Alien crosstalk
- Stuart-Watson, Andrew Joseph
- Authors: Stuart-Watson, Andrew Joseph
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Short stories, South African (English) 21st century , South African essays (English) 21st century , American fiction History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/294515 , vital:57228
- Description: Alien Crosstalk , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Authors: Stuart-Watson, Andrew Joseph
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Short stories, South African (English) 21st century , South African essays (English) 21st century , American fiction History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/294515 , vital:57228
- Description: Alien Crosstalk , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
Along the river that flowed south
- Authors: Mohlomi, Teboho Samson
- Date: 2022-04-07
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/234195 , vital:50171
- Description: Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
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- Authors: Mohlomi, Teboho Samson
- Date: 2022-04-07
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/234195 , vital:50171
- Description: Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
Diski 9 Nine and Other Stories (and Things)
- Authors: Mahlabe, Stoffel Seshia
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African essays (English) 21st century , Short stories, South African (English) 21st century , Portuguese fiction History and criticism , African literature (English) History and criticism , Ghanaian fiction (English) History and criticism , South African fiction (English) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232283 , vital:49978
- Description: My thesis is a collection of short stories that reflects the everyday lives of ordinary people. They touch on issues of morality within the current context, in such a way as to both entertain and educate. As a child I learned to imitate the wildly comical, sometimes dark dinoonwane and dithamalakwane stories I heard from elders. In my thesis, I draw on Amos Tutuola’s exuberant style of retelling Yoruba folktales and balance this with the languid candour of Jose Saramago’s Blindness. Stories such as Bessora’s The Milka Cow, and Micah Dean Hicks’s Crawfish Noon have impressed me deeply for their incredible, wild narrative strategies that still, however, emulate realism. Dambudzo Marechera and Can Themba are also present influences. Both have sprinklings of erudition in their writing, but in an earthy kind of way. Their writing contains transliterations that have a ring of the vernacular languages, an idiom that Africanises the English language. , Thesis (MA) -- Faculty of Humanities, School of Languages, 2022
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- Authors: Mahlabe, Stoffel Seshia
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African essays (English) 21st century , Short stories, South African (English) 21st century , Portuguese fiction History and criticism , African literature (English) History and criticism , Ghanaian fiction (English) History and criticism , South African fiction (English) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232283 , vital:49978
- Description: My thesis is a collection of short stories that reflects the everyday lives of ordinary people. They touch on issues of morality within the current context, in such a way as to both entertain and educate. As a child I learned to imitate the wildly comical, sometimes dark dinoonwane and dithamalakwane stories I heard from elders. In my thesis, I draw on Amos Tutuola’s exuberant style of retelling Yoruba folktales and balance this with the languid candour of Jose Saramago’s Blindness. Stories such as Bessora’s The Milka Cow, and Micah Dean Hicks’s Crawfish Noon have impressed me deeply for their incredible, wild narrative strategies that still, however, emulate realism. Dambudzo Marechera and Can Themba are also present influences. Both have sprinklings of erudition in their writing, but in an earthy kind of way. Their writing contains transliterations that have a ring of the vernacular languages, an idiom that Africanises the English language. , Thesis (MA) -- Faculty of Humanities, School of Languages, 2022
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Gray
- Authors: Fouché, James De Clerque
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Detective and mystery stories, South African (English) 21st century , South African fiction (English) 21st century , South African essays (English) 21st century , English fiction 20th century History and criticism , American fiction African American authors History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292715 , vital:57009
- Description: My thesis is a crime fiction novella. I’m moved by the idea of developing feasible, relatable characters with flaws – a staple of the crime fiction genre. I also appreciate how crime serves as a platform from which to launch into human drama, the way James Ellroy does in The Black Dahlia. While my protagonist endures trials on a near Jobian scale, the narrative meditates on the consequences of crime and conflict in a satirical way. Writers like Ross Macdonald, Raymond Chandler, Flannery O’Connor, China Miéville and Derek Raymond have inspired me with their sharp imagery and unconventional characterization techniques. These techniques accelerate the ease with which a reader can step into the shoes of any given narrator. Their writing is crisp, uncluttered and uncomplicated. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
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- Authors: Fouché, James De Clerque
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Detective and mystery stories, South African (English) 21st century , South African fiction (English) 21st century , South African essays (English) 21st century , English fiction 20th century History and criticism , American fiction African American authors History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292715 , vital:57009
- Description: My thesis is a crime fiction novella. I’m moved by the idea of developing feasible, relatable characters with flaws – a staple of the crime fiction genre. I also appreciate how crime serves as a platform from which to launch into human drama, the way James Ellroy does in The Black Dahlia. While my protagonist endures trials on a near Jobian scale, the narrative meditates on the consequences of crime and conflict in a satirical way. Writers like Ross Macdonald, Raymond Chandler, Flannery O’Connor, China Miéville and Derek Raymond have inspired me with their sharp imagery and unconventional characterization techniques. These techniques accelerate the ease with which a reader can step into the shoes of any given narrator. Their writing is crisp, uncluttered and uncomplicated. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
Pink Concrete
- Authors: Curr, Jill Alexandra
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , English fiction History and criticism , Nigerian fiction (English) History and criticism , Argentine fiction History and criticism , Angolan fiction (Portuguese) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232388 , vital:49987
- Description: (From Reader Report Reflection) - I started this course believing I was not a writer. I knew that I loved to write, I knew that it was innate to how I perceived the world. I had written a novel previously, it was an outpouring, uncontrollable imagination spew. I was often scared and doubted myself throughout writing it, but I took comfort in my reading. I picked up all the classics, modern and old, rewriting the words into notebooks alongside my own, retracing the sounds, the rhythms, the symbols and their little links, the pauses. I collected pieces rereading them with reverence, my fingers curling over the lines sunken into the page. I didn’t understand what I was doing, it felt natural to hide in the skirts of other writers peering behind the curtain to see how they built the illusion. And yet, even after finishing my novel I still didn’t think I was a writer; it was a hobby, it was something extra to me, a backpack I could take off and on. I denied what was innate, and said it was not that important to me. I applied for this Master’s in Creative Writing (MACW)7 course because I wanted external validation on my first novel and an application was probably the only way, I was going to get someone to read it. It is sad and stunted that I needed this external validation to believe I could try, to believe that I could learn to control this compulsion, to believe that I could become a writer. In our first course contact week,8 lecturers and supervisors kept saying again again that we were already writers, that this is what we are. I was scared of this, that they would find out I was not really meant to be here. Writing, taking those solitary thoughts that are too much for my skull and making them real, something tangible; this is how I move through my existence. I take pieces of myself and paste them to the page, otherwise the thoughts build up like snow around a car until you are suffocating in an icebox. And by removing this part of myself to just a hobby, a silly backpack that I can pick up and put down, was just me running away. This MACW course gave me the tools to tap into what I am, that I have a why that I must write to and that I have an audience for this why. By sharing pieces of myself, I make them real again, something I can study, tracing their edges, their dark underbelly, the light hillocks. I sat with my fear for two years slowly, piece by piece, cracking it open. I learnt to love my voice and believe in it without needing external validation, without needing the gold star of acceptance, because I accept and love what I am trying to build with my writing. , Thesis (MACW) -- Faculty of Arts, School of Languages and Literatures, 2022
- Full Text:
- Authors: Curr, Jill Alexandra
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , English fiction History and criticism , Nigerian fiction (English) History and criticism , Argentine fiction History and criticism , Angolan fiction (Portuguese) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232388 , vital:49987
- Description: (From Reader Report Reflection) - I started this course believing I was not a writer. I knew that I loved to write, I knew that it was innate to how I perceived the world. I had written a novel previously, it was an outpouring, uncontrollable imagination spew. I was often scared and doubted myself throughout writing it, but I took comfort in my reading. I picked up all the classics, modern and old, rewriting the words into notebooks alongside my own, retracing the sounds, the rhythms, the symbols and their little links, the pauses. I collected pieces rereading them with reverence, my fingers curling over the lines sunken into the page. I didn’t understand what I was doing, it felt natural to hide in the skirts of other writers peering behind the curtain to see how they built the illusion. And yet, even after finishing my novel I still didn’t think I was a writer; it was a hobby, it was something extra to me, a backpack I could take off and on. I denied what was innate, and said it was not that important to me. I applied for this Master’s in Creative Writing (MACW)7 course because I wanted external validation on my first novel and an application was probably the only way, I was going to get someone to read it. It is sad and stunted that I needed this external validation to believe I could try, to believe that I could learn to control this compulsion, to believe that I could become a writer. In our first course contact week,8 lecturers and supervisors kept saying again again that we were already writers, that this is what we are. I was scared of this, that they would find out I was not really meant to be here. Writing, taking those solitary thoughts that are too much for my skull and making them real, something tangible; this is how I move through my existence. I take pieces of myself and paste them to the page, otherwise the thoughts build up like snow around a car until you are suffocating in an icebox. And by removing this part of myself to just a hobby, a silly backpack that I can pick up and put down, was just me running away. This MACW course gave me the tools to tap into what I am, that I have a why that I must write to and that I have an audience for this why. By sharing pieces of myself, I make them real again, something I can study, tracing their edges, their dark underbelly, the light hillocks. I sat with my fear for two years slowly, piece by piece, cracking it open. I learnt to love my voice and believe in it without needing external validation, without needing the gold star of acceptance, because I accept and love what I am trying to build with my writing. , Thesis (MACW) -- Faculty of Arts, School of Languages and Literatures, 2022
- Full Text:
Praying mantis
- Authors: Kenene, Thobeka
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , South African essays (English) 21st century , Portuguese fiction 20th century History and criticism , Russian fiction 20th century History and criticism , Zimbabwean fiction (English) 20th century History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292726 , vital:57010
- Description: (Prologue) I could only see in black and white as if I had travelled through time. I was the star of the medieval people who waited on me. The city was Johannesburg where strange faces called me a traitor because I was an educated black person. I hid between the skyscrapers and ran into a mirror image of myself as a man. “I write this book,” he said to his readers, “To invoke a yearning in our youth to awaken from slumber. To set examples for them to desist from characters like Velesazi and Nongendi, and imitate Nomsa and Themba. And also, to contribute to Xhosa literature.” He signed off by calling himself our servant. These are the words from the note my great-grandfather left me. We walked together across a barren field and past a graveyard. I was feeling tired and lost; I wanted to get home as fast as possible. We quickened our step and entered a church site. Inside the church were all my close relatives. I saw myself on stage looking down at them, and when I opened my mouth to sing, they began laughing at me. I imagined him in his 1917 suit, as a writer, penning down his first novel that is dedicated to his mother. His round cheeks enveloped in a haze of candle light. He visited my dream in 2012 and in the dream he asked me, “Do you see?” I said, “Yes, I see.” My great-grandfather hummed a song from his belly. I inhaled deeply into my belly and then exhaled a sound. Together we hummed this song that made everyone fall silent and listen. In the dream I could feel my lungs expanding and deflating along to the rhythm of the song. As my great-grandfather and I sang it, the night lamps shone brighter. I had become my great-grandfather, wearing his suit and black leather shoes. His friends were my friends. They turned and asked me what my clan name was. When I told them, they whispered something among themselves. One of them said to me, “Unogcwabevu.” I saw a white unknown woman who was afraid of me. I told her it is going to be okay, and that I would not harm her. But the colour of my skin frightened her. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Authors: Kenene, Thobeka
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , South African essays (English) 21st century , Portuguese fiction 20th century History and criticism , Russian fiction 20th century History and criticism , Zimbabwean fiction (English) 20th century History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292726 , vital:57010
- Description: (Prologue) I could only see in black and white as if I had travelled through time. I was the star of the medieval people who waited on me. The city was Johannesburg where strange faces called me a traitor because I was an educated black person. I hid between the skyscrapers and ran into a mirror image of myself as a man. “I write this book,” he said to his readers, “To invoke a yearning in our youth to awaken from slumber. To set examples for them to desist from characters like Velesazi and Nongendi, and imitate Nomsa and Themba. And also, to contribute to Xhosa literature.” He signed off by calling himself our servant. These are the words from the note my great-grandfather left me. We walked together across a barren field and past a graveyard. I was feeling tired and lost; I wanted to get home as fast as possible. We quickened our step and entered a church site. Inside the church were all my close relatives. I saw myself on stage looking down at them, and when I opened my mouth to sing, they began laughing at me. I imagined him in his 1917 suit, as a writer, penning down his first novel that is dedicated to his mother. His round cheeks enveloped in a haze of candle light. He visited my dream in 2012 and in the dream he asked me, “Do you see?” I said, “Yes, I see.” My great-grandfather hummed a song from his belly. I inhaled deeply into my belly and then exhaled a sound. Together we hummed this song that made everyone fall silent and listen. In the dream I could feel my lungs expanding and deflating along to the rhythm of the song. As my great-grandfather and I sang it, the night lamps shone brighter. I had become my great-grandfather, wearing his suit and black leather shoes. His friends were my friends. They turned and asked me what my clan name was. When I told them, they whispered something among themselves. One of them said to me, “Unogcwabevu.” I saw a white unknown woman who was afraid of me. I told her it is going to be okay, and that I would not harm her. But the colour of my skin frightened her. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
The memory altar
- Alexander-McKenna, Hilary Jane
- Authors: Alexander-McKenna, Hilary Jane
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , South African essays (English) 21st century , South African essays (English) History and criticism , South African fiction (English) History and criticism , Yuknavitch, Lidia Criticism and interpretation , American fiction Criticism and interpretation , COVID-19 (Disease) in literature
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/263533 , vital:53636
- Description: My thesis is a novella that casts a sideways glance at the real world that at times seems stranger than fiction. The novella is written as a work of realistic fiction, with a plot, characters, timelines and location placed in present time, reflecting real current events. My work is strongly influenced by writers such as Ivan Vladislavić whose Portrait with Keys uses a slice of life narrative voice that observes overlays of public and private realities; Marguerite Duras’ use of cinematic storytelling and deeply personal exposure in The Lover and Yann Andréa Steiner; Kate Zambreno’s depiction of inner chaos against the chaos of an anonymous city in Green Girl; Otessa Moshfegh who makes the minutiae of the day-to-day seem significant in My Year of Rest and Relaxation; and Samuel Beckett’s finely crafted streams of consciousness, in his works of prose and drama, revealing the intimate perspectives of insiders. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Authors: Alexander-McKenna, Hilary Jane
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , South African essays (English) 21st century , South African essays (English) History and criticism , South African fiction (English) History and criticism , Yuknavitch, Lidia Criticism and interpretation , American fiction Criticism and interpretation , COVID-19 (Disease) in literature
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/263533 , vital:53636
- Description: My thesis is a novella that casts a sideways glance at the real world that at times seems stranger than fiction. The novella is written as a work of realistic fiction, with a plot, characters, timelines and location placed in present time, reflecting real current events. My work is strongly influenced by writers such as Ivan Vladislavić whose Portrait with Keys uses a slice of life narrative voice that observes overlays of public and private realities; Marguerite Duras’ use of cinematic storytelling and deeply personal exposure in The Lover and Yann Andréa Steiner; Kate Zambreno’s depiction of inner chaos against the chaos of an anonymous city in Green Girl; Otessa Moshfegh who makes the minutiae of the day-to-day seem significant in My Year of Rest and Relaxation; and Samuel Beckett’s finely crafted streams of consciousness, in his works of prose and drama, revealing the intimate perspectives of insiders. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
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