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1
Huggan, Graham. "The novelist as geographer : a comparison of the novels of Joseph Conrad and Jules Verne." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26839.
Full textAbstract:
The works of Joseph Conrad and Jules Verne share a fascination with geography: concern with geographical issues made explicit in their non-fictional works is also implicit in their fiction. Unfortunately, limited knowledge of or interest in geographic theory on the part of the literary critic has made the relation between literature and geography a relatively unpopular focus; to redress the balance, it is necessary to outline briefly some of the ways in which geographical theory may usefully inform the practice of literary criticism. Areas to be introduced include geography and literature as spatial distribution, as spatial perception, as inscription on and description of the environment, as text, as cultural matrix.
The above areas serve as a focus for the comparative analysis of a series of novels by Joseph Conrad and Jules Verne in which three issues are foregrounded: first, the interrelations between concentrated place and surrounding space in the sea-tales The Nigger of the Narcissus and Vingt mille lieues sous les mers; second, the reading and writing of cultural landscape in Heart of Darkness and Voyage au centre de la terre; third, the geopolitics of territory, boundary and landclaim in Lord Jim and L'lle mystérieuse. In each case, relevant geographical theory is drawn upon: in the first instance, the phenomenological notions of Yi-Fu Tuan and Edward Relph; in the second, the landscape evaluations of Carl Sauer and Courtice Rose; in the third, the geopolitical and politico-geographical definitions of Glassner, De Blij and Cohen.
The first section (on The Nigger of the Narcissus and Vingt mille lieues sous les mers) explores the spatial notions of topophilia, placelessness and geometricity inherent in the relation between ship and sea. The second section (on Heart of Darkness and Voyage au centre de la terre) discusses the various connotations of landscape: cultural imprint (rewriting),
false perspective (mis-reading), textual sign-system (encoding/decoding), which suggest that landscape can be interpreted as a controlling mechanism of and means of access to the text. The third section (on Lord Jim and L' Ile mystérieuse) outlines the geographical motifs of the two novels (division, (dis)possession, ascent and descent, etc.) and infers possible motives behind these motifs, relating topographical issues to personal and political ones and paying particular attention to the implications of island environments and communities and to the connections between imperialism, colonialism and narrative strategy.
Finally, the 'literary geography' of Conrad's and Verne's novels is situated in its historical context and related particularly to the late nineteenth-century debate on the relative merits of positivism and phenomenology. In Verne's work, the doctrine of positivism, which has been constituted in terms of an ideology of science, is only celebrated in so far as its limitations are recognized. In Conrad's work, man's struggle to conquer Nature through a physical and verbal mastery of his environment is reinterpreted as an attempt to overcome his own duality. Conrad's predominantly phenomenological geography of the mind serves as a critique of positivist doctrine, but its fractured topography also suggests that the attempt to substitute 'more traditional views of the social and moral order' (Watt, 163) is, perhaps, little more than a saving illusion.Arts, Faculty of
English, Department of
Graduate
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Elphick, Linda. ""A world without real deliverances" : liberal humanism in the novels of Malcolm Bradbury." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/535905.
Full textAbstract:
Known in the United States for his critical studies of twentieth-century fiction, Malcolm Bradbury is himself a creator of fiction, the author of four novels. All four are satires. All confront well-meaning but feckless English liberal humanists with the doctrinaire. All reveal that meaning well and doing justly are not the same, and that private values--a belief in the dignity of the individual and in his right to work out his own destiny--are insufficient, even, sometimes, harmful. Yet Bradbury consistently reveals the doctrinaire as far more harmful, concerned not at all about individual men. The doctrinaire is ruthless and inhumane, whether presented as a formulaic version of liberal humanism itself, in Eating People is Wrong (1959); as the politicized liberalism of post-McCarthy America, in Stepping Westward (1965); as the radicalism of the early nineteen seventies, in The History Man (1975); or as the Marxism of a Soviet satellite, in Rates of Exchange (1983). His novels all depict something that Bradbury himself named in a commentary upon his first: "an ironic world, a world without real deliverances." Several critics maintain that Bradbury's novels are profoundly, deceitfully, conservative beneath a surface liberalism. However, as this first long study of the novels attempts to demonstrate, their conservatism is not so much political as cultural. The great Western systems, capitalism and communism, no longer offer much that is conducive to man's well-being; only liberal humanism, in its respect for the individual, holds forth some faint hope for humanity. So implies Malcolm Bradbury, whose stance in the novels is largely apolitical and who exposes the folly of his liberal humanists and the wickedness of their more doctrinaire antagonists with equally devastating wit.Department of English
3
Sodekawa, Hiromi. "Enchi Fumiko : a study in the self-expression of women." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28285.
Full textAbstract:
This thesis examines four major works of Enchi Furaiko in terras of themes, style, and plot development. In these works, Enchi created three "types" of female characters: the vengeful woman, the lovable woman, and the elderly woman facing death and aging. She attempted to show how it was possible for these women, all repressed by a society, to release themselves from suppression to express their hidden, real selves. In exploring these issues, Enchi drew heavily on her knowledge of the Japanese classics, especially The Tale of Genji and late Edo fiction (including Kabuki), creating a literary world in which the classical and the modern, the past and the present were conflated. Unable to express their true selves within the constraints of a repressive social order, her characters seek self-expression and Eros through the intervention of mediumistic, spiritual, and supernatural forces. In Enchi's works, when the characters released spirits united with their Eros, they realized their essential femininity. An analysis of four of Enchi's major works clarifies these themes and Enchi's literary world.
Chapter One examines The Waiting Years, the work which established Enchi's reputation as a powerful novelist. Though marred by a lack of realism in the supportive characters, The Waiting Years succeeds in portraying a "vengeful woman" who expresses her essential femininity through revenge. A well-controlled, repressive style, influenced by that of The Tale of Genji and late Edo fiction, reinforces the theme of revenge and repression.
In contrast to this vengeful woman, Tale of the Mediums, which is analysed in Chapter Two, deals with the "lovable woman." This type of woman uses her spirit force to express her suppressed love. This chapter attempts to explain how Enchi employs complicated stylistic devices and a plot in which historical facts and fiction, present and past, and illusion and reality are conflated, in order to describe an ideal love. Tale of the Mediums, which can be called Enchi's work of Heian literature, creates a highly sophisticated and even a slightly artificial literary world.
Chapter Three focuses on the novel, Wandering Souls, which is part of the larger trilogy also called Wandering Souls. In this work, the heroine is neither a vengeful nor a loving woman. Although she is involved with men, love, and sex, she is forced to face the realities of aging, death, fear and loneliness. These harsh realities force her to release her hidden self from the forces of social suppression and from the barrier of her public self. Her self-expression takes place through the fusion of reality and illusion, in a world associated with that portrayed in The Tale of Genji.
The Mist in Karuizawa, Enchi's most mature work, is the subject of Chapter Four. All of Enchi's major concerns are brought into focus in this work. Using an imaginary classical work as the center of the novel, Enchi develops two additional narrative lines to create a sophisticated, layered plot. The heroine is an elderly woman facing aging, death, fear and loneliness, and her self-liberation takes place in an illusional world created through reference to the Japanese classics. In this work an ancient high priestess symbolizes the essential quality of femininity, the unity of spirit force and Eros, and through a supernatural relationship with this priestess, the novel's protagonist also realizes her essential femininity and life force.
This thesis, through the four works that are examined, can be considered an attempt to shed light on the question how Enchi's women characters express their hidden, real selves; it also attempts to assess Enchi's place as a modern Japanese writer.Arts, Faculty of
Asian Studies, Department of
Graduate
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Bonnin, Agnès. "L'écriture du progrès ches Jules Verne : ambivalences de la modernité." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26720.
Full textAbstract:
The present thesis studies the representations of the idea of progress within nineteen of Jules Verne's novels, written between 1864 and 1904. It aims at demonstrating that Verne's writing and the topics favored therein constitute an account of the opinions prevailing during the second half of the XIX$ sp{ rm th}$ century. Following an examination of the changes brought by scientific discoveries and their technical applications in French society, as well as of the fears arising from the speedy material progress, it picks out the images that allow the author of the Voyages extraordinaires and the creator of the "scientific novel" to translate and transform the expressions of progress of the period. Finally, the thesis aims to nuance this enthusiastic portrait, and stresses the fact that warnings and ambivalences towards technical progress are not absent from a work that prefers to instruments giving access to progress a moral spirit guiding them.
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Poulin, Marguerite. "Le discours mystificateur chez Alphonse Allais /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74299.
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Through the use of the texts published from 1893 to 1903 by Alphonse Allais, we analyse what we call the mystifying discourse, in other words the power of fiction. We show how the author succeeds to deceive the reader. We emphasize the artificial aspects of the language and the style used by Allais to make fun of his readers. This technical study of the writing of Allais allows us to compare with other kinds of works, notably the dreamlike images and the vaudeville.We study therefore the tricks and the traps of the language employed by Allais with the aim of laughing at our expectations. From this point, we will demonstrate that, most of the time, a rupture between the conclusion and the beliefs of the readers exists regarding the fiction which is presented in the tales. Emphasizing the absurd in the texts, we accentuate the various literary techniques. As a result, we illustrate how the humour of Alphonse Allais turns out to be a technical work.
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Daunais, Isabelle. "L'absurde comme élément comique dans les contes d'Alphonse Allais." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63958.
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Vigneault, Louise 1965. "La question identitaire dans l'art moderne québécois /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36725.
Full textAbstract:
The following study traces modern Quebecois art from the beginning of the twentieth century with specific reference to the question of the redefinition of identity. The study mainly consists of an analysis of different strategies used by certain progressive artists like Paul-Emile Borduas, Francoise Sullivan and Jean-Paul Riopelle to impose a new reality which was simultaneously contemporary, rooted and distinct in the context of a Quebec that was emerging in modernization. By using popular or marginalized artistic forms and by seizing certain ancient models belonging to the distant past---in the non-western world or precolonial America---and by using different strategies of deconstruction and transgression of normative codes defined by the dominant ideology, these artists were able to avoid current hegemonic models in order to assert new spaces for expression and representation. Taking on modern Quebecois art from an approach belonging to diverse social sciences and humanities, this study aims to renew the analytical parameters of the traditional art history. The main challenge lies in zeroing in on the ways in which the development of modern identity (meaning the affirmation of the right to be different and to self-determination, and the development of subjectivism and expressivism) influenced avant-garde artistic productions, and which strategies artists used to replace the values imposed by traditional institutions and the dominant ideology, which in turn sparked a renewal of identity. Modern identity is based upon a principle that is modeled on two foundations: on the image that the subject will have of himself, and the impression that the Other (a bordering neighbour, cultural cousin, colonial authority or political oppressor) will have of him. In fact, this "stranger" will essentially assume the role of guaranteeing the recognition of the proposed identity. The phenomena of mythical constructions of symbolical imagination and of primitivism, in this study,
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Locke, Scott A. "The accompanied clarinet works of Eugene Bozza : descriptive analysis and performance guide with emphasis on the clarinet concerto." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026699.
Full textAbstract:
French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet.School of Music
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Kinnear, Tyler 1985. "Alan Hovhaness and the Creation of the 'Modern Free Noh Play'." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10308.
Full textAbstract:
xi, 135 p. : ill., music. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.American composer Alan Hovhaness (1911-2000) published twelve operatic works during his career. Eight of these staged productions were written between the years 1959 and 1969. During these ten years Hovhaness immersed himself in the music and theatre of Japan. The composer traveled to Japan twice, once in 1960 and again in 1962, where he frequently attended Noh plays. As composer-in-residence at the University of Hawaii in 1961, Hovhaness took private lessons on and composed freely for the instruments of Gagaku, the ancient court music of Japan. My study investigates the degree to which Hovhaness was exposed to Gagaku and Noh, and what elements of these Japanese alts the composer manifests in his staged works between 1959 and 1969. I compare Hovhaness' treatment of Japanese elements to that ofother twentieth-century Western composers interested in East Asian music. Through this study we gain greater knowledge of Hovhaness' operatic style.
Committee in Charge: Dr. Marian Smith, Chair; Dr. Anne Dhu McLucas; Dr. Jack Boss
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Koopman, Jennifer. "Redeeming romanticism : George MacDonald, Percy Shelley, and literary history." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102805.
Full textAbstract:
This dissertation examines George MacDonald's preoccupation with his literary predecessor Percy Shelley. While eminently Victorian in many ways, MacDonald was equally a late Romantic, who was inspired by the Romantic poets and positioned himself as the heir to their radical tradition. While he channeled their visionary ardor, he also made it his duty to correct what he saw as their flaws. I read MacDonald through the figure of Shelley, with whom MacDonald seems to have personally identified, but to whose atheism MacDonald, a devout believer, objected. MacDonald's fascination with Shelley works its way into his fiction, which mythologizes literary history, offering fables about the transmission of the literary spirit down through the generations. Throughout his work, MacDonald resurrects Shelley in various guises, idealizing and reshaping Shelley into an image that is startlingly like MacDonald himself. This project contributes to MacDonald scholarship by offering a new approach to his work. It positions MacDonald, who is often portrayed as an ahistorical myth-maker, in an explicitly historical light, revealing him as a Victorian mythographer who was deeply invested in questions of literary criticism and historical succession.Chapter 1 introduces MacDonald's concern with literary genealogy, and discusses how his work as a literary critic and historian idealizes Shefey. Chapter 2 examines how MacDonald's Phantastes portrays literary history as romantic quest, featuring Shelley as a heroic but fallen knight, and opening questions about literary fatherhood. Chapter 3 interprets the gothic tale "The Cruel Painter" as a myth about the transition from the Enlightenment to Romanticism, in which MacDonald rewrites the story of Shelley's involvement with Mary Godwin and her father William Godwin. Chapter 4 considers Sir Gibbie and Donal Grant, works in which MacDonald explicitly critiques Shelley, and implicitly positions himself as the savior of the English literary tradition. Chapter 5 investigates MacDonald's later works, The Flight of the Shadow and Lilith, in which Shelley---and evil itself---become more complex entities. Throughout the dissertation, particular attention is given to the issue of repeating history vs. redeeming history, a tension that is reflected in MacDonald's use of vampire imagery to portray the unredeemed past.
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Smith, Laurel A. "A genre revised in the epic poetry of H.D. and Gwendolyn Brooks." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/776700.
Full textAbstract:
In the canon of twentieth century American poetry, "long poems" or "anti-epics" or epic poems represent a formidable genre. Defining epic poetry has proved difficult in our modern era, and the possibility that women might write epics is not often considered. This study includes a review of the literature that may define the epic genre and of the literature that contributes to our understanding of a tradition of women's poetry in American literature. The review of both issues--possible epic poetry and women's poetic tradition--is a necessary prerequisite for considering the argument that H.D.'s iielen in Eavpt and Gwendolyn Brooks's In the Mecca are twentieth century epics. With the focus on a female heroine, on personal and interpersonal values, and on a reconsideration of cultural lieroism, these poems are important literary contributions in addition to being "revised" epics.A revision of the epic signifies that the poet has found a way to accomplish individual expression in this familiar genre, a genre characterized by narration, cultural themes that may be didactic, and multiple voices for the poet. H.D. and Brooks have revised the genre of epic poetry in unusual ways. H.D. has taken a legendary figure, Helen of Troy, and made her the primary speaker and the seeker of truth. Instead of the classical glorification of war, Helen's quest includes a renunciation of war and a reconsideration of the ways we know ourselves and our history. Brooks has made an "unknown" black woman the center of her urban epic. Mrs. Sallie's quest, initiated by the real search for a missing daughter, becomes a quest for the meaning of family, community, and selfhood.Revising the genre was a unique process for both H.D. and Brooks, and studying Helen and Mecca together emphasizes the diverse traditions--literary and nonliterary--that may elucidate our understanding of each poem. Moreover, only refers to a "a genre revised" by H.D. and Brooks not only refers to a revision of epic poetry but to poetry as a whole. Each woman created her own blend of "traditions and individual talent" in order to produce Helen in Egypt and In the Mecca.Department of English
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Pazdziora, John Patrick. "George MacDonald's fairy tales in the Scottish Romantic tradition." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4460.
Full textAbstract:
George MacDonald (1824-1905) is one of the most complex and significant Scottish writers of the nineteenth century, especially as a writer of children's fiction and literary fairy tales. His works, however, have seldom been studied as Scottish literature. This dissertation is the first full-length analysis of his writings for children in their Scottish context, focusing particularly on his use of Scottish folklore in his literary fairy tales. MacDonald wrote in the Scottish Romantic tradition of Robert Burns, Walter Scott, and James Hogg; by close reading his works alongside similar texts by his compatriots, such as Andrew Lang, MacDonald's own idiosyncratic contribution to that tradition becomes more apparent. His profound knowledge of and appreciation for Christian mysticism is in evidence throughout his work; his use of folklore was directly informed by his exploration of mystical ideas. Hogg is recast as a second Dante, and ‘bogey tales' become catalysts for spiritual awakening. MacDonald's fairy tales deal sensitively and profoundly with the theme of child death, a tragedy that held personal significance for him, and can thus be read as his attempt to come to terms with the reality of bereavement by using Scottish folklore to explain it in mystical terms. Traditional figures such as Thomas Rhymer, visionary poets, and doubles appear in his fairy tales as guides and pilgrims out of the material world toward mystical union with the Divine.
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Parker, Louise Jane. "Shadows, struggles and poetic guilt : Glyn Jones, his literary doubles and the Welsh-language tradition." Thesis, Swansea University, 2011. https://cronfa.swan.ac.uk/Record/cronfa42983.
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An 'Anglo Welsh' writer who emerged in the 1930s to considerable acclaim in Wales and London, Glyn Jones was a contemporary and friend of Dylan Thomas. An innovative Welsh Modernist, he found the genres of poetry and the short story best suited to the exhibition of his concise, imagist and often grotesque experimentalism. Unlike Thomas, he wrote two novels, was a 'gentle' satirist of Welsh culture, and was deeply embroiled in the 'post-colonial' cultural conflicts of his nation. Jones struggled to find expression between two languages and worked insistently (often antagonistically) in the Welsh literary scene throughout its most controversial century, when it fought to save the Welsh language and resolve its conflicting cultural factions into a consolidated national identity. Jones was, to adopt the rubric of Bhabha, stranded in the cultural margins at the intersection of the English and Welsh languages, and this thesis situates itself accordingly. The first of six chapters examines the ways in which the Welshlanguage culture of Wales engaged Glyn Jones, and explores how a liminal voice can establish its cultural validity via rewriting autobiography into a 'mythical' history. The second chapter adopts Harold Bloom, the concept of intertext and psychological notions of the 'other', to address Jones's conflicted relationship with Dylan Thomas. The third attempts to analyse his twentieth-century dialogue with Dafydd ap Gwilym as he seeks affirmation from his fourteenth-century double. The fourth continues this 'othering' of Welsh ancients and considers how Wales is refracted in some of his work through the literary excavation of Llywarch Hen, tenth-century defender of his princedom, but willing forfeiter of his sons. The fifth chapter considers how Jones inherited but re-invented the role of the cyfarwydd (storyteller), and the sixth explores how Hen Benillion (Welsh folk poetry) fostered his peculiarly Welsh Modernism.
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Calderón, Jorge. "Configurations aporétiques, fiction de l'histoire et historicité de la fiction : Simone de Beauvoir, Albert Camus et Jean-Paul Sartre." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85134.
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In this dissertation I explain the transition from modernism to postmodernism through the study of the French existentialist novel. I follow theories that demonstrate that the latter owes its success to historiographic metafiction. By setting off the aporias that deeply penetrate modern novels, I demonstrate the obsolescence of the prototype of the realist novel and I explain the impasses towards which the project of a committed literature lead, inscribed in the line of realism and aimed at an almost direct relation with society and history through the mediation of art between 1945 and 1955 in France.On one hand I consider literature as an object which can be described by the methodologies of history. On the other hand I suggest an analysis of the historicity of the text that is constituted by the dynamic system generated by the interaction, the interdependence, and the correlation of the poetic and aesthetic parameters and the factors of the historical context. My aim is to set off the poetic and aesthetic mecanism of stability and of transformation of literary creation according to the dynamic relation between the vector of the project associated to realism and the one of the prototype associated to the novel. I think that late modernism produces paradoxical configurations of the novel because it is the period in which the project of realism becomes lapsed and the prototype of the realist novel becomes dilapidated.
Among the works that are exemplary of the tension between fiction and history and between project and prototype in the framework of the representation of reality and of the inscription of history in novels, I identified Albert Camus' La Peste, Simone de Beauvoir's Les Mandarins and Jean-Paul Sartre's Les Chemins de la liberte . I conclude that the enterprise of committed literature was an aporias because it was generated from the impoverishment of the project of realism and the obsolescence of the prototype of the novel. Later literature was extricated, firstly, by the radically and extremely metafictional writing of the Nouveau Roman and, secondly, it was changed by postmodern historiographic metafiction. The crisis of history and of the writing of history was solved by works in which there is the acknowledgement and the use of sophisticated mediations to evoke and inscribe history in different ways.
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Stelle, Ginger. "A swipe at the dragon of the commonplace : a re-evaluation of George MacDonald's fiction." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1974.
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This thesis offers a re-evaluation of the fiction of George MacDonald (1824-1905), both fantasy and non-fantasy. The general trend in MacDonald studies is to focus primarily on his works of fantasy, either ignoring the rest (which includes non-fantasy fiction, sermons, poetry, and criticism) or using them to illuminate the fantasies. The overall critical consensus is that these works, particularly MacDonald’s non-fantasy fiction, possess little inherent value. Though many critics acknowledge similarities between MacDonald’s fantasy fiction and his non-fantasy fiction, MacDonald has been the victim of a critical double standard that treats fantasy and realism as completely irreconcilable, and allows certain features to be acceptable, even desirable, in one form that are completely unacceptable in the other. The thesis begins by looking at MacDonald’s writings about the imagination and about literature, from which a clear theory of literature emerges, one with strong opinions about the function and purpose of literature, as well as about what makes good literature. By re-examining MacDonald’s fiction, its plots, characterization and narration, in the light of his own theories, the reasons underlying the artistic choices made throughout his fiction take on a more deliberate and calculated appearance. Furthermore, by placing MacDonald in his proper context, and looking at the diversity of generic options available to the Victorian writer, the critical double standard underlying much MacDonald scholarship, based on a strict fantasy/realism separation, crumbles. What emerges from this analysis is a different MacDonald—a careful craftsman who consciously and skillfully uses the tools of his trade to produce a unique and specific reading experience.
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Bailey, Lucille Marie. "Sex-marked language differences : a linguistic analysis of lexicon and syntax in the female and male dialogue in the eight original plays of Lillian Hellman." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/776720.
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A randomly-selected sample of 31,115 words taken from the eight original plays of Lillian Hellman was analyzed on the basis of female and male dialogue. Lexical classes--verbs, adjectives, adverbs, and pronouns--were examined by studying terms described by other researchers, especially Mary P. Hiatt, as belonging to generally "feminine" or "masculine" categories. In these classes, differences were statistically significant based on gender in two areas.Adjective figures that took into account type 1) of adjective, 2) of referent, and 3) of speaker showed statistical significance. This was true only for the "feminine" adjectives, especially as used by female speakers for female referents. Pronouns were distributed through the plays and used by the genders of speakers at significant levels of difference. A connection was evidenced between each gender of speaker and the gender of pronouns used, a strong relationship that also showed significance by play.Areas of syntax studied were emphasis, communication unit length, and clause structure. Markings of emphasis were significant by gender, female characters having both more instances and more marked words. Length evidenced no difference, likely because of requirements of the dramatic setting. The study of clause structure showed that female characters were given more whole sentences and more coordination at significant levels.Each area studied was analyzed for statistical significance. Hiatt's results were also statisticaly calculated and reported. Significance was based on chi-square calculations, at a level of p < .05 for rejecting null hypotheses. In addition to an axis based on gender, figures were also computed for specific plays.Applying the categories to individual plays and characters showed Hellman"s use of these strategies to define personality. For instance, with adjectives and emphasis, types more often given to female characters were also given in comparatively large number to themen in the Hubbard plays (The Little Foxes, and Another Part of the Forest), thereby marking them as unusual and adding to their characterization.Department of English
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George, Carla Elizabeth. "Identity and the children's literature of George MacDonald." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96975.
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Thesis (MA)--Stellenbosch University, 2015.ENGLISH ABSTRACTThe Victorian period, often heralded as the golden age of children‘s literature, saw both a break and a continuation with the traditions of the fairy tale genre, with many authors choosing this platform to question and subvert social and literary expectations (Honic, Breaking the Angelic Image 1; Zipes, Art of Subversion 97). George MacDonald (1824-1905), a prolific Scottish theologian, whose unspoken sermons, essays, novels, fantasies and children‘s fairy tales deliberately engage with such issues as gender, mortality, class, poverty and morality, was one such author (Ellison 92). This thesis critically examines how the Victorian writer George MacDonald portrays the notion of a ‗self‘ in terms of fixed ‗character‘ and mutable physical appearance in his fairy tales for children. Chapter One provides a foundation for this study by studying MacDonald‘s literary and religious context, particularly important for this former preacher banned from his pulpit (Reis, 24). Chapter Two explores a series of examples of the interaction between characters and their physical bodies. This begins with examining portrayals of characters synonymous with their bodies, before contrasting this with characters whose bodies appear differently than their inner selves. Chapter Two finishes by observing those characters whose physical forms alter throughout the course of the tale. As these different character-body interactions are observed, a marked separation between character and body emerges. In Chapter Three, the implications of this separation between character and body are explored. By writing such separations between the character and their body, MacDonald creates a space where further questions can be asked about our understanding of issues such as identity and mortality. Chapter Three begins with an analysis of the observations made in the first chapter, posing that MacDonald crafted characters consisting of an inner self and a physical body. This was then further explored through images of recognition in the tales, finding that characters are expected to recognize one another despite complete physical alterations; the inner self is able to know and be known. Chapter Three concludes by studying mortality in the tales, particularly MacDonald‘s portrayals of the possibility of life after death.
AFRIKAANSE OPSOMMING: Die Viktoriaanseperiode, wat gereeld voorgehou word as die goue era vir kinderliteratuur, het beide breuke en kontinuïteit gehad met die tradisies van die genre van sprokiesverhale. Menigte skrywers het sprokiesverhale gekies as ‘n middel waardeur hulle sosiale en literêre verwagtinge kon bevraagteken en omseil (Honic, Breaking the Angelic Image 1; Zipes, Art of Subversion 97). George MacDonald (1824—1905) — 'n prolifieke Skotse teoloog, wie se onuitgesproke preke, opstelle, novelle, fantasieë en kindersprokies doelgerig kwessies soos geslag, moraliteit, klas en armoede getakel het — was een só 'n skrywer (Ellison 92). Hierdie tesis ondersoek krities hoe die Viktoriaanse skrywer George MacDonald die idee van ‗self‘ uitgebeeld het in terme van 'n vaste "karakter" en veranderbare fisiese voorkoms in sy sprokiesverhale vir kinders. Hoofstuk Een verskaf 'n fondasie vir hierdie studie deur MacDonald se literêre- en geloofskonteks te bestudeer. Hierdie is besonders belangrik, omdat hierdie gewese predikant voorheen van die kansel verban was (Reis, 24). Hoofstuk Twee ondersoek 'n reeks voorbeelde van die interaksie tussen karakters en hul fisiese gestaltes. Dit begin met 'n ondersoek van uitbeeldings waarin karakters sinoniem met hul voorkoms is. Daarna word 'n kontras getrek met karakters wie se uiterlike voorkoms verskillend is van wie hulle innerlik is. Hoofstuk Twee sluit af deur merking te maak van karakters wie se fisiese voorkoms verander deur die verloop van die verhaal. Soos hierdie verskillende interaksies tussen karakter en voorkoms ondersoek word, word 'n merkbare verdeling tussen karakter en voorkoms ontbloot. In Hoofstuk Drie word die implikasies van hierdie verdeling tussen karakter en voorkoms ondersoek. Deur so 'n verdeling tussen karakter en voorkoms uit te beeld, skep MacDonald 'n ruimte waarbinne verdere vrae gevra kan word oor hoe ons kwessies soos identiteit en moraliteit verstaan. Hoofstuk Drie begin met 'n analise van die opmerkings wat in die eerste hoofstuk gemaak is, waarin gestel word dat MacDonald sy karakters ontwerp het om te bestaan uit 'n innerlike self en 'n fisiese voorkoms. Hierdie word dan verder ondersoek deur te kyk na voorbeelde van gewaarwording in die verhale, waar daar gevind is dat daar van die karakters verwag word om mekaar te herken ten spyte van gehele fisiese veranderinge; die innerlike self kan ken en geken word. Hoofstuk Drie sluit af deur die moraliteit van die stories te bestudeer, veral MacDonald se uitbeelding van die moontlikheid van lewe na die dood.
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Prothero, James. "The influence of Wordsworth on twentieth-century Anglo-Welsh poets." Thesis, University of Wales Trinity Saint David, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683327.
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Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
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Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
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McInnis, Jeff. "Shadows and chivalry : pain, suffering, evil and goodness in the works of George MacDonald and C.S. Lewis." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/2881.
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This thesis argues that George MacDonald's literary influence upon C. S. Lewis-concerning the themes of pain, suffering, evil and goodness-was transforming and long-lasting. It is argued in the opening chapter that MacDonald's work had a great deal to do with the change in young Lewis's imagination, helping to convert him from a romantic doubter to a romantic believer in God and his goodness. A review of both writers' first works suggests that such influence may have begun earlier in Lewis's career than has been noticed. The second chapter examines how both authors contended with the problems that pain and suffering present, and how both understood and presented the nature of faith. Differences in their treatment of these subjects are noted, but it is argued that these views and depictions share fundamental elements, and that MacDonald's direct influence can be demonstrated in particular cases. The view that MacDonald was primarily a champion of feelings is challenged, as is the idea that either man's later writing displays a loss of faith in God and his goodness. The third chapter, in specifically refuting the assertion that MacDonald's view of evil was inclusive in the Jungian or dualistic sense, shows how both authors' work maintains an unmistakable distinction between evil fortune and moral evil. The next two chapters examine fundamental similarities in their treatment of evil and goodness. Special care is taken in these two chapters to trace MacDonald's direct influence, especially regarding the differences they believed existed between hell's Pride and what they believed God to be. The fifth chapter reviews their ideas and depictions of heaven in summing up the study's argument concerning the overall influence of MacDonald's writing upon Lewis's imagination-in particular the change in Lewis's understanding of the relations between Spirits, Nature, and God.
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Barker, Simon John. "Probing the god-space : R.S. Thomas's poetry of religious experience, with special reference to Kierkegaard." Thesis, University of Wales Trinity Saint David, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683109.
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Meira, André Luiz Bordignon. "A Kénosis Trinitária como manifestação da misericórdia." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20751.
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Trinitarian kenosis in Christ’s event allows to grasp Church’s practice based in the perichoretic trinitarian relationship of Trinity’s donation in history. The fundamental issue lies within the drama of God and human relationship, where God donates Himself to be near the human being. Church’s practice is then understood as a merciful and loving pastoral. God’ mercy to human being, from Balthasar’s discussion of kenosis and Trinity reveals kenosis as an expression of Trinity’s mercy. Theological reflection allows to search for new paradigms that might address God in our times. This study explored Hans Urs von Balthasar’s theology, especially in his text Misterium Paschale, to study God’s will that, in His kenosis, in each person of Trinity, seeks for human beings in a loving and merciful action. People in our times, despite technological progress, seem to be distant to each other, developing a merciless awareness. Thus, reflections produced by this study search in Balthasar’s theology what is revealed by Christ in His incarnation, death, and resurrection: a lowering of God, kenotic, of a total annihilation of His divinity, to manifest all His Mercy to human person. God, in His freedom, chooses to be present in the drama of human life, despite humanity’s sufferings, and leads the Church to a mystic and merciful practice
A Kénosis trinitária possibilita, no evento Cristo, compreender a prática da Igreja baseada na relação pericorética intratrinitária da doação da Trindade na história. A questão fundamental está na relação entre Deus e o ser humano, na dramática, em que Deus doa a Si mesmo para estar próximo do ser humano. A prática eclesial passa a ser compreendida numa pastoral misericordiosa e amorosa. A misericórdia de Deus para com o ser humano na discussão da Kénosis e a Trindade, a partir de Balthasar, evidencia a Kénosis como manifestação da misericórdia da Trindade. A reflexão teológica proporciona buscar novos paradigmas que possam falar de Deus nos tempos em que vivemos. Este estudo buscou na teologia de Hans Urs von Balthasar, em especial na sua obra Misterium Paschale, estudar a vontade divina que na sua Kénosis, de cada Pessoa da Trindade, buscar o ser humano, como um gesto de amor e de misericórdia. As pessoas em nossos tempos, mesmo com os avanços tecnológicos, parecem distanciar-se um das outras, o que forma uma consciência sem misericórdia. Portanto, as reflexões realizadas neste trabalho buscam na Teologia de Balthasar o que o Cristo nos revela na sua encarnação, morte e ressurreição: um rebaixamento de Deus, kenótico, de total aniquilar de sua divindade para manifestar toda a sua misericórdia à pessoa humana. Deus na Sua liberdade escolhe estar presente na dramática da vida humana, mesmo diante do sofrimento da humanidade, e conduz a Igreja a uma mística e prática misericordiosa
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Snyman, Johannes Hendrik Bailey. "Stepping into history : biography as approaches to contemporary South African choreography with specific reference to Bessie's Head (2000) and Miss Thandi (2002)." Thesis, Rhodes University, 2003. http://hdl.handle.net/10962/d1004678.
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This mini-thesis is located in historical discursive practices, choreographing history, biography as a source for making dance in South Africa and choreographic transformations in South African choreography since the 1994 democratic elections. Derridian concepts of deconstruction will be referenced in an attempt to focus the argument of this research, which comments on choreographic transformations since 1994, by subverting the influence of the 'violent hierarchies' enforced by the apartheid regime on South African cultural life and choreographic identity. The researcher draws on these considerations in order to explore the hybrid nature of South African choreography that has emerged since 1994. Chapter one examines the fallacious nature of historical discourse through a consideration and application of Derrida's notions of deconstruction and fabrication. Chapter two explores the notion of choreographing history in theatre through a focus on the objective/subjective fallacy and the history of the body as a textual medium. Chapter three focuses the study specifically in biography as a discourse within the idea of theatre. This approach to biography can be encapsulated by the phrase 'telling lives'. This chapter also explores the relationship between the traditional binaries of writing as a purely cerebral act and choreography as a purely visceral experience. Chapter four brings the focus to the specific post-apartheid South African context. This chapter considers the hybrid forms of dance emerging in South Africa as well as the notion of protest in relation to theatre and dance. The final chapter is an investigation and analysis of two choreographic works created by South African choreographers since 1994 in relation to biography and concepts of deconstruction. These works are Gary Gordon's Bessie's Head (2000) and Gregory Maqoma's Miss Thandi (2002). The focus of the analysis also reveals the inherent difficulty in objective interpretation, and considers the problematics of collaboration and autobiography when choreographing within a biographical context.
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Marques, Mariana Lima 1982. "A dominação, O tempo e o vento : dominação pessoal e patriarcalismo no romance historico de Erico Verissimo." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281981.
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Orientador: Gilda Figueiredo Portugal GouveaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A presente Dissertação de Mestrado tem por objetivo analisar no romance histórico de Érico Veríssimo O Tempo e o Vento como a questão da dominação pessoal se apresenta no decorrer de 200 anos de história do Rio Grande do Sul. Dessa forma, sendo evidente de nossa formação social o caráter patrimonialista de dominação pessoal, pretende-se analisar como Érico Veríssimo deixa transparecer tais características, levando em consideração a trajetória de suas personagens evidenciadas principalmente através das relações entre as famílias Terra-Cambará, Amaral e Caré e os demais clãs da cidade fictícia de Santa Fé.
Abstract: The present Master's Dissertation seeks to analyze, inside of Érico Veríssimo's historic novel O Tempo e o Vento how the question of the personal domination presents itself throughout the 200-year span of the Rio Grande do Sul's history. That way, being evident the patrimonial characteristic of Personal Domination in our social formation, it tries to analyze how Érico Veríssimo lets said characteristics show themselves, taking in consideration the journey of his characters, showed mainly through the interactions between the families Terra-Cambará, Amaral and Caré and the other clans of the ficticious city of Santa Fé.
Mestrado
Pensamento Social Brasileiro
Mestre em Sociologia
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Davis, Rebecca. "Unstable ironies : narrative instability in Herman Charles Bosman's "Oom Schalk Lourens" series /." Thesis, Rhodes University, 2006. http://eprints.ru.ac.za/235/.
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Lacefield, Katharine. "A dialectical discussion of Jean-Paul Sartre's concept of freedom and contemporary suicide bombers." Honors in the Major Thesis, University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/320.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Philosophy
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Marcon, Daniele. ""Afinal de contas, que é um gaúcho?" : Erico Verissimo e as identidades regionais do Rio Grande do Sul." reponame:Repositório Institucional da UCS, 2015. https://repositorio.ucs.br/handle/11338/1063.
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Esta dissertação busca problematizar a percepção de Erico Verissimo sobre si mesmo, seu fazer literário e sua relação com o contexto político e social do seu tempo e espaço, para, a partir disso, verificar a relação que ele estabelecia com sua terra natal, o Rio Grande do Sul. Com esta análise, objetiva-se delinear a concepção do escritor sobre as identidades regionais presentes no estado sulino, procurando responder à seguinte questão: “o que é um gaúcho?”. Para tanto, a pesquisa fundamenta-se, em grande parte, nos escritos não ficcionais do romancista, como suas entrevistas, cartas, ensaios, memórias e demais depoimentos dessa natureza. Além disso, destacam-se na análise algumas obras e personagens do escritor, pois se compreende que também na ficção está representado o pensamento de Erico Verissimo, principalmente no que diz respeito à questão das identidades. Nesse percurso, discutem-se, igualmente, categorias como memória, região, regionalidade, regionalismo, identidade (regional) e terra natal.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-11-18T13:23:12Z No. of bitstreams: 1 Dissertacao Daniele Marcon.pdf: 3412082 bytes, checksum: 3d0faedec356fc73b14dd009109b1455 (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior.
This dissertation intends to study the perception of Erico Verissimo about himself, his literary production and his relation with the political and social context of his time and space, from that to verify the relation he established with his homeland, Rio Grande do Sul. The objective of this analysis is to outline the conception of the writer about the regional identities present in the southern state, trying to answer the question: “what is a gaúcho?”. Therefore, this research is based, largely, in the non-fictional writings of the novelist, as his interviews, letters, essays, memories and other statements of this nature. Besides, this analysis verifies some books and characters of the writer, because it is understood that also in the fiction the thought of Erico Verissimo is represented, mainly the aspects concerned to the question of the identities. Along the way, it is also discussed categories like memory, region, regionality, regionalism, (regional) identity and homeland.
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Cabral, Fernando da Silva. "Uma contribuição à crítica literária brasileira: Antologia de literatura estrangeira, de Patrícia Galvão e Geraldo Ferraz, no Diário de S. Paulo." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21667.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The main purpose of this paper is the first year of publication of the biobibliographic studies, prepared by Geraldo Ferraz (1905-1979) and Patrícia Galvão (1910-1962) in the literary supplement of the Diário de S. Paulo, entitled Anthology of foreign literature, published between November 24, 1946 to November 28, 1948. This research aimed to investigate a sampling of 9 articles that point to a historical moment of tension between the review, whose anecdotal-biographical traits were common in the field of journalism when it comes to literary criticism in the 1940’s, and specialized criticism, most commonly found within the academy. The hypothesis we propose is that this critique is articulated in three strands: firstly, the one whose discursive dominance resides in the sheer dissemination of the work and the author, passing through an intermediary model between review and critical academic commentary, and finally, the third model in which the specialized critical discourse prevails, taking advantage of an aesthetic-literary nature. For this, this study was structured based on the qualitative research to describe, to understand and to explain the forces that stress the critical project developed by the couple of organizers of the column. In this sense, the essay by Flora Süssekind (2002), Rodapés, tratados e ensaios, a formação da crítica brasileira moderna, is the starting point of this research, as well as the works developed by Afrânio Coutinho (1987, 2001, 2004) to understand the phenomenon of Brazilian literary criticism in the 1940s. In addition to contributing to the study of Brazilian literature, this project aims to retrieve the articles published in the column and, thus, to observe how the work of the literary critic was being performed in a period in which systematic academic criticism was being forged as the mainstream
Este trabalho tem por objeto central o primeiro ano de publicação dos estudos biobibliográficos, elaborados por Geraldo Ferraz (1905-1979) e Patrícia Galvão (1910-1962) no suplemento literário do Diário de S. Paulo, intitulados Antologia de literatura estrangeira, publicados entre 24 de novembro de 1946 a 28 de novembro de 1948. Esta pesquisa se propôs a investigar uma amostragem de 9 artigos que apontam para um momento histórico de tensão entre o review, de tratamento anedótico- biográfico, e a crítica especializada. A hipótese que projetamos é a de que essa crítica se articula em três vetores: primeiramente, aquele cuja dominância discursiva reside na divulgação da obra e do autor, passando por um modelo intermediário entre o review e o comentário crítico acadêmico, e, finalmente, o terceiro modelo no qual prevalece o discurso crítico especializado, de cunho estético-literário. Para tanto, este estudo se estruturou com base na pesquisa qualitativa para descrever, compreender e explicitar as forças que tensionam a projeto crítico desenvolvido pelo casal de organizadores da coluna. Nesse sentido, o ensaio de Flora Süssekind (2002), Rodapés, tratados e ensaios, a formação da crítica brasileira moderna, é o ponto de partida dessa investigação, assim como os trabalhos desenvolvidos por Afrânio Coutinho (1987, 2001, 2004) para compreender o fenômeno da crítica literária brasileira, nos anos de 1940. Além de contribuir para o estudo da literatura brasileira, este projeto pretende resgatar os artigos publicados na coluna e, assim, observar como se efetivou o trabalho do crítico literário num período que a crítica sistemática, acadêmica, se configurava enquanto ofício
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Leff, Carol Willa. "Bosman as Verbindingsteken: Hybridities in the Writing of Herman Charles Bosman." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013163.
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This thesis is concerned with how hybridity is created and interpreted by Herman Charles Bosman in his fiction and non-fiction. Bosman was a gifted writer and raconteur who captured the historical, socio-political context of his time by translating Afrikaans culture for the edification and pleasure of an English readership. Hennie Aucamp summed up this linguistic and cultural translation by pointing out that Bosman was a writer who acted as a “verbindingsteken” or hyphen (65) between Afrikaans and English. His texts contain many voices, and are therefore essentially hybrid. Firstly, by drawing on aspects of postcolonial theory, the terms ‘hybridity’, ‘culture’ and ‘identity’, are discussed. Homi Bhabha’s notion of ‘hybridity’ is the conceptual lens through which Bosman’s texts are viewed, and aspects of Mikhail Bakhtin’s cultural theory also serve the same function. Thereafter, biographies of Bosman are discussed in an effort to understand his hyphenated identity. Following this, specific attention is paid to a selection of Bosman’s essays, short stories, and a novel. Scholarly opinions aid interpretation of levels of hybridity in Bosman’s work. In analysing Bosman’s texts critically, it becomes clear that he believed in a united South Africa that acknowledged and accepted all races. However, analysis also reveals that there are some inconsistencies in Bosman’s personal views, as expressed particularly in his essays. His short stories do not contain the same contradictions. Critical analysis of the novel Willemsdorp attests that cultural hybridity is not always viewed as celebratory. It can also be a painful space where identities are split, living both inside and outside their environment, and subsequently marginalized. Bosman’s texts, although published decades ago, remain relevant today in post-apartheid South Africa as much of his writing can be seen as a record of historical events. His short stories and novels capture a confluence of languages, people and cultures. His essays illustrate a deep commitment to promoting South African culture and literature. When reading Bosman one is constantly reminded that differences are not only to be acknowledged, but embraced, in what he prophetically imagined as a hybrid, post-apartheid South African society.
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譚碧娜. "施蟄存詞學業績研究 = A study of the accomplishment in Ci of Shi Zhe Cun." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2143955.
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Santos, Lucinéia Alves dos. "Motta Coqueiro, a fera de Macabu = literatura e imprensa na obra de José do Patrocínio." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270264.
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Orientador: Jefferson CanoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O romance Motta Coqueiro ou A Pena de Morte de José do Patrocínio foi publicado pela primeira vez em folhetim, veiculado no periódico Gazeta de Notícias em 22 de dezembro de 1877 a 03 de março de 1878. A obra possui uma estreita ligação com a imprensa, pois foi inspirada em fato verídico noticiado por vários jornais em 1852: o assassinato brutal de uma família de colonos com oito membros. O episódio culminou na pena capital de um fazendeiro influente da região de Campos: Manuel da Motta Coqueiro acusado de ser o mandante do crime. Nesta dissertação, evidenciaremos a relação existente entre a literatura e a imprensa dentro do primeiro romance de José do Patrocínio. Para tanto, analisamos artigos de jornais referentes ao caso Motta Coqueiro entre os anos de 1852 a 1855, bem como os artigos que retomaram o assunto durante o ano de 1877. Neste período, a execução de Coqueiro era vista como um erro judiciário, e o romance-folhetim de José do Patrocínio começou a ser editado diariamente. Foi amplamente divulgado no ano de 1878, quando recebeu sua edição em volume
Abstract: The novel Motta Coqueiro or A Pena de Morte by José do Patrocínio was published for the first time in a serial, spread at the newspaper Gazeta de Notícias from 22nd of December, 1877 to 3rd of March, 1878. The work has a narrow connection with the Press, for it was inspired and based in a true story reported by several newspapers in 1852: the murder of eight people in an aggregate family. The episode ended up with the capital punishment of an influential farmer named Manuel da Motta Coqueiro, who lived in the region and was accused of being responsible for the crime. In this dissertation will be in evidence the existent relation between Literature and Press in the first novel written by José do Patrocínio. In order to do it ,some newspapers articles concerning to the case Motta Coqueiro from 1852 to 1855, were analysed, as well as the essays that resumed this matter during the year of 1877. At this period, the serial novel written by José do Patrocínio started to be edited daily, presenting the Coqueiro's execution as a judicial mistake
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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Fontana, André. "Identidades gaúchas : serranos, pampeanos, missioneiros e outras variações em O Tempo e o Vento." reponame:Repositório Institucional da UCS, 2007. https://repositorio.ucs.br/handle/11338/1014.
Full textAbstract:
O trabalho aborda as identidades gaúchas representadas por personagens de O Tempo e o Vento na perspectiva de suas variações, focando a diversidade inerente a constituição do tipo humano sul-brasileiro e a pluralidade da formação social rio-grandense, terra fronteiriça e marcada pela mistura de diferentes culturas. Esse traço é marcante no romance histórico de Erico. Está na proposta estética da narrativa: na constituição, arquitetura e desenvolvimento do clã Terra-Cambará. Através da figura do gaúcho serrano busca-se pensar de que maneira as várias etnias interagiram ao longo do tempo, no processo de ocupação, conquista e delimitação do espaço. Pela contraposição das diferenças, as identidades regionais poderão “resplandecer com maior fulgor”, revelando algumas peculiaridades locais; sinais distintivos, atributos identitários que podem delimitar e cofundir diferentes territórios sulinos.Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-09-30T14:06:15Z No. of bitstreams: 1 Dissertacao Andre Fontana.pdf: 1461979 bytes, checksum: f36be6216c4aa3e1ca3d074160c122f5 (MD5)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES
The present paper approaches the “gaúchas” identities represented by characters in O Tempo e o Vento in the perspective of their variations, emphasizing the diversity inherent to the constitution of the South-Brazilian human kind. It also highligths the plurality of the rio-grandense social formation, bordering upon land and characterized by the mixture of different cultures. This trait is remarkable in Erico’s historical novel. It is in the esthetic proposal of the narrative: in the constituition, architecture and development of the Terra-Camabrá clan. Through the figure of the mountain region “gaucho”, it is possible to think of which ways several ethnic groups have interacted along time, in the process of occupation, conquer and delimitation of space. Through the counter position of the differences, the several regional identities will be able to “shine with greater splendor”, revealing some local peculiarities; distinctive signs, identity attributes that may delimit and co fuse different southern territor ies.
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Gabelman, Daniel. "'Divine carelessness' : the fairytale levity of George MacDonald." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2584.
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Though known for his fantastical writings George MacDonald is often considered to be a typical Victorian teacher of religious and moral seriousness. Approaches to MacDonald’s works normally seek to find his ‘message’ by expositing the moral, social, pedagogical, psychological or theological ‘content’ of his work. This study recasts MacDonald in the light of his shorter fairytales for the ‘childlike’ and argues that these seemingly small and insignificant works are a golden key to his artistic enterprise. This is not because of any particular ‘message’ that they carry but because of their peculiarly light mode of generating meaning and the relation of this lightness to theology. Whilst it is frequently disparaged, levity actually has strong parallels with the theological atmosphere of Christianity. Light modalities such as folly, ecstasy, play, vanity, carnival and Sabbath demonstrate that the Christian faith has greater affinities with lightness and whimsicality than its solemn defenders sometimes admit. MacDonald’s fairytales draw upon this surprising harmony between levity and faith to create environments in which readers can playfully reflect upon the nature of ultimate reality and begin to find their own place within that reality. By helping to remove the mask of ‘seriousness’ presented by things in the everyday world, fairytales engender a kind of ‘divine carelessness’ and help people to let go of the weighty cares and fears that keep them tightly bound to worldly things.
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Gibson, Donald. "Twentieth-century poetry and science : science in the poetry of Hugh MacDiarmid, Judith Wright, Edwin Morgan, and Miroslav Holub." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/8059.
Full textAbstract:
The aim of this thesis is to arrive at a characterisation of twentieth century poetry and science by means of a detailed study of the work of four poets who engaged extensively with science and whose writing lives spanned the greater part of the period. The study of science in the work of the four chosen poets, Hugh MacDiarmid (1892 – 1978), Judith Wright (1915 – 2000), Edwin Morgan (1920 – 2010), and Miroslav Holub (1923 – 1998), is preceded by a literature survey and an initial theoretical chapter. This initial part of the thesis outlines the interdisciplinary history of the academic subject of poetry and science, addressing, amongst other things, the challenges presented by the episodes known as the ‘two cultures' and the ‘science wars'. Seeking to offer a perspective on poetry and science more aligned to scientific materialism than is typical in the interdiscipline, a systemic challenge to Thomas Kuhn's The Structure of Scientific Revolutions (1962) is put forward in the first chapter. Additionally, the founding work of poetry and science, I. A. Richards's Science and Poetry (1926), is assessed both in the context in which it was written, and from a contemporary viewpoint; and, as one way to understand science in poetry, a theory of the creative misreading of science is developed, loosely based on Harold Bloom's The Anxiety of Influence (1973). The detailed study of science in poetry commences in Chapter II with Hugh MacDiarmid's late work in English, dating from his period on the Shetland Island of Whalsay (1933 – 1941). The thesis in this chapter is that this work can be seen as a radical integration of poetry and science; this concept is considered in a variety of ways including through a computational model, originally suggested by Robert Crawford. The Australian poet Judith Wright, the subject of Chapter III, is less well known to poetry and science, but a detailed engagement with physics can be identified, including her use of four-dimensional imagery, which has considerable support from background evidence. Biology in her poetry is also studied in the light of recent work by John Holmes. In Chapter IV, science in the poetry of Edwin Morgan is discussed in terms of its origin and development, from the perspective of the mythologised science in his science fiction poetry, and from the ‘hard' technological perspective of his computer poems. Morgan's work is cast in relief by readings which are against the grain of some but not all of his published comments. The thesis rounds on its theme of materialism with the fifth and final chapter which studies the work of Miroslav Holub, a poet and practising scientist in communist-era Prague. Holub's work, it is argued, represents a rare and important literary expression of scientific materialism. The focus on materialism in the thesis is not mechanistic, nor exclusive of the domain of the imagination; instead it frames the contrast between the original science and the transformed poetic version. The thesis is drawn together in a short conclusion.
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Cooley, Shevaun. "Homing : poetry ; &, An essay on the poetic leap in the late work of R.S. Thomas." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/850.
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Homing, as a collection, speaks to the capacity and yearning to navigate our way towards something we might call home. In animal behaviour, this seems like an instinct, hard-wired to the body. It is something I envy. By comparison, the instinct, in human behaviour, feels muffled and complicated.
These poems move between two places in which I feel ‘at home’, whatever that means: the south-west of Western Australia, where I was born and raised, and the north-west of Wales, where I lived for a time, and find myself returning to, drawn not by blood, but by longing, and a deep affinity for the landscape. Without any real intention, in the writing of the poems I found I had a lot to say about rivers. In particular, I found myself repeating images of drifting and gripping, as if these two, opposing, compulsions also said something about how we try to find our way home. The poet Mark Doty speaks of a “fierce internal debate between staying moored and drifting away, between holdings and letting go.”1 It is as if the river, too, knows something of how to arrive, and yet its movement is much like that of these poems, pulled by new hungers, at times distracted, or slowed, or apparently lost. Drift. Grip. Perhaps it is, after all, another kind of instinct.
In the critical essay that accompanies the poems, I look at the poetic leap in the work of the Welsh poet and priest R.S. Thomas. I was initially compelled by a strange parallel between an actual physical leap of escape, enacted by Thomas, who leapt a graveyard wall in order to avoid speaking to the mourners to whom he had just ministered a funeral service, and the leap found in Italo Calvino’s essay on lightness. This leap is also one of escape, in which the poet-philosopher Guido Calvcanti places a hand on a grave and leaps lightly over it, in order to elude the taunts of some local louts. Calvino calls this act, “an auspicious image for the new millennium.”2
In poetry we find the leap in the act of making metaphor, in enjambment, even in a kind of concentration. In Thomas’s work, the leap is focused in the form of the raptor; a presence repeated through his oeuvre, carrying with it many of his chief concerns, about God, love, and the inherent ferocity of the natural world. In a close reading of those poems, and with the aid of thinkers as disparate as Helene Cixous, Roland Barthes, Simone Weil and Edward Said, this essay is an attempt to trace the ways the leap works in Thomas’s poetry. It is also an attempt to analyse and understand the way poetry itself works to move the reader, in all senses of the word.
1Doty, M. (2001). Still life with oysters and lemon. Boston: Beacon Press, p.7
2Calvino, I. (2009). Six memos for the new millennium. (P. Creag, Trans.) London: Penguin Classics, p.12
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Jeffrey, Johnson Kirstin Elizabeth. "Rooted in all its story, more is meant than meets the ear : a study of the relational and revelational nature of George MacDonald's mythopoeic art." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1887.
Full textAbstract:
Scholars and storytellers alike have deemed George MacDonald a great mythopoeic writer, an exemplar of the art. Examination of this accolade by those who first applied it to him proves it profoundly theological: for them a mythopoeic tale was a relational medium through which transformation might occur, transcending boundaries of time and space. The implications challenge much contemporary critical study of MacDonald, for they demand that his literary life and his theological life cannot be divorced if either is to be adequately assessed. Yet they prove consistent with the critical methodology MacDonald himself models and promotes. Utilizing MacDonald’s relational methodology evinces his intentional facilitating of Mythopoesis. It also reveals how oversights have impeded critical readings both of MacDonald’s writing and of his character. It evokes a redressing of MacDonald’s relationship with his Scottish cultural, theological, and familial environment – of how his writing is a response that rises out of these, rather than, as has so often been asserted, a mere reaction against them. Consequently it becomes evident that key relationships, both literary and personal, have been neglected in MacDonald scholarship – relationships that confirm MacDonald’s convictions and inform his writing, and the examination of which restores his identity as a literature scholar. Of particular relational import in this reassessment is A.J. Scott, a Scottish visionary intentionally chosen by MacDonald to mentor him in a holistic Weltanschauung. Little has been written on Scott, yet not only was he MacDonald’s prime influence in adulthood, but he forged the literary vocation that became MacDonald’s own. Previously unexamined personal and textual engagement with John Ruskin enables entirely new readings of standard MacDonald texts, as does the textual engagement with Matthew Arnold and F.D. Maurice. These close readings, informed by the established context, demonstrate MacDonald’s emergence, practice, and intent as a mythopoeic writer.
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Kretschmann, Mark. "A critical analysis of Herman Charles Bosman’s juvenilia." Thesis, 2014. http://hdl.handle.net/10210/11297.
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M.A. (English)The broad scope of this dissertation is the collection, editing and publishing of Herman Charles Bosman’s juvenilia with the purpose of re-introducing these stories into the public domain. The project involves creating a critical edition of Bosman’s juvenilia through careful and diplomatic editorial processes. The resultant typescript is the first presentation of what is now posited as the entire collection of Herman Charles Bosman’s juvenilia. The project adds a total of seven previously un-credited stories to the already published collections of Bosman’s juvenilia. The dissertation extends into an in-depth analysis of what juvenilia is, and focuses on the problems relating to the delineation of works as juvenilia. Additionally, there is a discussion on the theory and practice of textual criticism, where a general background and overview of the history and practice of textual criticism is presented, including the textual history of Bosman’s juvenilia and the processes involved in the production of the critical edition. Beyond this, there is also a general analysis of Bosman’s juvenilia, focusing on themes, narrative modes and point of view, imagery and language.
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Lawrence, James Alexander. "Abdication in an artistic democracy : meaning in the work of Barnett Newman and Donald Judd, 1950-1970 (and thereafter)." 2006. http://hdl.handle.net/2152/11945.
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Mac, Donald John William. "Irony in Herman Charles Bosman's Oom Schalk stories." Thesis, 2003. http://hdl.handle.net/10413/4066.
Full textAbstract:
Herman Charles Bosman's Oom Schalk stories have made him one of the most popular writers in South Africa, and the rural Marico District in which the stories are set a popular tourist destination. This popularity is largely due to the storytelling figure of Oom Schalk, the likeable old boer raconteur, who tells the stories and ironically pokes fun at his Marico community. This image of Oom Schalk and the Oom Schalk stories is one which was created and nurtured by Lionel Abrahams who was almost single-handedly responsible for the collection and republication of many of these stories after Bosman's death. The image of Schalk, and therefore the intention of Bosman in creating this fictional narrator, as a benign figure has been contested by some literary critics and defended by others. The debate has revolved around the extent to which Bosman's use of irony in the stories addresses the explicitly racist attitudes of Schalk and the Marico community. Unfortunately the debates around irony have been hampered by a lack of attention to the nature and functioning of irony. In my introduction I look at the problems that many critics have in trying to define the diverse body of writing that Bosman produced and the way in which this has defined a particular critical approach to Bosman. In Chapter 1 I discuss how the history of publication of Bosman's Oom Schalk stories and literary criticism has defined an approach to these stories which is often inappropriate. I also discuss some of the literary critical implications of the recent recollection and republication of Bosman's work in The Anniversary Edition. In Chapter 2 I address the issue of irony in the Oom Schalk stories. I deal with the way in which irony is constructed in the Oom Schalk stories. This discussion includes an analysis of the narrative structure of the short stories and the way in which the figure of Oom Schalk is used to create different levels of irony. In Chapter 3 I examine some of the Oom Schalk stories in detail in order to demonstrate the way in which Bosman's deployment of irony produces an identifiable pattern which establishes a basis for a discussion of Bosman's ironic intent in writing these stories.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2003.
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Speirs, James. "An investigation of the parallels between Sartre's bad faith and Nietzsche's slave morality." Thesis, 2011. http://hdl.handle.net/10413/8259.
Full textAbstract:
The following dissertation examines Sartre’s notion of bad faith before identifying parallels
found in Nietzsche’s Genealogy of Morals. Bad faith is often construed as lying to oneself;
however, this entails an individual being both the deceiver and deceived which presents a
number of paradoxes. By reconceptualising bad faith as self-deception rather than lying to
oneself these paradoxes are avoided. Nietzsche’s Genealogy examines the development of
modern morality and explains its genesis through identifying a specific psychological
tendency, namely, ressentiment. Ressentiment is central to the Genealogy as it results in the
idealisation of asceticism and the development of the bad conscience into guilt. These are
core elements of what Nietzsche terms slave morality. By exposing ressentiment as a
manifestation of bad faith this dissertation highlights the self-deception lying at the
foundation of slave morality. Nietzsche believes that it is slave morality which
predominantly constitutes modern morality, and manifestations of bad faith in Nietzsche’s
account of modern morality therefore give credence to Nietzsche’s call to revalue our values.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2011.
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Marie, Annika. "The most radical act: Harold Rosenberg, Barnett Newman and Ad Reinhardt." Thesis, 2006. http://hdl.handle.net/2152/3456.
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Zwartz, Jonathan. "Selected solos of Charlie Haden : transcriptions and analysis." Master's thesis, 2006. http://hdl.handle.net/1885/143777.
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Nandan, Kavita Ivy. "Negotiating histories and homelands : the diasporic narratives of V.S. Naipaul and Salman Rushdie." Phd thesis, 2000. http://hdl.handle.net/1885/147988.
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Mtheku, Raphael Vikinduku. "The examination of Zakes Mda's The Heart of Redness (2000) within a historical context." Thesis, 2003. http://hdl.handle.net/10413/10405.
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Heil, Katrina Marie 1976. "Modern tragedy in the absence of God : an analysis of Unamuno and Buero Vallejo." 2006. http://hdl.handle.net/2152/13116.
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Bush, Martin. ""Shifting from one to the other brings on pneumonia" : a Goonya first reader about the notable David Unaipon." Thesis, 2000. http://hdl.handle.net/1885/147872.
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Ladner, Erik Christopher 1973. "The limits of Posibilismo : the censors and Antonio Buero Vallejo." 2006. http://hdl.handle.net/2152/13054.
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Swinnerton, Evelyn Elizabeth. "Ethics, eroticism and freedom : philosophical perspectives in the writing of Simone de Beauvoir." Phd thesis, 2000. http://hdl.handle.net/1885/147621.
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Wood, Deborah. "Frida's moustache : making faces in women's self-portraiture, an exegesis." Thesis, 2001. https://vuir.vu.edu.au/16076/.
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This exegesis combines theory and art practice to interrogate the idea that self-portraiture by women artists can be positioned, and interpreted, as a practice that
strategically intervenes in the politics of representation, gender and identity.
The focus of this study is the face. The represented female face is identified as a site that is both problematic and dynamic for women artists. The face involves two
contradictory traditions of representation for women. It is generally used in portraiture and self-portraiture to indicate the presence of the individual, the 'subject'. However, the female face has more often been represented as a de-individualised site, the object. When a woman artist attempts to make a self-portrait she must, therefore, re-negotiate the relationship between object and subject in order to make room for her own representations of subjectivity.
In this study I closely analyse how other women artists have employed their faces in their self-portraits. I also provide insights into my own practice of self-portraiture through the use of a commentary, which follows my thoughts and decisions throughout the art making process. I link the art works to theoretical debates concerning feminist art history, faciality and subjectivity. By inter-weaving praxis and theory in this way the study provides a new perspective on these debates.
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Conradie, A. F. "Bybel as problematiese teks: ’n kritiese ontleding aan die hand van polemieke in die Nederduitse Gereformeerde Kerk: van Johannes du Plessis tot Ferdinand Deist en Willem Vorster (1920–2000)." Thesis, 2019. http://uir.unisa.ac.za/handle/10500/25638.
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Text in Afrikaans, with summaries in Afrikaans and EnglishIncludes bibliographical references (leaves 383-403)
Die woordestryd oor goddelike inspirasie van alles wat in die Bybel staan, as gevolg van die uitgesproke stellings van Johannes Du Plessis, het tot ‘n krisis gelei wat as baken in die annale van die Ned. Geref. Kerk beskou word. Die meeste van sy standpunte word vandag as waarheid aanvaar en hy het bygedra tot die intellektuele debat oor die Bybel as Woord van God wat vandag nog aangaan. Du Plessis se herkoms, opleiding en verdienste as predikant en saakgelastigde van die Kerk word kortliks bespreek. Hy was die talentvolle seun en enigste kind van 'n Afrikaanse predikant en 'n Engelse vrou, die dogter van 'n sendeling van die LMS. Hy word professor aan die Kweekskool en met kennis opgedoen tydens verdere studie oorsee, het hy gewys op dele van die Bybel wat nie aan goddelike inspirasie toegeskryf kan word nie. Hy het dit ook duidelik gestel dat hy as teoloog en leermeester nie kon glo sonder om te probeer verstaan nie. Hy het sy bevindinge bekend gemaak in Het Zoeklicht, 'n maandblad wat bedoel was om as soeklig te dien om verskillende vorms van “duisternis” in beide godsdiens en die politiek, betref, aan die lig te bring. Oortuig van die waarde van die Hoër Kritiek, het hy dit as sy plig geag om wat hy deur wye leeswerk en kritiese ondersoek rakende die oorsprong, vorm en inhoud van die Ou Testamentiese boeke bekom het, bekend te maak. Artikels van dié aard, eers in De Kerkbode en daarna in Het Zoeklicht, het gelei tot beroering onder behoudende lesers wat gekant was teen enige veranderinge in die prediking. Hulle was veral ontstoke oor sy siening dat die belydenisskrifte wat spruit uit die dae van die Hervorming 500 jaar tevore, oop was vir herformulering. Klagtes dat Du Plessis op 'n gevaarlike pad was, was die begin van wat gelei het tot 'n krisis in die Kerk, en uiteindelik tot 'n buitengewone sinode in 1930 toe hy van sy pos onthef is. Die behoudende reaksie van die meerderheid was dat die Bybel die onfeilbare Woord van God is. Die gevolg was dat 'n groot aantal van die leiers van die Kerk, aanhangers van die Nasionale Party wat in 1948 aan bewind gekom het, tekste uit die Bybel gebruik het om die beleid van Apartheid Skriftuurlik te begrond. Ná byna veertig jaar van 'n onkritiese benadering tot die Bybel, is die geloof in 'n foutlose Bybel weer bevraagteken. Tussen die eerlike teoloë wat dit gewaag het om te wys op foute en inkonsekwenthede, was Ferdinand Deist en Willem Vorster. Albei het hulle opleiding as predikante voltooi maar het hulle nie beroepbaar gestel nie omdat hulle met verdere studie voortgegaan het en hulle openlik uitgespreek het teen die misbruik van Bybelse gegewens om apartheid te regverdig. Geskool aan die Kweekskool in Stellenbosch, het Deist hom onderskei as geleerde wat sy drang na dieper ondersoek gepaar het met 'n piëtisme waarop hy uiting gegee het in 'n stortvloed van akademiese en populêre geskrifte ― wat nie altyd gestrook het met sy stelling dat die Woord van God nie met 'n gelyk-aan-teken aan mekaar verbind kan word nie. Vorster, wat sy opleiding aan die Universiteit van Pretoria ontvang het, het ewe bekend geraak en het internasionale erkenning geniet vir sy toepassing van die semantiek op studies van die Nuwe Testament. Daarby het hy sy kennis van die Nabye Oosterse tale toepaslik gevind in sy bydrae tot The New Quest om meer te wete te kom oor die historiese Jesus, 'n Jood en Galileër wat vir 'n kort periode opgetree het as leermeester en eskatologiese profeet. In die studie van bydraes van die drie geleerdes tot ons verstaan van die Bybel, is ook aandag geskenk aan 'n ander aspek van die Bybel as problematiese teks: Die nadruk wat skrywers en redaktors van die Bybelse gebeure, geplaas het op mans as vaders en seuns ten koste van vroue, moeders en dogters. Die gevolg was dat meeste van die sogenaamde Kerkvaders genoeg in die Bybel kon vind om hulle te identifiseer met die neerhalende beeld wat in Die Openbaring (14:3-4) geskep word van vroue, opvallend in stryd met die inhoud van Genesis 1:26-31.
The controversy started by Johannes Du Plessis over the question whether everything in the Bible was inspired by God, caused a crisis in the Dutch Reformed Church, which is listed as a beacon in its history. Most of the points he raised are accepted as truth today, and started an intellectual debate that is still going on. Information relating to Du Plessis’ origins, training, and achievements as a minister and church official is briefly noted. He was the talented son, and only child of an Afrikaner father and minister of religion, and an English mother, the daughter of an LMS missionary. He became a professor at the Seminary in Stellenbosch, after his studies overseas had caused him to question parts of the Old Testament text that could not be regarded as divinely inspired. He also made it quite clear that believing without trying to understand was not possible for him as a theologian and teacher. He proclaimed his findings in Het Zoeklicht, a monthly magazine intended to serve as a searchlight and an organ to reveal the “darkness” that was still prevalent in both religion and politics. Aware of the value of Higher Criticism of the Old Testament, he regarded it his duty to make known what he had found in reading widely and in critical research on the origins, form and content of the books of the Bible. Articles to this effect published first in De Kerkbode and then in Het Zoeklicht, caused an outcry from conservative readers who were opposed to any changes in the teaching of the church. They were especially enraged by his view that the confessions drawn up by Reformers 500 years earlier, were open for review. Complaints that Du Plessis was on a dangerous path, marked the beginning of what was regarded as a crisis in the Church, and in the end led to Du Plessis being relieved of his post by a special Synod convened in 1930. The views of the conservative majority, however, prevailed. As a result, a large number of leading ministers and theologians, who openly supported the Nationalist government that came into power in 1948, provided assurance that the concept of separation of racial groups was in accordance with Scripture. After nearly forty years of an uncritical approach to the Bible, the belief in in-errancy was again questioned. Among the few theologians who dared to point out errors and inconsistencies in various texts, were Ferdinand Deist and Willem Vorster. Both trained as ministers, they chose to continue their studies and openly expressed themselves against the abuse of Biblical texts to support the ideology of apartheid. Trained at the Seminary in Stellenbosch, Deist turned out to be a noted scholar who combined his urge for honest critical study with a pietism expressed in a flood of academic and popular publications ― which were not always consistent with his own statement that The Word of God could not be connected to Scripture with an is-equal-to symbol. Vorster, who received his education at the University of Pretoria, became equally well known as a scholar and gained international recognition for his application of semantics in the study of the Gospels. He also applied his knowledge of languages in what came to be known as The New Quest for the historical Jesus who, as a Jew and a Galilean, distinguished himself during a brief period as a teacher and eschatological prophet. In the study of the contributions of these three outstanding men to our understanding of the Bible, another major aspect of the Bible as problematic text is addressed: The emphasis the authors and redactors of the Scriptures placed on the roles of men, fathers and sons, patently to the exclusion of women, mothers and daughters. As a result many of the so-called Church Fathers found in the Bible sufficient material to look down upon women ― the verdict expressed in Revelations 14:3-4 being one of numerous texts pointing to women as objects of derision in glaring contradiction to the contents of Genesis 1:26-31.
Biblical and Ancient Studies
D. Phil. (Biblical Studies)