No description available.

The purpose of this study was to determine how pain in PLHIV on community home based care programme was managed using the Roy adaptation model (RAM) as the theoretical framework. This study used a descriptive mixed method research design which allowed for the research topic to be investigated and described in terms of both narrative qualitative accounts and descriptive statistics. A sequential exploratory approach was adopted in which qualitative data collection was conducted in the initial phase followed by quantitative data collection. Ten qualitative interviews, guided by the components of the RAM were conducted in the initial phase and a structured interview schedule (questionnaire) partially based on the result of the qualitative phase and (which was also structured in accordance with the RAM) was administered to 120 respondents who met the inclusion criteria of being on CHBC. Convenience sampling was used to select study participants and respondents in both phases of the study. Peripheral neuropathy was the most common pain syndrome experienced by patients. More females suffered numbness/tingling sensation of toes, followed by chest pains than their male counterparts. Pain experienced was moderate to severe which was not treated effectively. The study findings could assist health care providers, policy makers and researchers to invest into improving pain management for PLHIV, strengthen education of patients and their primary caregivers on the causes of pain and modalities to employ for pain relief and implement palliative care guidelines for PLHIV. / Health Studies / D. Litt. et Phil. (Health Studies)

No description available.

Autobiographical writing acquired increasing importance during the apartheid period, with greater numbers of autobiographical texts being published by a more representative range of South Africans across race, class and gender categories. This thesis analyzes the implications of shifts in autobiographical production, in English, during the years 1948-1994 through the examination of selected texts. The readings are informed by poststructuralism, modified by information about indigenous black South African cultural practices, as well as by input supplied by some of the autobiographical texts themselves. This theoretical approach may be referred to as a "pratique de metissage" (Glissant). The texts selected for close reading are from a field of over 120 autobiographical texts. They were chosen for their ability to illustrate important trends in South African autobiographical writing, specifically with regard to the three constituent parts of autobiography: autos, bios, and graphe. The chapter dealing with the depiction of self interrogates the hierarchized discourses of male-biased humanism in Roy Campbell's Light on a Dark Horse (1951). In Ellen Kuzwayo's Call Me Woman (1985) I analyze the melding of the conceptual frameworks of indigenous black cultures and Western individualism by which the autobiographical subject is defined. Breyten Breytenbach's The True Confessions of an Albino Terrorist (1984) is read as an exploration of the postmodernist decentred self. In the chapter focusing on the portrayal of life experiences, I examine the ways in which the narrator of Albert Luthuli's Let My People Go (1962) seeks to secure the reader's approval of his version of recent South African history; while the analysis of the sub-genre referred to here as worker autobiography is principally concerned with the politics of life-writing. In Chapter 5, I look at how Godfrey Moloi's My Life: Volume One (1987) uses the discourses of popular American movies of the 40s and 50s in order to validate a self victimized by racism, and also at the ways in which Lyndall Gordon's Shared Lives (1992) probes the limits and possibilities of biography through autobiographical speculation. In general, apartheid autobiography moves away from individualism to contribute, through various means, to social and political change. / Thesis (Ph.D.)-University of Natal, Durban, 1994.

阿蘭達蒂•羅依的第一部長篇小說(也是目前唯一一部)《微物之神》迄今已出版了八年之久。由於書中所觸及到的議題繁多，包括印度賤民階級所受到的不平等待遇，施加在婦女身上的肉體與精神上的暴力，或是在全球化下地方文化的邊緣化，所以至今仍贏得許多不同領域的研究者的關注。有些研究者將這本小說視為一個表現後殖民時期印度社會的文本；有些則將其視為將正規英文轉化為實驗性語言的絕佳典範；另外有些則將其視為一本宣揚女性權利的小說。 以上這些議題我在這本論文中或多或少都有所涉及，並以「純潔」典範的角度來探討。這裡所謂的「純潔」典範，指的是一種只接受特定受認可特質，並排斥任何在認可範圍外的存在，具將其視為「不潔」的系統。因此在文中「純潔」一字的指涉範圍含括衛生方面的乾淨，儀式上的潔淨，以至於在種族以及文化意含中的純淨。在第一章中，我會對文本做一個背景知識的介紹。在第二章，我將表明羅伊在小說中刻意破壞「大論述」的目的，並說明羅伊行文中表現出「大故事」的單薄度，以及這些大故事如何造成弱勢主體的隱没。在第三章中，討論將延伸到維魯沙這個角色上。首先我會解釋及解讀他賤民身份所被賦與的本質，接下來我會分析他所帶有的「不潔」意涵是如何及為什麼使他成為是代罪羔羊。在第四章中，我同樣的運用「純潔」與「不潔」間的對立關係來解讀小說中女性角色的處境。如同維魯沙一般，瑞海兒與阿慕也同樣在「純潔」符碼的宰制之下。它的標準支配了女性以及母性的合宜行止的內含。這些女性主角們也因此受限於「純潔」意涵的羅網之中。最後，我會在第五章中回頭總結前面幾章所提到的議題。此外，我會對於羅伊小說內容中所反映出來的當代印度社會與歷史的角度做一些討論，因為這點曾經引起爭議，並以此做為這本論文的尾聲。 / Arundhati Roy’s prestigious first novel (and maybe the only novel), The God of Small Things, has already come out for eight years. It contains such exuberance of topics, such as the inequality towards the untouchables, the physical and mental violence abuse upon woman, or the marginalization of the local culture under the influences of globalization, that it has earned the attention of many researchers from different fields even till now. Some of researchers consider the text as a fiction which presents postcolonial India, others find the book as a perfect demonstration of how proper English is transformed into a more experimental form; still others treat the novel as an assertion of female rights. In this thesis, I more or less touch all of the above topics, and investigate them in the light of “the model of purity,” the system which only recognizes the approved essence and wipes off anything that is not. Thus in this thesis the term purity refers to concepts of the hygienic purity, ritual purity, and also the purity in the ethnic and cultural aspect. I will give background knowledge to the book in Chapter One. Then, in Chapter Two I declare Roy’s intention to mime the grand narrative in her novel, and how Roy’s writing lays bare the fragility of The Great Stories and how they work to ensure the invisibility of the minor subjects. In Chapter Three, I extend my discussion to the character Velutha. Firstly I explain and interpret his essence by his untouchable background; then I will analyze how and why his impure essence makes him a victim of others’ irrational malice. In Chapter Four, I also apply the opposition of purity and impurity to read the situation of the female characters in the novel. Like Velutha, the heroines Rahel and Ammu are also under surveillance of the purity code. The criterion of purity dictates not only the context of decent womanhood but also motherhood. The female protagonists are thus caught in the inescapable network of purity. Finally, I will have a retrospective look on my thesis in Chapter Five. Apart from this, I will have a brief discussion about the social reality reflected in Roy’s text as this issue once brought about controversy. This small debate will serve as my finale.

In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.

Jazz music is transmitted by aural and oral means. As recording and broadcast mediums became increasingly ubiquitous, starting in the mid twentieth-century, an ever greater proportion of jazz’s aural transmission would be mediated by these developing technologies. Many commentators address sound’s mediation from one state to another by identifying the resulting recording as an object. This object transcends temporal and spacial proximity, possessing inherent authority with implications for authorship, related work-concepts, and even issues of cultural assimilation. From a perspective informed by writings in musicology, philosophy, and sound studies, I examine recorded jazz music from the twentieth-century. I begin by positioning the history of jazz music in relation to the emergence of recording technologies to establish recordings as authoritative texts. I then translate (by transcription) primarily non-literate jazz recordings into the primarily literate discourse of musicology. In the course of examining music by James Moody, Eddie Jefferson, Bud Powell, Chick Corea, and others, I conclude that they all exemplify musical intertextuality. In some cases, technological mediation connects the texts. I then turn to an examination of recordings specifically. I begin by questioning musical notation as an adequate description of sound and move to developing a broader analytical framework. This thesis culminates with a comparison of Bud Powell’s 1949 recording of Bouncin’ With Bud and Chick Corea’s 1997 recording. Using the framework mentioned, disparate potentialities afforded by each recording’s mediation are connected to musical characteristics. / Graduate

Le roman de la route est un genre narratif propre à l’Amérique du Nord. Prenant la forme d’un récit de voyage, il met en scène les pérégrinations d’un narrateur sur les autoroutes des États Unis. Au Canada francophone, plus précisément, ce voyage transcontinental prend un nouveau sens. Parfois, il est motivé par la poursuite d’un frère perdu et se transforme avec le temps en quête identitaire : le narrateur, confronté à une culture inconnue, est obligé de faire face à des enjeux d’identité culturelle qui hantent le Canada francophone depuis l’époque coloniale. Au Québec, par exemple, on cite autant le voyage de Jack Waterman dans Volkswagen Blues (1984) de Jacques Poulin que celui de Sal Paradise dans On the Road de Jack Kerouac (1957) en ce qui concerne leur influence sur le genre. Certains auteurs moins connus du genre, cependant, sont des femmes. Leurs récits s’articulent autour d’un voyage identitaire particulier qui prend en compte des facteurs extérieurs à leur situation géoculturelle, tels que leur âge et leur sexe. Ce mémoire analysera les romans « de la route » de trois autrices canadiennes, à savoir De quoi t’ennuies-tu, Éveline ? (1982) de Gabrielle Roy, Soifs (1995) de Marie-Claire Blais et Distantly Related to Freud (2008) d’Ann Charney. Nous examinerons les raisons motivant le voyage aux États-Unis, pourquoi ceux-ci sont choisis comme lieu de destination et ce que les protagonistes des récits espèrent y retrouver. Curieusement, ce qu’ils trouvent tous à leur arrivée au pays est une société envahie par des formes de ce que le théoricien français Jean Baudrillard appelle l’hyperréalité ; c’est-à-dire une société submergée par des « modèles » du réel, ou des simulacres. Ces simulacres réussissent à brouiller la frontière entre le réel et le faux, désorientant complètement le voyageur. Notre mémoire examinera ces formes hyperréelles, leur représentation dans les trois récits comme inhérente à la société étatsunienne et, finalement, leur impact sur la quête identitaire des protagonistes. / The road novel is a narrative genre particular to North America. Taking the form of a travelogue, it depicts the narrator’s wanderings over the highways and byways of the United States. In French-speaking Canada, specifically, the transcontinental voyage of the road novel takes on a special meaning. Sometimes, it is motivated by the pursuit of a lost brother and transforms over time into a pursuit of the self: the narrator, faced with an unknown culture, is obliged to confront issues of cultural identity that have haunted francophone Canada since the colonial era. In Quebec, for instance, Jack Waterman’s journey in Jacques Poulin’s Volkswagen Blues (1984) is cited as frequently as Sal Paradise’s in Jack Kerouac’s On the Road (1957) with regards to their role in influencing the genre. Some lesser known authors of the genre, however, are women. Their stories are centered around a specific identity voyage that considers factors outside of their geocultural situation, such as their age and gender. This thesis analyzes the “road” novels of three Canadian authors, including Gabrielle Roy’s De quoi t’ennuies-tu, Éveline ? (1982), Marie-Claire Blais’ Soifs (1995), and Ann Charney’s Distantly Related to Freud (2008). We examine the reasons for making the journey to the United States, why this country has been chosen as a place of destination, and what the protagonists of these stories hope to find there. Curiously, what they all find upon arrival is a society dominated by forms of what French theorist Jean Baudrillard calls “hyperreality”; that is, a society overwhelmed by “models” of the real, or simulacra. These simulacra blur the lines between the real and the artificial, completely disorientating the traveler. Our thesis explores these hyperreal forms, their representation in the three narratives as being inherent to U.S. society, and, finally, their impact on the protagonists’ quest for identity.

Partie créative Le coroner de Québec publie un avis de recherche dans Le Soleil afin de retrouver la famille de Daniel, 47 ans, mort subitement sans avoir été légalement identifié. Avec ses parents, son frère Beau prépare les funérailles et cherche à comprendre l'histoire de la vie de Daniel. Le roman porte sur l'abandon d'un enfant par sa mère biologique. Il s'organise autour de la mort de Daniel et du mystère qui pèse sur lui : son isolement, sa rupture avec sa famille, son silence. Le texte débute par la journée des funérailles et l'enterrement des cendres auxquels sont conviés, par les journaux, tous ceux qui souhaitent le saluer une dernière fois. À travers les témoignages des gens ayant répondu à l'invitation et par l'exploration de la maison, Beau et ses parents cherchent à comprendre Daniel avant de le laisser reposer en paix. Partie réflexive La partie reflexive de ce mémoire pose la question : Comment le langage littéraire réussit-il à traduire le mal-être relié à l'abandon ? Elle explore à travers le roman Le cheval de Troie, comment le personnage abandonné s'y prend pour exorciser sa souffrance et se libérer de son fardeau. Ce texte cite des extraits des romans d'Anne Hébert, de Louise Desjardins, de Bruno Roy et de Bjôrn Larsson. Pour parfaire l'étude sur le langage, une réflexion autour de mots qui ont surgi en cours d'écriture s'appuie sur des témoignages d'orphelins, de sociologues et de spécialistes psychosociaux. Il ressort de cette expérience d'écriture une recherche du sens du non-dit.

Dans « La littérature franco-ontarienne à la recherche d’une nouvelle voie : enjeux du particularisme et de l’universalisme » (2002), Lucie Hotte signale que les artistes francophones minoritaires, ayant longtemps puisé dans l’esthétique particulariste, optent maintenant pour une esthétique de l’univeralisme. Jane Moss confirme l’hypothèse de Hotte dans son article, « Francophone Theatre in Western Canada : Dramatic Tales of Disappearing Francophones » (2009). Moss observe qu’au sein du théâtre francophone dans l’Ouest canadien s’opère une transition quant à la représentation de l’identité francophone minoritaire vers un courant postmoderne où les dramaturges, mettant de côté les récits mémoriels nostalgiques, se penchent plutôt sur des thématiques plus universelles. Tout de même, le questionnement identitaire demeure latent à travers ces pièces. Par ailleurs, dans La distance habitée (2003) François Paré remarque que les énonciateurs minoritaires retiennent souvent une mémoire de migration et d’itinérance; que cette distance métaphorique les « habite »; et qu’ils se voient constamment forcés de négocier cette « distance » entre eux et la communauté majoritaire où ils vivent. Partant du constat du Moss, ce mémoire analyse l’énonciation de trois personnages/énonciateurs dans trois monologues fransaskois contemporains, soit Il était une fois Delmas, Sask... mais pas deux fois! d’André Roy, Elephant Wake de Joey Tremblay et Rearview de Gilles Poulin-Denis. Nous examinerons leur identité complexe, riche et problématique. Pour analyser l’énonciation de chacun des personnages, nous nous appuyons sur l’analyse de discours telle que développée par Dominique Maingueneau. Ce faisant, nous visons à combler une lacune importante dans la recherche sur le théâtre fransaskois.