Thèses sur le sujet « Drama - literary criticism »

Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.

Esta dissertação tem como objetivo examinar a obra do crítico Raymond Williams a partir do ponto de vista da crítica da modernidade levada a cabo pelo autor em um período específico de sua trajetória: entre Cultura e sociedade (1958) e O campo e a cidade (1973). Para tanto, parte-se da reconstrução da forma assumida por essa crítica nos esquemas interpretativos daquelas que foram as duas grandes influências formativas do pensamento de Williams, e que figuraram como as duas grandes correntes teóricas no cenário intelectual inglês do século XX: a crítica literária e o marxismo. Pretende-se oferecer, com isso, uma leitura alternativa da obra do autor, repensando o peso de cada um de seus principais textos, as linhas de continuidade e as rupturas atravessando-a e, por fim, o próprio sentido do desenvolvimento teórico percorrido por Williams no período considerado, notadamente, destacando-se o impacto que o marxismo exerceu na conformação do seu projeto teórico.
This dissertation aims to analyze Raymond Williams work from the point of view of the critique of modernity undertaken by him in a specific period of his trajectory: from Culture and Society (1958) to The Country and the City (1973). Therefore, we begin by reconstructing the forms assumed by this critique in the interpretative schemes of the two greatest formative influences in Williams thought, and which became the two greatest theoretical currents in the English intellectual scenario in the 20th century: literary criticism and Marxism. Hence, we plan to offer an alternative interpretation of his oeuvre, reconsidering the importance of each of his main texts, the continuities and ruptures crossing it and, finally, the sense of the theoretical development covered by Williams in the period here considered, notably, focusing the impact that Marxism produced in the shaping of his theoretical project.

Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.

The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over. The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis. Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded. Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship. Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format.

Orientador: Isabella Tardin Cardoso
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A obra do comediógrafo romano Tito Mácio Plauto (c. 254 ¿ 184 a.C.) é marcada pela presença dos gêneros trágico, épico e mesmo lírico em determinadas passagens, que têm sido identificadas por diversos critérios, como menção, alusão e associação por paralelos formais. Estudos teóricos sobre "mescla" ou "cruzamento de gêneros" vêm se desenvolvendo ao menos desde a proposição do conceito de "Kreuzung der Gattungen" por W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). No entanto, estudiosos como A. Barchiesi ("The crossing", 2001) passam a questionar premissas do trabalho do filólogo alemão, que tomava a "miscigenação" como "decadência" da cultura literária helenística e romana. Em nossa pesquisa sobre as mesclas genéricas na comédia plautina, também nos afastamos da perspectiva de W. Kroll e não propomos, como ponto de partida, que as peças que abrigam outros gêneros resultem necessariamente em híbridos. Na verdade, preferimos uma abordagem como a de S. J. Harrison, que lida com a noção de "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). A sistematização da presença de outros gêneros poéticos no corpus de Plauto selecionado (a peça Cativos, bem como passagens de Báquides, O cabo, O soldado fanfarrão, dentre outras) nos interessa no sentido de explorar o quanto a comédia é enriquecida precisamente por meio de elementos perceptíveis pelo público plautino como "alheios" a esse gênero. Assim, nosso método envolve a identificação de aspectos (temáticos e formais) sob os quais esses gêneros aparecem ou transparecem, bem como uma reflexão sobre a possibilidade de, a partir da observação das convenções poéticas com que ele brinca em seus textos, pensar em uma poética imanente em Plauto
Abstract: The presence of the tragic, the epic, and even the lyric genre in the work of the Roman comic poet Titus Maccius Plautus (c. 254 ¿ 184 BC) has been already noted in the field of classical studies. Among the various criteria used in the identification of those poetic genres there is not only direct mention of elements of the works pertaining to them, but also (thematic or formal) allusion to such elements. Theoretical studies about "genres miscellany" or "genres crossing" have been developed at least since the proposition of the concept of "Kreuzung der Gattungen" by W. Kroll (Studien zum Verständnis der römischen Literatur, 1924). However, scholars such as A. Barchiesi ("The crossing", 2001) now question premises from Kroll¿s work, which considered the "miscegenation" as a "decadence" on the Hellenistic and Roman literary cultures. The present research does not assume Kroll¿s perspective, i.e. it does not presuppose that the plays in which the presence of other genres is evinced are necessarily hybrids. Rather, it favors an approach like that of S. J. Harrison, which deals with the notion of "generic enrichment" (Generic enrichment in Vergil and Horace, 2007). While systematizing such a presence of different poetic genres in the selected Plautine corpus (the play Captiui, as well as passages from Bacchides, Miles gloriosus, Rudens, among others) this study intends to appreciate to what extent comedy is enriched precisely by the elements perceived by the plautine public as extraneous to this genre. The method is based on the identification of (thematic and formal) aspects under which such genres emerge as the play goes on. The observation of the poetic conventions with which the Roman dramatist plays in his texts may also provide a reflexion on an imanent poetics in Plautus
Doutorado
Linguistica
Doutora em Linguística

In order to contribute to the body of work on Bolingbroke and on Shakespeare's development of character, this thesis examines various rhetorical and stylistic methods used by Shakespeare in his creation of the character of Henry Bolingbroke.

Thesis (MDram)--University of Stellenbosch, 2011.
AFRIKAANSE OPSOMMING: Die literêre interteks staan sentraal tot die teks-analitiese proses en die gevolglike ontsluiting van betekenis binne die oeuvre van Sarah Kane, maar in die huidige besprekings van haar werk, word hierdie interteks alleenlik tot literatuur soos die roman, die gedig en die teaterteks beperk. Die gevolg is dat daar ‘n totale verontagsaming van die neerslag van die liriek as nóg ‘n tipe literêre interteks is. Beide James Macdonald (in Fisher 2001b) en Iain Fisher (2001b) dui daarop dat lirieke van heelparty orkeste - o.a. Joy Division, Radiohead, Nirvana en die Beatles - in Kane se werk nagespeur kan word, maar geeneen blyk ondersoek na die moontlike redes vir die ontlening daarvan óf hoe dit die betekeniswaarde van haar werk informeer, in te stel nie. Deur op Still en Worton (1990:1-2) se teorie dat die leser van ‘n teks sy/haar eie intertekste op daardie teks van toepassing kan maak in ‘n poging om die betekenis daarvan te ontsluit (selfs al word betrokke intertekste nie noodwendig deur die skrywer erken nie), te trek, word daarop gedui waar en hoe verskeie lirieke van voorgenoemde vier orkeste hul neerslag in vier van Kane se dramas, Phaedra’s Love, Cleansed, Crave en 4.48 Psychosis vind. Na gelang van Michael Riffaterre (1990:58) se teorie omtrent “connectives” (in hierdie geval die lirieke wat Kane se tekste met liedjies uit die populêre kultuur verbind) en hoe ‘n deeglike voorkennis daaromtrent die leser daartoe in staat stel om te bepaal of betrokke “connective” wel die teenwoordigheid van ‘n interteks daarstel al dan nie, word ‘n deeglike studie van elkeen van die lirieke gedoen. Daarna word verskeie raakpunte tussen hierdie lirieke en Kane se tekste uitgewys, hetsy dit met onderwerpmateriaal of tematiek verband hou, sodat ge-argumenteer word dat hierdie lirieke wel as intertekste beskou kan word. Vervolgens word die betekenisse van die onderskeie lirieke op Kane se dramas (spesifiek die tematiek daarvan) van toepassing gemaak en daar word ge-argumenteer dat hierdie intertekste óf bestaande beskouings daarvan ondersteun en moontlik daarop uitbrei óf dat dit tot radikaal nuwe insigte omtrent haar werk aanleiding gee, sodat nuwe en oorspronklike benaderings tot tematiek en karakters in die toekoms gevolg sou kon word. Uiteindelik illustreer ek aan die hand van my meestersproduksie empty (2010) hoe ek my benadering tot die neerslag van die liriek as interteks in Kane se werk op genoemde produksie van toepassing gemaak het, sodat die betekenis daarvan ook na gelang van die liriek as interteks duidelik word.
ENGLISH ABSTRACT: The intertextual relationship between Kane’s own work and those literary sources she derives ideas and adopts words from, plays a vital part in the textual analysis of her oeuvre. However, current discussions about and analyses of this intertextual relationship only focus on the novel, the poem and the play as literary intertexts and their subsequent influence on the interpretation of her work. This results in a complete disregard for the lyric’s use as another type of literary intertext (where the lyric is to be understood as the written and not the sung word). James Macdonald (in Fisher 2001b) and Iain Fisher (2001b) both refer to the presence of lyrics from various bands - among them Joy Division, Radiohead, Nirvana and The Beatles - in Kane’s work, but neither of them preoccupy themselves with the further investigation as to why these lyrics have been borrowed or how they inform the interpretation of her work. Drawing on Still and Worton’s (1990:1-2) theory that “the reader’s experience of some practice or theory unknown to the author may lead to a fresh interpretation” of any given text he/she reads (i.e. where the reader applies the knowledge about his/her own intertexts in an attempt to decipher the meaning of the text he/she is currently reading or studying), a clear indication of where and how various lyrics from aforementioned bands can be found in four of Kane’s dramas: Phaedra’s Love, Cleansed, Crave and 4.48 Psychosis. Based on Michael Riffaterre’s (1990:58) theory of “connectives” (in this case those lyrics which establish a connection between Kane’s plays and songs from popular culture) and how proper foreknowledge about these “connectives” can help in determining whether they do establish an intertextual relationship between the play and the song(s) or not, a thorough study of every lyric is undertaken and various similarities between them and Kane’s plays are highlighted. Based on these similarities (whether it be with regard to themes, subject matter or characterization), arguments are made that these lyrics should be viewed as intertexts, and the meanings and analyses of these lyrics are subsequently applied to Kane’s work. In the end these literary intertexts either support existing views and interpretations of her work, or they lead to radically new insights about the work, so that new, innovative and original approaches can henceforth be followed with regard to themes and characterization in her work. Finally I use my own master’s production, empty (2010), as an example to illustrate how I applied the research I have done about the lyric as an intertext in Kane’s work, on my own work and how these various lyrics help to give a better understanding of the play.

L’œuvre de Michel Butor se singularise par la traversée des genres dont elle dévoile les limites. Se référant à la classification générique héritée du XIXème siècle, la critique littéraire divise souvent cette œuvre en poèmes, romans et textes inclassables, tout en affirmant l’idée d’un abandon de la forme romanesque après 1960. Pourtant, c’est le choix de la forme englobante d’un texte hybride, qui va désormais déterminer le genre.La première partie de la thèse étudie la mutation des formes littéraires dans l’œuvre de Michel Butor. Il s’agit d’examiner la question du choix du genre romanesque par l’écrivain. L’hybridisation générique sera un mode d’expression artistique privilégié, dans la mesure où la recherche de nouveaux aspects de la poétique butorienne montre qu’elle est contaminée par la métaphore théâtrale. Nous verrons donc l’interaction entre roman et théâtre radiophonique à travers la lecture de Mobile. Étude pour une représentation des États-Unis, Réseau aérien. Texte radiophonique et 6 810 000 litres d’eau par seconde. Étude stéréophonique.La deuxième partie traite de la dramaturgie et met en lumière les aspects radiophoniques de l’œuvre postromanesque à travers les différents niveaux de lecture dégagés par Patrice Pavis (Discursif, Narratif, Actantiel, Idéologique et Inconscient), et le système de la mise en scène en rapport avec le studio d’enregistrement. La notion d’ « effet romanesque » sera ainsi le résultat d’une hantise de la forme romanesque produite par la lecture.La troisième partie étudie la prose poétique du théâtre radiophonique et les structures inconscientes et idéologiques, en s’appuyant sur l’importance du discours oral qui dévoile l’ambiguïté entre la forme (le théâtre radiophonique) et l’attitude de l’individu et du groupe, marquée par l’incapacité de transmettre une perception cohérente du monde à cause de leurs préjugés
Michel Butor’s work is different from the others by its crossing genres which it shows the limits of. Referring to the generic classification inherited from the nineteenth century, literary criticism often divides the work in poems, novels, and unclassifiable texts, while maintaining the idea that he had neglected the novelistic form after 1960. Still, the choice of the work that includes several forms of a hybrid text will now determine the genre.The first part deals with the mutation of the literary forms in the work of Michel Butor. We will examine the question of the choice of novelistic form by the author. Generic hybridization will be Butor’s favorite means of artistic expression, because the search of new aspects of Butor’s poetics reveals that it is corrupted by dramatic metaphor. So, we will see the interaction between the novel and radio drama through the reading of Mobile: study for a representation of the United States, Airline Network and Niagara.The second part is about the drama and shows radiophonic aspects of the postnovelistic work through different levels of reading set up by Patrice Pavis (Discursive, Narrative, Actantial, Ideological and Unconscious), and the production system in relation with the recording studio. The notion of “novelistic effect” will therefore be the result of an obsession of novelistic form produced by reading.The third part analyses poetic prose of radio drama and the unconscious and ideological structures of the work, based on the importance of oral discourse which reveals the ambiguity between the form (radio drama) and the individual attitude and the group, marked by the inability to pass on a coherent perception of the world because of their prejudices

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This work intends to study artifacts of textual construction in Martins Pena's play Os Dous ou o Inglês Maquinista, written probably in 1840 and published in 1843. The goal was to analyze the comic devices used by the playwright, with the specific objectives of not only to investigate which devices are, but also how they occur, what kind of laughter they may cause, and how they serve as a herald of comedy for the future staging. To that end, one wonders: What are the comic devices present in the play Os Dous ou o Inglês Maquinista? Can these be understood as indicators of comedy for a future staging? How do they work and what kind of laughter do they cause? The questioning was guided by the following hypotheses: the play Os Dous ou o Inglês Maquinista uses different devices of comedy, generators of different types of laughter that imply social and aesthetic tension; the comedy operationalized in the textual composition foresees effects that are intended in the staging, in other words, in the play as a spectacle. As a theoretic foundation, it relies on scholars of Comedy, such as Bergson, Propp, among others. Building a work within the traditional structures of comedy, Martins Pena use several elements that generate laughter, from satire and caricature, such as exaggeration, nonsense and misunderstandings
Este trabalho tem como objetivo estudar artifícios da construção textual na obra Os Dous ou o Inglês Maquinista, de Martins Pena, escrita provavelmente em meados de 1840 e publicada em 1843. Buscou-se analisar os artifícios cômicos utilizados pelo dramaturgo, tendo como objetivos específicos não só investigar quais são tais artifícios, mas também como ocorrem, que tipo de riso geram e como servem de arauto da comicidade para uma futura encenação. Para tanto, pergunta-se: Quais são os artifícios de comicidade presentes na obra Os dous, ou o inglês maquinista? Esses artifícios podem ser compreendidos como indicadores de comicidade para futura encenação? Como atuam e que tipo de riso geram? O questionamento foi orientado pelas hipóteses: a obra Os Dous ou o Inglês Maquinista faz uso de diferentes artifícios de comicidade, geradores de diferentes tipos de riso que implicam tensão social e estética; a comicidade operacionalizada na composição textual antevê efeitos pretendidos na encenação, isto é, na obra como espetáculo. Como fundamentação teórica, apoia-se em estudiosos da Comédia como Bergson, Propp, entre outros. Construindo uma obra dentro das estruturas tradicionais da comédia, Martins Pena emprega vários elementos geradores do riso, a partir da sátira e da caricatura, como o exagero, o nonsense e os equívocos

This study of Zakes Mda's life and sixteen of his plays and seven novels, written from 1966 to the present day, set in South Africa, Lesotho and the United States of America, shows how his life and works interweave, and how his defamiliarisation mode, his magic realism and his juxtaposed timeframes stimulate reader response and self-realisation, bringing about change. Experiences of marginalisation due to early childhood sexual abuse, exile, and being banished from church, and his involvement in political movements outside the mainstream, have caused him to be an astute observer of life. He is sceptical of authority and power, and is as critical of those who seek power, becoming intoxicated thereby, as of those who give away their power and so perpetuate unacceptable institutions and their own victimisation. At all times though, his writing style is creative and entertaining, rooted in the African oral tradition from which he springs, but also portraying international influences to which he has been exposed over the years.
English Studies
M.A. (English)

In China as elsewhere, drama has long been viewed as a powerful vehicle for affecting political consciousness in terms of building support for or challenging official ideology. Historically, the CCP leadership has recognised and reacted to the potentially large influence playwrights may enjoy by imposing upon then an elaborate system of administrative and social controls. Prevailing leadership factions within the CCP at different times exercise their powers of discretion to impose their own particular interpretations of Stalinist-Maoist orthodoxies. Playwrights who are vie-wed as "controversial" are obliged to negotiate their productions through this system, always aware of the possibility of being censored, banned, publicly vilified or imprisoned. Yet the system of co-option and coercion that playwrights confront often has a highly ambiguous face. To a large extent this is necessarily so, as it works in conformity with a Stalinist-Maoist system that has historically shown a marked tendency to shift towards political extremes when faced with crisis. Under political conditions that include ongoing factional power struggles at the apex of the Party political definitions constantly shift. A person who is vilified as a bourgeois-liberal today may well be castigated as an ultra-leftist tomorrow. Most playwrights who are labelled as controversial recognise their marginality to the political system and some use this marginality to their own advantage by reflecting, in their plays, the ambiguities inherent in the system. This thesis attempts to answer, in both a general and particular fashion, how this is done. The thesis argues that it is possible to use different strategies to understand controversial Chinese drama than has often been the norm. It may sometimes be possible for those of less direct "China experience'' to utilise (or "substitute'', if you will) certain structural analyses of literature in order to ''discover" the literary strategies which controversial playwrights may employ in presenting their socio-political critiques. This use of structural analysis has a certain advantage in that it offers a testing ground for the political assumptions that literary critics sometimes bring to bear when dealing with highly ambiguous plays and playwrights who may find it necessary to be at times less than open about their own motives in producing their work. The thesis employs the strategy of examining closely a wellknown controversial play of the 1980s - one that caused a literary storn1 when it was banned after only a few performances in 1985. Wang Peigong's play WM is examined in relationship to several other controversial plays which share with it the character of having a high degree of ambiguity.

This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language.
Linguistics
D.Litt. et Phil. (Linguistics)

The central problem in this dissertation entails how the concept volksmoeder (mother of the nation) gradually developed to secure a place in the Afrikaans drama. Chapter 1 determines the hypothesis of this dissertation. Chapter 2 focusses on the volksmoeder characteristics. The conclusion reached in Chapter 2 is that Maria in Langenhoven’s Die vrou van Suid-Afrika (1918) reveals similarities and contrasts with female characters in Dutch plays. Chapter 3 ascertains that characteristics of female personages as mothers of the nation determine their positions in patriarch/volksmoeder relationships in W.A. de Klerk’s Die jaar van die vuur-os (1952). Different types of volksmoeder appear in the above-mentioned farm play and in H.A. Fagan’s Ousus (1934). Chapters 4 and 5 identify how the present day volksmoeder in recent plaasdramas such as Deon Opperman’s Donkerland (1996), André P. Brink’s Die jogger (1997), Ek, Anna van Wyk (1986) and Die koggelaar (1988) by Pieter Fourie, indicate a further development in the concepts patriarch and volksmoeder. In the latter’s Koggelmanderman (2003) the man and woman are removed from the idea of gender.
Die sentrale probleem in die verhandeling behels hoe die konsep volksmoeder met verloop van tyd in die Afrikaanse drama neerslag gevind het. Hoofstuk 1 bepaal die hipoteses van die verhandeling. Hoofstuk 2 fokus op die kenmerke van die volksmoeder. Die gevolgtrekking in hoofstuk 2 is dat Maria in Langenhoven se Die vrou van Suid-Afrika (1918) ooreenstem en kontrasteer met Nederlandse vrouefigure. Hoofstuk 3 stel vas dat vrouefigure se kenmerke as volksmoeders hul posisie binne die patriarg/volksmoederverhouding in W.A. de Klerk se Die jaar van die vuur-os (1952) bepaal. Verskillende soorte volksmoeder -verskyn in bogenoemde plaasdrama en in H.A. Fagan se Ousus (1934). Hoofstukke 4 en 5 identifiseer hoe hedendaagse volksmoeders in nuwe plaasdramas, soos Deon Opperman se Donkerland (1996), Andre P. Brink se Die jogger (1997), Ek, Anna van Wyk (1986) en Die koggelaar (1988) van Pieter Fourie, verder binne die patriarg/volksmoederverhouding ontwikkel. In laasgenoemde se Koggelmanderman (2003) beweeg die man en vrou weg van die konsepte patriarg en volksmoeder.
Afrikaans & Theory of Literature
M.A. (Afrikaans)

Austin's Speech Act Theory is a valuable tool for the analysis of a literary text. In interaction, the intentionand purpose-success of linguistic communication can be gauged by establishing whether participants have met felicity conditions and have respected maxims. When the Co-operative Principle is ignored, special effects are achieved and receivers can only make sense of utterances through implicature and inferences based on background knowledge and mutual contextual beliefs. In the drama, Buzani kubawo, characters interact on four levels of time in space and place. They reveal themselves and convey theme through their speech and actions. Conflict is entrenched by lines of force drawn between opposing characters and between sub-worlds contrasted. Cohesion, determined by plot structure, and form, expressed on the endophoric and exophoric levels, give meaning to the drama. The micro-analysis of the wedding scene illustrates how communication can misfire should the playwright allow it!
African Languages
M.A. (African languages)