Academic literature on the topic 'Vyāsa, in fiction, drama, poetry'

The article Post Modernism, written by writer Kumaraselva, examines the emergence of postmodernism in the short stories Nagamalai, Karatam, Ukilu, Vidalu and Uyirmaranam, and then modernity does not see anything as universal and analyses everything separately. It is also expanding beyond the limits of art and literature to philosophy, politics, lifestyle, technology, architecture, drama, cinema. Postmodernism created myths with a mystery that distorts language, distorts stories and expresses the poetry of the language. It also attracts the attention of the readers and gives them a happy reading experience. It is noteworthy that postmodernism is not theory but also in life.

Abstract This chapter has eight sections 1. General. 2 British Fiction Pre-1945; 3. British Fiction 1945 to the Present; 4. Pre-1950 Drama; 5. Post-1950 Drama; 6. British Poetry 1900–1950; 7. British Poetry Post-1950; 8. Irish Poetry. Section 1 is by Matthew Levay; section 2(a) is by Francesca Bratton; section 2(b) is by Caroline Krzakowski; section 2(c) is by Sophie Corser; section 2(d) is by Andrew Keese; section 2(e) is by Catriona Livingstone; section 3(a) is by Mark West; section 3(b) is by Samuel Cooper; section 4(a) is by Rebecca D’Monte; section 4(b) is by Gustavo A. Rodríguez Martín; section 5 is by Graham Saunders and William Baker; section 6(a) is by Noreen Masud; section 6(b) is by Matthew Creasy; section 7 is by Alex Alonso; section 8 is by Karl O’Hanlon.

By the time this article appears in print, the two winners (in English and French) of the 1986 Governor General’s Award for Drama will have been announced; but as I write this the juries have not yet met to select a short list of candidates. Late in the spring the Canada Council will plant a discreet notice in the media announcing the finalists in each of the prize’s four categories (fiction, non-fiction, poetry, and drama), and about a month later a second terse announcement will name the winners. The official gaze of Canadian culture will fix momentarily on literature, blink and pass on to things that really matter. Like Pay-TV.

Notes the presence of references to classical mythology throughout modern culture, and offers an annotated list of 43 works of contemporary fiction, poetry, and drama that use mythological sources and that can help close the gap between today’s students and the gods and goddesses, heroes and monsters of long ago.

Reviews three books: Class Politics: The Movement for the Students’ Right to Their Own Language, by Stephen Parks; (Re)Visioning Composition Textbooks: Conflicts of Culture, Ideology, and Pedagogy, edited by Xin Liu Gale and Fredric G. Gale; Exploring Literature: Writing and Thinking about Fiction, Poetry, Drama, and the Essay, by Frank Madden.

As their scholarship indicates, Henry Edmondson and Tim Spiekerman share two basic assumptions: There exist certain enduring issues of politics, such as the nature of social justice and the legitimacy of power, and authors of fiction, drama, and poetry who write with knowledge and sensitivity about the human condition often will have something significant to say about them.

Argues for the use of nonfiction in classrooms. Presents three passages from sources usually far removed from the typical secondary language arts classroom to help make the point. Concludes that just as the study of fiction, drama, and poetry help students explore their thoughts and feelings, nonfiction can offer a reality check with which to measure their individual responses.

The transformation of a historical figure into a literary character reflects a twofold interest. On the one hand it shows an interest in that figure in its given historical context, and on the other hand it reveals a topical interest, which uses that figure and its historical context to establish connections and parallels to the present of a respective writer. Hans Kohlhase, a poor merchant from the area around Berlin during the first half of the 16th century, whose legal quarrel with a Saxon nobleman led to a feud that lasted for several years and only came to an end with his execution in 1540, first appeared as a literary character in Heinrich von Kleist's story Michael Kohlhaas. Since then about three dozen adaptations of the theme have been written in the German language, a number reflecting a continually renewed interest in that character as well as in the themes of rebellion, authority and justice. An unpublished dissertation on the history of the Kohlhaas-theme, written in 1970 by Herbert Schillinger at the University of Vienna, was found to have considerable short-comings. In searching for his primary texts the author evidently did not go to a lot of trouble and simply used those adaptations mentioned by Elisabeth Frenzel in her Stoffe der Weltliteratur. Moreover, his unreflected classification of the individual works according to literary periods reveals a profound lack of judgement, is often questionable, and sometimes totally inappropriate, e.g. when he classifies Arnolt Bronnen's work from 1929 under 'Expressionist Drama'. Schillinger's individual chapters consist of short biographies of the writers and superficial plot-summaries of their texts. Not once does he consider aspects of historicity of a given adaptation, nor does he even attempt to discuss why the Kohlhaas-theme may have aroused the interest of writers at a particular point in history and how this may be reflected in their works. Likewise, Schillinger does not deal at all with the theoretical discussion of thematology that had begun in the early sixties. His failure to explain his terminology, his use of the terms 'theme'(Stoff) and 'motif' as synonyms, suggests that he is not even aware of that debate. Avoiding Schillinger's short-comings, this dissertation presents the first extensive study of one of the most important themes of German literature, its adaptations and transformations through almost two centuries. In the past a major point of criticism put forward against traditional thematological studies has been that they did not deal with the aspects of historicity of a theme and its adaptations, but rather judged many texts in their relation to some canonized masterpiece, often the first literary version of the theme by a classical author. In response to that justified criticism, this study focuses on the aspects of historicity. An adaptation of a historical theme contains two levels of historicity: one includes all elements -- events, people etc. -- belonging in the actual time and historical circumstances of the theme -- in our case the early 16th century; this level will be comprised under the term 'historicity' of a theme. The other level contains elements reflecting the time of a given adaptation and will be called the 'topicality' of a theme. Adaptations will be analyzed in their own historical context, their relation to prevalent ideas, ideologies, literary movements or fashions. In short, 'topicality' reflects the discourses, in Foucault's sense, in which various writers partake. These two aspects, historicity and topicality, as well as their relation to each other, will be at the center of the analyses of the individual adaptations. A third aspect is of chief interest in dealing with texts which do not simply adapt the theme but transform it. This is the aspect of 'intertextuality'. In most cases such works contain postfigurations of the Kohlhaas-character. Their protagonists live in a different time and under different circumstances, but explicit intertextual relations to the Kohlhaas-theme -- usually to Kleist's story -- justify the inclusion of these works in this study. In these cases the intertextual relations to the theme or one of its adaptations are of special interest. However, texts need to have such intertextual references in order to be of concern for this study. A simple similarity of a central motif without any such references is not sufficient and thus does not justify including a work in a dissertation on the history of the Kohlhaas-theme. Heinrich von Kleist, the first writer to adapt the theme may, as his initial Kohlhaas-fragment suggests, have originally planned to write a character-novella. Comparable to the protagonist of a classical tragedy, Kohlhaas, through his insistence on pursuing his understanding of justice to an untenable extreme, would turn this virtue into a tragic flaw and violate the very justice he intends to uphold. However, speculations about Kleist's original plans for the continuation of the fragment must necessarily be fruitless. In dealing with the published complete story, this analysis ascertains an interest significantly different from what the fragment suggests. After the initial exposition of its protagonist as a righteous citizen of the state, the text focuses on the wrong-doings of the authorities. By introducing two states, instead of only one in the fragment, Kleist confronts the explicitly negative portrayal of the government of Saxony with the positive counter-example of the Elector of Brandenburg. By judging the conduct of the authorities using the terminology of enlightenment theories of government and justice, the text goes beyond the level of the historicity of the theme and reveals its topical interest in the latter. The brutal rebellion of Michael Kohlhaas, his attempt at overthrowing the government and changing the order of the world evokes the French Revolution, its causes as well as its development. As Goethe did in his assessment of that historical event, Kleist blames the unjust government, which violated the social contract in Rousseau's sense, for the out-break of the uprising, without, however, justifying the latter. The description of the brutality and inhumanness of Kohlhaas' feud is sufficient evidence against that uprising. Thus, in the elector's concluding judgements the outrage against the authorities is regarded as justified, but the means of the uprising are condemned. The mysterious episode about the gipsy and her prophecies, which critics have interpreted in many different ways, symbolically comprises the central action of the text: by abusing their power the despotic authorities provoke the uprising of the people, which itself is not approved of in its excesses and whose leader therefore has to be punished. By employing contemporary theories about the state Kleist's adaptation of the theme attempts to appeal to absolutist governments to prevent revolution through reforms. The first phase of adaptations of the Kohlhaas-theme after Kleist reflects the struggle between revolutionary and restorative tendencies before and around 1848. Maltitz, a writer with democratic inclinations seems to be mainly interested in the motif of 'pride of social class'. Not only the members of the nobility in his play, but the protagonist as well act according to that passion. However, what will become the main trait of many later dramatizations does already becomes apparent in this play: the interest in the theme, especially in its inherent social conflicts, is overshadowed by the writer's efforts to copy the great tragedies of the classical period. In his attempt to place the protagonist in a situation of tragic guilt he subordinates the genuinely social conflicts of the theme to a normative conception of tragedy and the tragic; Kohlhas acts out of tragic blindness and thus he becomes guilty; his rebellion is condemned. As does Kleist's story, the play ends with a demand for a just government. Clearly anti-revolutionary intentions guide Eichendorff's adaptation of the theme. In a postfiguration of Kleist's Kohlhaas he discredits the French Revolution and thus revolutionary tendencies in his own time. Through intertextual references he also condemns the deeds of Kleist's protagonist. The dramatist Schindler employs the Kohlhaas-rebellion as a parallel to the unsuccessful revolution of 1848. Like large parts of the liberal bourgeoisie in that year, Schindler's Kohlhaas puts his trust in an absolutist ruler and thus abandons his anti-feudal position. However, the question whether revolutionary actions are justified never occurs in this play. Rather, Schindler concentrates on the reasons for the failure of a social uprising, whose justification and necessity are upheld at the end of the play. Far from making such explicit, statements for or against social change, most of the works of the following phase of adaptations are the work of epigones. In the 1860s the reception of German classical literature produced a flood of adaptations of historical themes such as the one about Kohlhaas. In these works topicality hardly manifests itself in explicit references, but rather in their absence, as well as in the dramatic conception. By modifying the initial unjust action against Kohlhaas from an act of arbitrariness into a forgivable mistake, Ising basically erases the potential conflicts of the theme, which in his play do not arise from social circumstances but are the result of stubbornness. Thus, individual guilt becomes the focus of his drama. Finally recognizing his guilt, Ising's Kohlhaas willingly accepts his just punishment. Due to the harmonizing character of this adaptation, both worldly and spiritual leaders, the two electors and Martin Luther, are positive, flawless figures. The drama employs a pattern which can be found in several other adaptations of that time: the Elector of Saxony does not know about Kohlhaas' complaints; Luther succeeds in convincing the rebel to give up; and the Elector of Brandenburg tries in vain to save him from capital punishment. The adaptation of Prölß follows exactly the same pattern. Both Schenk and Graff alleviate the conflicts of the theme by motivating them in a completely new way. Instead of class-struggle and arbitrary actions of the nobility both employ erotic emotions as a triggering motif. Essential elements of the theme thus become secondary. Obviously these concessions to the expectations of a mass-audience reduce social conflict to individual passions. A common flaw of all these plays is a certain inconsistency in the course of their action. The main reason for this may be found in the incompatibility of the harmonizing tendency of these texts with their closeness to Kleist's story. The only outstanding work of this phase in the history of the theme is the novel by Franzos, who, in a postfiguration of Kohlhaas, deals with the interpretation by the famous jurist Rudolf von Ihering. Franzos questions the claim of his protagonist, and thus that of Kleist's Kohlhaas, to act in the name and for the good of society. The analysis of adaptations written between 1890 and 1910 established two main characteristics reflecting topicality. As part of a new national identity arising in the Wilhelminian era, Kohlhaas becomes a model-figure, the prototype of a true German as described in some important manifests of German irrational ideology of the time. His acting according to his feeling for right and wrong is seen as a typical trait of German nature and, raised above Roman law, becomes the guarantor of appropriate action. Authors like Holzer and Prellwitz focus on the specific German nature of their protagonist by contrasting his character traits with those allegedly held by other nationalities. Since Kohlhaas becomes a figure of national identity, both criticism of the authorities and dealing with the phenomena of rebellion and social change become secondary or are even neglected. The play by Prellwitz exemplifies this in a characteristic way: the conflict is settled in a conciliatory fashion, and even though Kohlhaas receives his punishment his violent actions are described as a natural force, as a true, unrestrained expression of German nature -- this is an early indication of the coming barbarism of fascist ideology and thus proof that its roots lie in the irrationalist thoughts of the Second Reich. In addition, the positive role of the Elector of Brandenburg in Kleist's story is utilized by Prellwitz, John and Geyer in order to glorify his descendant, Kaiser Wilhelm II. Besides such ideological utilization of the theme there are other adaptations that are clearly influenced by the literary movement of Naturalism. These works not only show a strong interest in social problems but also reveal a new concept of historical drama. More than any writer before him Zoozmann sticks to the available historical documents. So does Weitbrecht, who, moreover, enlarges the level of historicity by including the historical dispute between Thomas Munzer and Martin Luther about authority and social change. His play turns into a study of the possibilities as well as the failure of social revolution in the Reformation period. A very similar interest can be found in Stramm's adaptation of the theme, which is strongly indebted to the drama of Gerhart Hauptmann. Stramm puts Kohlhaas's struggle into the larger frame of the peasant rebellion of 1525. Realistic depictions of the social misery of the peasants mark this play, which finally focuses on the failure of the uprising. The protagonist becomes an early fighter for civil rights, a forerunner of the future struggle for liberty and equality. Under the rule of National-Socialism, where Kleist is turned into a classic of the 'new Germany', the ideological utilization of the Kohlhaas-figure continues. In his violent resistance to injustice and his insistence on his feeling for right and wrong he becomes a prototype for the fascists, who in his struggle see an analogy to their fight against the Weimar Republic. However, the reception of the theme is often ambivalent since the motif of resistance against authority and state does not quite agree with the totalitarian rulers. Therefore Kohlhaas seemed also apt to become a symbol of resistance against the regime. Bronnen's two versions of his adaptation of the theme paradigmatically demonstrate these two opposing views of Kohlhaas. The first, written towards the end of the Weimar Republic, defends the protagonist's actions with the very phrases Bronnen used elsewhere to defend fascist terrorists. In the later version, written shortly after the war, Kohlhaas becomes a symbol of resistance against injustice and authority. Most adaptations of the thirties vary between these two possibilities. Mayer-Exner explicitly declares the action of his play to be a mirror image of current events and makes his Kohlhaas a symbol of the 'awakening' of the German people. The text does not portray the feud but focuses on the description of a morbid state controlled by Jewish bankers. Kohlhaas sets out to fight that state. Brecht's parable on fascism has a protagonist who turns out to be an anti-Kohlhaas collaborating with the rulers. Through intertextual reference Kleist's Kohlhaas becomes a positive counter-example, and thus again a symbol of resistance. A more subtle criticism of the Nazi-regime is found in Gilbricht's adaptation. The drama concentrates on unmasking an extremely despotic government. In the end Kohlhaas 's refusal to accept mercy does not express an acknowledgement of his guilt, but is an act of defiance, a continuation of his resistance. Geisenheyner's play does not explicitly reflect Nazi-ideology but rather the everyday consciousness of certain social classes under the conditions of the Third Reich. Finally, Bergengruen's novel contains another postfiguration of Kleist's Michael Kohlhaas. The text's criticism of its protagonist's actions thus includes criticism of Kohlhaas as well. Written only a few years after the break-down of the Nazi-regime, the Christian message of the novel, promoting obedience to any authority, turns into a justification of the so-called 'Inner Emigration'. Again Kohlhaas becomes a figure of resistance, this time, however, with negative connotations. After this phase of the history of the Kohlhaas-theme, as well as after this phase of German history, there are no adaptations for about two decades. A film based on Kleist's story, produced in the late sixties, does show a new interest in the theme which has its roots in the new political climate created by the leftist student movement. In the struggle of Kohlhaas, writers find analogies to present conflicts; the historical becomes topical once again. Best's continuation of Kleist's story primarily intends to establish the connection between past and present. Kohlhaas emigrates to America, where he becomes the founder of a libertarian commune whose example has an influence on a famous Russian revolutionary of the 20th century and from there on current political movements. East-German adaptations by Schutz and Dresen show that under the political system they live in, original quotes from Kleist's text can produce new, dissident connotations. Moreover, Schutz creates a hero who contradicts normative aesthetic rules of socialist writing. The failure of his revolt hints at the GDR as the product of an imported revolution that was at no time an expression of the will of the people and has not led to real change. Schutz's drama becomes an inquiry into the dilemma of German revolutions. Besides revealing a strong interest in revolutionary movements in German history, Karsunke's adaptation reflects the current phenomenon of terrorism. In his protagonist's actions the author criticizes terrorism in its wrong choice of means to achieve social change. But in the description of the authorities' counter-actions he refers to the West-German state's over-reacting against terrorism. In postfigurations of Kohlhaas, the texts by Walter and Eue focus on precisely these two aspects. Finally, Plessen's novel contains several of the characteristics found in adaptations of this phase. She too establishes analogies between past and present and at the same time reflects on the problems of such an undertaking. Plessen's Kohlhaas becomes a representative of an 'alternative scene' in the Reformation period, who, like some of his contemporary models, walks a thin line between Utopian ideas of liberty on the one hand, and terrorist actions on the other hand. And once again the reactions of the authorities are condemned. This study shows that the Kohlhaas-theme is indeed one of the most important themes in German literature. After Faust, Kohlhaas is the most significant literary figure to have been taken from German history. Again and again the different adaptations based on his life reflect, either in content or in form, a topical interest. The diversity of the different texts illustrates the many aspects of the historicity of any adaptation of a historical theme.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate

Three contemporary authors – Suzan-Lori Parks, Natasha Trethewey, and Colson Whitehead – within the African American Literary Tradition explore relationships to history in light of a dominant rhetoric that represents African American history through a white, hegemonic lens. In Parks’ The America Play, Trethewey’s Bellocq’s Ophelia, and Whitehead’s The Intuitionist, these authors comment on historical representation through such symbols as iconic figures like Abraham Lincoln, photographs, and elevators as starting points to explore the possibility of an independent space for African American history. Rather than remarking on just the representation of the artifact, however, the authors enter a conversation on how history is remembered and experienced. Parks, Trethewey, and Whitehead each form their own expression on historical representation; in each case, their works address the ability, or inability, to achieve historical intimacy amidst a push back from hegemonic narratives in the public eye. Historical intimacy, as the leading concept of the dissertation, refers to developing a close proximity to history not as a mere representation but as lived experience. Parks sees historical insight developing only through brief moments of intimate contact, if at all. Trethewey imagines personal, even sensual, familiarity with the subjects of her poems as a way of breaking through social frames and learning to connect with the past. Whitehead works through paradoxes to dissolve representational patterns of discourse, like verticality, and reach for a post-rational space wherein both open historical possibility, which stresses self-reflexivity, and a foundation in a “real,” experienced history unlock the opportunity for the construction of an intimate history. Although no author presents historical intimacy as an achieved goal, their works suggest varying degrees of potential and connection.

In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977). The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic. The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.
Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate

English is, can be, and ought to be taught through various teaching modes for deeper learning to take place successfully. ‘Creative writing’ has shown to be, according to previous research and interviewed high school teachers, a successful tool for teaching English as a foreign language, just as it can help students reach requirements and course goals constituted by the National Agency for Education in Sweden. Furthermore, creative forms of the English language are shown to be largely what motivate high school students the most to learn English, and what interest them about the English language in general. Nevertheless, ‘creative writing’ is rarely practiced when teaching English as a foreign language at Swedish high schools. Together, these findings suggest that ‘creative writing’ should be used more frequently as a tool for teaching English in Sweden. A prerequisite for actualizing the suggestion is education of English teachers in how to teach it properly.

U ovoj disertaciji istražuju se mnogobrojni oblici utopije unekolikim, prvenstveno u književnim segmentima složenog i obimnogopusa H. Dž. Velsa, kao i u nekolikim, prvenstveno u književnimsegmentima ne tako obimnog, ali takođe složenog opusa G. Kosteljnika.Studiju čine trinaest poglavlja.Prvo je uvodno, te se u njemu najpre objašnjavaju predmet, cilj imetodologija istraživanja, a potom se razmatraju najfrekventniji pojmovi:opšta i naučna fantastika, i, iznad svih, glavni pojam, utopija. Osvetljavajuse i njena geneza, i njene karakteristike, i njene funkcije.U drugom poglavlju su najpre izloženi faktori nastajanja, postojanja inestajanja utopija, a u nastavku je prezentirana iscrpna tipologija utopija.U trećem i četvrtom poglavlju govori se o formiranju stvaralačkihličnosti H. Dž. Velsa i G. Kosteljnika.Narednih šest poglavlja ispunjeno je odeljcima putem kojih seosvetljava romaneskno, pripovedačko i diskurzivno (esejističko,sociološko, politikološko, naučnopopularno i publicističko) stvaralaštvo H.Dž. Velsa, kao i poetsko, pripovedačko, dramsko i diskurzivno (esejističko,teološko, književnokritičko, lingvističko i publicističko) stvaralaštvo G.Kosteljnika.Jedanaesto poglavlje je zaključno. U njemu je još jednom razmotrenznačaj utopije uopšte, a naročito u delu dvojice protagonista ove disertacije:H. Dž. Velsa i G. Kosteljnika.
This thesis researches numerous forms of utopia in several, primarilyliterary segments from complex and comprehensive opus of H. G. Wells, aswell as in several, primarily literary segments of not so comprehensive, butalso complex opus of G. Kosteljnik.The study consists of thirteen chapters.The first chapter is introductory, where the subject matter, aim andmethodology of the research are explained, and the most frequent notionsare considered: general fantasy and science fiction, and, above all, the mainnotion, utopia. Some light is being shed on its genesis, its characteristicsand its functions.In the second chapter, the factors for its emergence, existence anddisappearance are presented, along with exhaustive typology of utopias.The tird and fourth chapter deals with formation of creativepersonalities of H. G. Wells and G. Kosteljnik.The following six chapters include the extracts through which Ithrow light on romanesque, narrative and discursive (essayistic,sociological, politicological, popular scientific and publicistic) artisticcreation of H. G. Wells, as well as poetic, narrative, dramatic anddiscursive (essayistic, theological, literary-critical, linguistic andpublicistic) artistic creation of G. Kosteljnik.The eleventh chapter is conclusion. It once again considers thenotion of utopia in general, and particularly in the works of the twoprotagonists of this thesis: H. G. Wells and G. Kosteljnik.

Margaret Cameron’s artistic practice performs as philosophy—an investigation that seeks insight through the body’s visceral capacities to perceive and to transform experience into material realities, which then become the substance of art. In order that this research project may take a congruent (or kind of equivalent) form to its proposition, this journey through Cameron’s practice is also a dramaturgical mapping. The research begins with an introduction that provides autobiographical context, proceeding to an exposition of methodology. This is followed by an excavation of an exegetical voice from personal, cultural and philosophical contexts, and arrives at a viva voce that is the performance score for a work of theatre called Opera for a small mammal. Set in the context of contemporary performance and a working life, the research traverses Cameron’s solo artistic practice from 1989 to 2012. A methodology for the overall thesis is demonstrated and enacted through strategies that serve as tools to delay closure and generate possibilities. This methodology includes the consideration of consciousness as performance. Linguistic practices are used to engage language as a perceptual instrument to hold open paradox, endure ambiguity and leverage new relationships between things. The thesis is constructed as a composition of carefully held parts, and parts of parts, that perform many perspectives of the subject in a discursive play between works. Engaging with perceptual practices and provocations from artists, theorists, philosophers, critics and colleagues, the reader is invited to participate with the artist in the perceptual encounters that conceive each work. These include the transformation of one’s self and the thinking, feeling and kinaesthetic events of live performance on a stage. This stage is underscored as a perceptual space that is active—a practising proposition that works in the body of the artist, the audience and the larger corpus of cultural reception. Perceiving many perspectives in space, poising relationships on an axis of form and content, the artist works through a synergy of modes of knowing, such as thinking, intuition, memory and feeling. These are underpinned by the proposition that art is a verb. Art invites us to audience, and it does so through unique and reciprocal acts of participation rather than spectatorship.

This study deals with weather symbolism in DBZ Ntuli's literature. Chapter one describes the aim, biography of DBZ Ntuli, definition of important literary concepts, the scope and the methodology. Chapter two considers the symbolic use of mist, fog, overcast weather and clouds. Each of these aspects is defined and is studied under each genre, i.e. in terms of its use by Ntuli in prose, drama and poetry. Chapter three explores the symbolic usage of rain, thunder and the rainbow in all the genres in which Ntuli writes. Chapter four deals with the imagery of the sun. The sun is shown as exhibiting three distinct levels of heat: mild, hot and extremely hot. Chapter five deals with the symbol of cold weather. Its aspects can be perceived on two levels: cold weather and extremely cold weather. Chapter six is a general conclusion that reveals the outcome of the research, observations and the recommendations.
African Languages
M.A. (African Languages)