Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Thesis (MA)- Stellenbosch University, 2003. / ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled Sirkus (Circus) is presented in which the main character figures as an idiot. It is accompanied by a perspicacious formal essay which maintains the relationship between theory and novel. The essay titled "Die idioot: spieël en skadu" (The idiot: mirror and shadow) reflects on the problematics concerning the representation of the idiot in literary texts. The essay investigates the phenomenon of the idiot in literature according to well-known literary texts presenting idiots. What these texts have in common is that the narrator acts on behalf of a character who does not have the ability nor the will to narrate himself. The problematics is viewed from a thematic as well as writing technique niveaux, according to insights gleaned from literature, philosophy, narratology and psychology. The argument concludes by reflecting on the responsibility of the author and the ethics of creating an effigy of the idiot. The novel Sirkus, (Circus), focuses on an idiot character with webbed hands and feet, Siegfried Landman. It is an exposition of his journey to hell starting on a farm in the Karoo. It takes him through a grotesque urban landscape where he eventually ends up in a circus of freaks. The text starts with the death of Siegfried's father and is in the form of a quest narrative, a quest for the vague image of his uncle Fischer. The tale emanates predominantly from Siegfried's consciousness. During the course of the text he is accompanied by varioius travelling companions who each fmd a voice in the text. / AFRIKAANSE OPSOMMING Ter vervulling van die graad van Magister in Kreatiewe Afrikaanse skryfkunde is 'n roman getiteld Sirkus voorgelê waarin die hoofkarakter 'n idiotefiguur is. Dit word vergesel met 'n verbandhoudende beskoulike werkstuk: "Die idioot: spieël en skadu", wat die vorm aanneem van 'n essay oar die problematiek rondom die representasie van die idioot in literêre tekste. In die werkstuk word die verskynsel van die idioot in die letterkunde ondersoek aan die hand van bekende literêre tekste waarin idiotefigure gerepresenteer word. Hierdie tekste het dit gemeen dat die verteller optree namens 'n karakter wat nie die vermoë óf die wil het om self te vertel nie. Die problematiek word beskou op tematiese sowel as skryftegniese vlakke aan die hand van insigte uit die letterkunde, filosofie, narratologie en sielkunde. Die argument sluit uiteindelik af met 'n besinning oor die skrywerlike verantwoordelikheid en 'n skrywerlike etiek ten opsigte van die uitbeelding van die idioot. Die roman Sirkus fokus op 'n idiote-karakter met gewebde hande en voete, Siegfried Landman. Dit is 'n uitbeelding van sy hellevaart wat begin op 'n plaas in die Karoo en hom voer deur 'n groteske stadslandskap voor hy uiteindelik opeindig in 'n sirkus van fratse. Die teks begin met die dood van Siegfried se vader en is in die vorm van 'n soektognarratief, 'n soektog na die vae beeld van sy oom Fischer. Die verhaal word grotendeels vanuit Siegfried se bewussyn vertel. Hy word deur die verloop van die teks vergesel deur verskeie reisgenote wat elk ook 'n eie stem in die teks verkry.

Thesis (MA)--University of Stellenbosch, 2005. / Please refer to full text for abstract

Thesis (MA (Visual Arts))--Stellenbosch University, 2008.

This thesis investigates the history of golf ceramics from their origins in the mid-18th century until ca. 1930. During this period the game of golf experienced enormous popularity, developing into a globally successful sport. In the modern period golf has also fostered a thriving trade for the collecting of golf memorabilia, surpassing that of any other comparable sport. The thesis traces the development and spread of one form of golf collectibles – golf ceramics – and considers both the relationship of the pottery industry to the sport and the reasons behind the achievement of the genre. The modern form of golf likely began in the 13th and 14th centuries as a short game played within town walls. Under pressure from Burgh officials and Kirk ordinances, golfers eventually moved to the linksland and developed the now characteristic long game. In 18th- century Britain, elite golf clubs for gentlemen and noblemen sprang from existing sporting societies such as the Royal Company of Archers. The first examples of golf pottery, a series of 18th - and early 19th - century convivial and commemorative punch bowls, were commissioned as a direct result of the growing competitive and social traditions of the early golfing societies. During the prosperous Victorian era, golf experienced a period of immense growth and geographic expansion, particularly during the "boom" of 1890 to 1905. As golf spread internationally, it became a game primarily for the leisure class, inspiring holiday and resort destinations for the wealthy. Exclusive clubs grew at a rate that far surpassed the availability of public golf, thereby changing the character of the game to one predominantly practised by the rich. The game's growth inspired enterprising pottery manufacturers to produce new and imaginative golf-themed pottery lines, pre-1930. Golf's burgeoning popularity, combined with the affluence of its practitioners, created the ideal consumer audience for decorative and non-utilitarian wares. Between 1895 and 1930, eighty-five or more manufacturers were actively developing golf wares. As the pottery industry recognized the potential of the golf market, inventive new lines were developed that utilized original artwork from renowned illustrators of the era, such as Charles Dana Gibson, Howard Chandler Christy, Palmer Cox, Mabel Lucie Attwell, and Harrison Fisher. This commitment to quality golf imagery indicated that potteries placed the game in a higher institutional priority than other traditional sporting themes, such as cricket, tennis, rugby, or football. Royal Doulton, for example, generated no fewer than twenty ranges specifically for the golf market or adapted to meet the demands of its expanding following. Doulton wares featured illustrative images produced by Gibson, Charles Crombie, Henry Mayo Bateman, Will H. Bradley, and Barbara Vernon (Bailey). Doulton’s commitment to prominent illustration reflected golf’s importance to the financial good footing of the firm. The substantial catalogue of historical golfing wares produced during the period of examination experienced unparalleled success in secondary markets throughout the 20th century. Prominent institutional and individual golf collections emerged, leading to the formation of international golf collecting societies, and golf-specific museums and archives. Interest in golf collectibles advanced to the level where golf became a stand-alone auction speciality. In 2000 and 2001 alone, twenty-three major international golf sales were held. Golf pottery values escalated commensurate with the increased notoriety, availability, and competition. Certainly, no other traditional sport can claim such an extensive collection of wares, or a more enduring legacy in the worldwide ceramics and fine art pottery industry.

This manuscript is a collection of short fiction pieces workshopped in creative writing classes throughout my undergraduate and graduate career at Florida Atlantic University, influenced by the experimental and form-driven nature of some of the writing workshops as well as other courses I took during my years at the university. This work is especially preoccupied with the opposed and intertwined natures of genre fiction and literary fiction. Other themes include human nature, humor, food and cooking, tabletop games, and exploration of form in short fiction. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Interested in nurturing beauty, I create paintings that reference life processes through layers of struggle, discovery, recovery and generation. Employing a metaphor of the garden, my paintings can be seen as spaces where I determine what grows, stays, is mulched, or weeded out. I seek a balance between coexisting desires of restraint and control and extravagance with a sense of coming unbound. I emphasize the painting field as a whole, while also paying deep attention to the minute, inviting the viewer to discover complex worlds at different scales within each environment I create. My intimate, domesticated painted environments offer the viewer the possibility to experience the spaces I find beautiful and to add to the conversation of where beauty resides today in contemporary art. / by Kim Spivey. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Here, the natural world is consumed - a physical reality and an internal one. It is walled, but roofless - a contained space. Elements are absorbed, same energies interacting within us that work around us - the natural forces of gravitation and electromagnetism, fire and water, growth, and time. Fundamental interactions in nature, forces that hold the universe together are treated as symbolic of the human experience. The sense of rooflessness is an essential theme to my thesis. There is a constant return to the sky. The shifting clouds, the stages of the sun and the moon mimic a traveling through time, a constant change. There is a given feeling of freedom and confinement. There is a vulnerability, a destitution, and a lack of shelter. The open sky, always out of reach, is a tease to be free. Though it also hints at a feeling of oneness, a symbolic relation between the divine and the human. The open, uninterrupted path for direct prayer. Roofless indicates a continuous linkage between the ground and the sky, between rain and dirt, between nature and humankind. . / by Sahar Rehman. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

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