Dr. S.J. Nortje-Meyer

M.A. / Old age is a universal experience. Poets in general and Afrikaans poets in particular use imagination and metaphor to understand and make sense of the experience of old age and nearing death. To understand one domain of experience in terms of another we need metaphor that unites reason and imagination. Language is based on cognition. According to cognitive semantics we mentally group together similar, but disparate, entities and transformations of image schemas. A conceptual domain consists basically of interrelated entities emanating from universal experiences. The purpose of this study is to give an account of various (mainly cognitive) theories on metaphor and to use the cognitive approach to disclose the main conceptual domains which act as source domains and are projected onto the target domain. The resulting metaphors describe the experience of old age and its physical and psychological infirmities and decay. By analysing various examples of metaphor it is argued that image schemas are different patterns of recurring bodily experiences that emerge from our perceptual understanding of actions and events in the world. The examples illustrate that image schemas/domains do not exist as single entities, but are often linked together to form relationships through different image schemata transformations. The poet as abstract author, but also the reader, creatively and imaginatively recognize a schema in a new situation and contrive metaphorical connections between various conceptual structures. Thus a metaphorical expression links two or more domains of experience. Metaphor is the means by which we project structure across categories to establish new connections. Structure from two or more input mental spaces is projected onto a separate "blended" space, which inherits partial structure from the inputs, and has emergent structure of its own. It is argued that creativity shows rationality and structure. In metaphorical projection, blending from different conceptual domains plays an important role in the process of creating meaning. The examples in this study reveal that metaphors are a reflection of the ecological, cultural and ideological background of the language community. Metaphors based on image schemata for path, time, cycle, container, balance and verticality are discussed by means of examples from the poetry of selected Afrikaans poets. Special attention is given to the works of poets who are themselves experiencing old age. This study arrives at the conclusion that language is inextricably entrenched in our cognitive make-up, as illustrated by the various metaphors conveying the experience of old age. The examples reveal that the path-, cycle- and time domains are the more important source domains for the old age metaphors. The metaphors not only describe the authors' emotions on experiencing old age, but also create emotions in the reader.

Marcel Proust and the Text as Macrometaphor proposes that metaphor may provide the key to understanding the structure and effect of some novels. Some literary works give rise to an inexpressible impression that transcends its component elements. This dissertation attempts to prove that such texts reflect on a macro-scale the structure of a poetic metaphor, and thus function as "macrometaphors". Because Marcel Proust established a connection in Le temps retrouvé between metaphor and a literary work, his investigation of the metaphorical process and the means by which it suggests to its reader the internal reality of things is utilized as the theoretical basis for a comparative analysis of six novels from the perspective of the metaphor-like structures that underlie their characterizations, organization, ideas, imagery, milieus, and symbols. The Introduction discusses the validity of using Proust's A la recherche du temps perdu as an illustration of the novel as macrometaphor, and considers other theoretical studies which also suggest a possible connection between text and metaphor. Chapter One analyzes Proust's theory of metaphor as set forth in Le temps retrouvé, elucidating first of all the meaning of the word "metaphor" as used by Proust. It then explores briefly how his usage fits into the history of the concept of metaphor from the time of Aristotle to the present day, and next explicates the steps taken by the narrator that culminate in his recognition of the metaphorical process and its relationship to art and life. Finally, it clarifies the structures and conditions that constitute metaphor as understood by Proust. Chapter Two demonstrates how the totality of the novel A la recherche du temps perdu reflects the structure of metaphor as defined in Le temps retrouvé. The similarities shared by the structure of the text and the structure of metaphor are the grounds for viewing the text as a macrometaphor. Chapter Three presents brief, comparative structural analyses of five other novels (Cervantes' Don Quixote, Diderot's Jacques le fataliste et son maître, Thomas Mann's Der Zauberberg, Julio Cortázar's Rayuela, and Gabriel García Márquez' Cien años de soledad) in order to demonstrate that these works reflect the structure of metaphor also. The Conclusion presents some general ideas about the relationship of thought, discourse, metaphorical structure, literary works in general and novelistic structure in particular. / Arts, Faculty of / English, Department of / Graduate

This study explores Anne Michaels’s representation of the Second World War – with particular reference to the Holocaust – in her novel Fugitive Pieces. The study contends that Michaels demonstrates a way of remembering these traumatic and debilitating events which not only promotes physical, emotional and spiritual recuperation but is also capable of beneficially affecting the future. The first chapter contextualises the study by describing the literary debate that surrounds Holocaust representation in writing, a debate which furthermore entails an argument on the efficacy of literary techniques such as the use of metaphor. In the chapter, it is proposed that the novel ‘speaks out’ against silence, and privileges remembrance over disregard. The second chapter suggests that the novel is an example of the way in which metaphor can be used effectively to figure the Holocaust for survivors and victims, and for subsequent generations. Concomitantly, the chapter defends Michaels’s use of metaphor in its presentation of proposals, concerning her characters and their experience of the Holocaust, that display rare perspicacity and benevolence. The third and final chapter of this study comprises a four-section exploration of specific metaphors which the author uses in Fugitive Pieces to demonstrate that the horror characterising the Holocaust should not be the sum total of its effect, and that affirmations such as faith and hope can and did arise in the context of extreme physical and mental distress. This thesis is based on the proposition that Michaels’s layering of real-life testimony with imaginative intuition introduces her readers to a valuable way of dealing with the past and facing the future.

Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces” are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.

The thesis deals with the topic of a relation of the human being to transcendence through the concept of metaphor and metaphorical representation. It begins with the comparison of two philosophical systems, namely the ones of Immanuel Kant and Friedrich Nietzsche, whose conceptions are in thesis connected through the question of the limits of human understanding and the relation between the process of thinking and language. The thesis deals with those questions from the point of view of the philosophical concept of the metaphor. This concept, its history and implications are the main topics for the last two chapters. The conclusion will offer two opposite positions, symbolism and idealism. We can find those positions retrospectively in the mentioned works of Kant and Nietzsche thanks to the theory of Jacques Derrida in the final part of the thesis, but we also come to the assumption that their opposition will remain undecided.

In this paper we intend to reveal media image of former president of Iraq, Saddam Hussein as it has been constructed for six months before the war in 2003 has started. Research material came from Newsweek International news magazine. Text was decyphered using semiotic methods set in the theoretical framework based on Marxism and some of its followers. We found the representation of a "dictator" an ideological narrative serving needs of dominant ideology.

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Twelve-Step programs of substance abuse recovery are the most popular and most used mutual-help model in the U.S. One of the pivotal aspects of Twelve-Step is the often controversial idea of powerlessness. While a few recent dissertations have been conducted to look at issues related to women in Twelve-Step, most of what has been published in the literature on powerlessness in Twelve-Step is hypothetical, anecdotal, and theoretical. There is debate about the usefulness of the concept of powerless, especially for women in recovery, though no research was found specifically exploring this issue. The current study examines the experiences of powerlessness among women who are using Twelve-Step substance abuse recovery. Because experiences of powerlessness are abstract and may be difficult to articulate, a data collection method called ZMET (Zaltman, 2004) was utilized. This method helped women discuss their thoughts and feelings about powerlessness through the use of images of representative metaphors and analogies. Participants were 13 women who were in various stages of recovery using Twelve-Step. In-depth interviews were used to understand women's experiences of powerlessness in their recovery while two surveys were used to determine women's levels of affiliation with Twelve Step programs and their level of agreement with the First Step of Twelve Step. Overall, women felt positively about powerlessness in their recovery and felt it provided a sense of relief. Eleven of the 13 women felt powerlessness was an important aspect of their recovery while two felt it was either not relevant or not something they fully embraced. In exploring the metaphors women had for their experiences of powerlessness, a number of themes emerged. Many of the metaphors indicated processes while some were static. Themes also included metaphors of current events, nature, and babies. Other themes were: Higher Power; a general sense of powerlessness over many things in life and; choosing not to share certain experiences in Twelve-Step meetings. Implications for women in recovery, clinicians, and future research are included as well as strengths and limitations of the study. / Ph. D.