Love Interrupted (Short story anthology)
- Authors: Malatji, Reneilwe
- Date: 2012
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:21016 , http://hdl.handle.net/10962/6004
- Description: This collection of stories focuses on struggles between black South African men and women. Several of the stories explore how the rise of the affluent and powerful black woman is redefining relationships. Other stories in the collection describe women who do not know how to free themselves from their subservient role, or do not want to. Issues of interracial relations between blacks and whites in contemporary South Africa also feature in most of the stories.
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- Authors: Malatji, Reneilwe
- Date: 2012
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:21016 , http://hdl.handle.net/10962/6004
- Description: This collection of stories focuses on struggles between black South African men and women. Several of the stories explore how the rise of the affluent and powerful black woman is redefining relationships. Other stories in the collection describe women who do not know how to free themselves from their subservient role, or do not want to. Issues of interracial relations between blacks and whites in contemporary South Africa also feature in most of the stories.
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Silence, like breathing
- Authors: Van der Nest, Megan
- Date: 2012
- Subjects: South African poetry (English) -- 21st century , Creative writing (Higher education) , Diaries -- Authorship , English language -- Writing
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:5980 , http://hdl.handle.net/10962/d1015246
- Description: In this collection of free verse lyric poems I have drawn inspiration from childhood memories, as well as from the natural world and encounters with the people around me. Each poem focuses on a small moment, presenting an emotive portrait of a memory or an experience. These small moments lead, cumulatively, to deeper insights into myself and the world around me. The collection is divided into four seasons, in part because the work is strongly influenced by the natural world, but also because the progression of the seasons mirrors something of the personal journey reflected in the poems.
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- Authors: Van der Nest, Megan
- Date: 2012
- Subjects: South African poetry (English) -- 21st century , Creative writing (Higher education) , Diaries -- Authorship , English language -- Writing
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:5980 , http://hdl.handle.net/10962/d1015246
- Description: In this collection of free verse lyric poems I have drawn inspiration from childhood memories, as well as from the natural world and encounters with the people around me. Each poem focuses on a small moment, presenting an emotive portrait of a memory or an experience. These small moments lead, cumulatively, to deeper insights into myself and the world around me. The collection is divided into four seasons, in part because the work is strongly influenced by the natural world, but also because the progression of the seasons mirrors something of the personal journey reflected in the poems.
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Touching Brýnstone
- Authors: Woudstra, Ruth
- Date: 2012
- Subjects: South African fiction (English) -- 21st century , Short stories, South African (English) -- 21st century , South African poetry (English) -- 21st century , Creative writing (Higher education) , Diaries -- Authorship , English language -- Writing
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2504 , http://hdl.handle.net/10962/d1015032
- Description: Touching Brýnstone is the story of Beth, a young journalist who is troubled by misfortunes in her family and work circumstances. In a Pretoria library she is seduced by a book that consoles her and progressively becomes a fetish object. It sparks a journey to Japan, where she arrives to teach English. She is intent on meeting the author, whom she confounds with protagonist and book. This Bildungsroman is an exploration of the complex relationship between inner and outer self, and the struggle towards wholeness. Beth must find a way out of the obsession so that she can return to South Africa with an enriched insight into her shadow self.
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- Authors: Woudstra, Ruth
- Date: 2012
- Subjects: South African fiction (English) -- 21st century , Short stories, South African (English) -- 21st century , South African poetry (English) -- 21st century , Creative writing (Higher education) , Diaries -- Authorship , English language -- Writing
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2504 , http://hdl.handle.net/10962/d1015032
- Description: Touching Brýnstone is the story of Beth, a young journalist who is troubled by misfortunes in her family and work circumstances. In a Pretoria library she is seduced by a book that consoles her and progressively becomes a fetish object. It sparks a journey to Japan, where she arrives to teach English. She is intent on meeting the author, whom she confounds with protagonist and book. This Bildungsroman is an exploration of the complex relationship between inner and outer self, and the struggle towards wholeness. Beth must find a way out of the obsession so that she can return to South Africa with an enriched insight into her shadow self.
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Conrad's impressionism : the treatment of space and atmosphere in selected works
- Authors: De Lange, Adriaan Michiel
- Date: 1996
- Subjects: Conrad, Joseph, 1857-1924 -- Criticism and interpretation Conrad, Joseph, 1857-1924 -- Heart of darkness Conrad, Joseph, 1857-1924 -- Nigger of the Narcissus Conrad, Joseph, 1857-1924 -- Nostromo Conrad, Joseph, 1857-1924 -- Lord Jim
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2229 , http://hdl.handle.net/10962/d1002272
- Description: This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
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- Authors: De Lange, Adriaan Michiel
- Date: 1996
- Subjects: Conrad, Joseph, 1857-1924 -- Criticism and interpretation Conrad, Joseph, 1857-1924 -- Heart of darkness Conrad, Joseph, 1857-1924 -- Nigger of the Narcissus Conrad, Joseph, 1857-1924 -- Nostromo Conrad, Joseph, 1857-1924 -- Lord Jim
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2229 , http://hdl.handle.net/10962/d1002272
- Description: This thesis focuses on Conrad's representation of space and atmosphere in the "impressionistic" works published between 1897 and 1904, notably The Nigger of the "Narcissus" (1897), "Heart of Darkness" (1899), Lord Jim (1900), and Nostromo (1904). The many conflicting statements regarding the nature of Conrad's impressionism lead one to ask two fundamental questions: What constitutes this strange and elusive phenomenon, and how does it bear upon interpretation? This thesis works towards defining the elusive quality of Conrad's writing by investigating and assessing the contribution of impressionist techniques in the creation of a pervasive space and atmosphere; secondly, it considers how the various constituent elements interact with, and complement one another to form a dominant mode of fictional space in each work; and, thirdly, it indicates the possible impact that these particular Conradian configurations of space and atmosphere might have upon the interpretation of his impressionist works. The thesis argues that the existential condition of isolatio~experienced by Conrad's heroes and narrators is a consequence of epistemological frustration and fragmentation, which, in turn, is a function of impressionist ontology. There is a definite and complementary relationship between each of these notions in Conrad's fiction. The mysterious atmosphere in his works results from the interplay between various configurations of theme, narration and description, and these novelistic elements correspond roughly with the notions of existential isolation (the dominant theme), epistemology (narrating, telling and (re)telling as a method of knowing and understanding the space in which the characters find themselves) and, lastly, the ontological dimensions of the various modes of fictional space (as realized in description). The evocation and invocation of cosmic space in The Nigger of the "Narcissus," the mapping of a dorriinant symbolic space in "Heart of Darkness," the (re)constructions of Jim's psychological space in Lord Jim, and, finally, the "transcription" and "inscription" of a mythical space in Nostromo, indicate a definite development from epistemological to ontological issues. Phrased in more theoretical terms, this development is a movement from asking predominantly epistemological questions like "How can I interpret this world of which I am a part?" "What is there to be known?" "Who knows it ... and with what degree of certainty?", to asking predominantly ontological questions, such as "Which world is this?" "What kinds of worlds are there ... and how are they constituted?". Such questions, categorized by McHale as the dominant characteristics of Modernist and Postmodernist fiction respectively, are already present in Conrad's texts, thus undermining any clear-cut division between these broad categories. Indeed, this thesis suggests that these categories are at best tenuous, and that they should perhaps be used heuristically, rather than definitively
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Interacting with Shakespeare's figurative language: a project in materials development for the L2 classroom
- Authors: Lenahan, Patrick
- Date: 1995
- Subjects: Shakespeare, William, 1564-1616 -- Language Shakespeare, William, 1564-1616 -- Study and teaching English literature -- Study and teaching -- South Africa -- Foreign speakers English language -- Study and teaching -- South Africa -- Foreign speakers
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1581 , http://hdl.handle.net/10962/d1003463
- Description: This project arises from recent initiatives aimed at transforming Shakespeare studies in South African high schools, so as to make those studies more learner-centred and interactive, as well as a more useful communicative language-learning experience for second-language (L2) students. It is this interactive methodology that the present project seeks to extend to the relatively neglected area of Shakespeare's figurative language. Drawing on schema theory and response-based approaches to literature teaching, the project shows that figurative language is especially conducive to interactive treatment, whereby students might be encouraged to make sense of metaphors and similes out of their "background knowledge". Guidelines are indicated for putting this into practice in the L2 classroom; and on the basis of these guidelines, materials are developed for an interactive approach to Shakespeare's figurative language. The central phase in this development process involves trying out the materials in five African high schools and then analysing the data collected from them. The classroom try-outs were profitable in so far as they raised issues that had been overlooked in the earlier, theoretical, stage of the development process. A good overall response to the materials' learner-centred approach was indicated, although students experienced difficulties with certain essential tasks. Most seriously, while the materials were successful in accessing students' background knowledge in the form of associations, they were less successful in getting students to use this knowiedge in interpreting metaphors for themselves. Reasons for this feature, and others, are considered and solutions posited. Recommendations for implementing the materials in a larger teaching programme are made.
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- Authors: Lenahan, Patrick
- Date: 1995
- Subjects: Shakespeare, William, 1564-1616 -- Language Shakespeare, William, 1564-1616 -- Study and teaching English literature -- Study and teaching -- South Africa -- Foreign speakers English language -- Study and teaching -- South Africa -- Foreign speakers
- Language: English
- Type: Thesis , Masters , MEd
- Identifier: vital:1581 , http://hdl.handle.net/10962/d1003463
- Description: This project arises from recent initiatives aimed at transforming Shakespeare studies in South African high schools, so as to make those studies more learner-centred and interactive, as well as a more useful communicative language-learning experience for second-language (L2) students. It is this interactive methodology that the present project seeks to extend to the relatively neglected area of Shakespeare's figurative language. Drawing on schema theory and response-based approaches to literature teaching, the project shows that figurative language is especially conducive to interactive treatment, whereby students might be encouraged to make sense of metaphors and similes out of their "background knowledge". Guidelines are indicated for putting this into practice in the L2 classroom; and on the basis of these guidelines, materials are developed for an interactive approach to Shakespeare's figurative language. The central phase in this development process involves trying out the materials in five African high schools and then analysing the data collected from them. The classroom try-outs were profitable in so far as they raised issues that had been overlooked in the earlier, theoretical, stage of the development process. A good overall response to the materials' learner-centred approach was indicated, although students experienced difficulties with certain essential tasks. Most seriously, while the materials were successful in accessing students' background knowledge in the form of associations, they were less successful in getting students to use this knowiedge in interpreting metaphors for themselves. Reasons for this feature, and others, are considered and solutions posited. Recommendations for implementing the materials in a larger teaching programme are made.
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