Translating Heaney: a study of Sweeney astray, The cure at Troy, and Beowulf
- Van der Woude, Peter William
- Authors: Van der Woude, Peter William
- Date: 2007
- Subjects: Heaney, Seamus, 1939- Criticism and interpretation Heaney, Seamus, 1939- Sweeney astray Sophocles. Philoctetes -- Translations History and criticism Beowulf -- Translations History and criticism Buile Suibhne Geilt Buile Suibhne Geilt -- Translations History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2213 , http://hdl.handle.net/10962/d1002256
- Description: This thesis examines Seamus Heaney’s approach to translation with specific reference to Sweeney Astray, The Cure at Troy, and Beowulf. An assessment of Heaney’s translations, and the ways in which they relate to his poetry, is essential to an understanding of his work as a poet. This thesis demonstrates the centrality of translation to Heaney’s oeuvre as an effective means to comment on his Northern Irish socio-political context without producing political propaganda. Translation is a valuable means for Heaney to elucidate his contemporary experience by considering it in terms of the recorded past captured within his chosen translations. Instead of comparing the three translations with their original texts, this thesis concentrates on Heaney’s translations as a continuation of his own creative work and as catalysts for further poetry. The translations are explored in chronological order to allow a sense of Heaney’s development as a translator and his efforts to remain critically attuned to the Northern Irish political situation. The first chapter examines Heaney’s translation of the Gaelic poem Buile Suibhne, which is published as Sweeney Astray. In this first major act of translation Heaney recognises the political role that translation is able to play. He draws attention to the protagonist’s sense of cultural ease in both Britain and Ireland, which he argues is exemplary for the people of Ulster and renders the narrative particularly accessible to a Northern Irish readership due to his anglicisation of the text, which is intended as a reminder to both Catholics and Protestants of their shared identity as Irishmen. The second chapter focuses on Heaney’s translation of Sophocles’ Philoctetes, entitled The Cure at Troy. Heaney’s translation contextualises the Ancient Greek concern for personal integrity in the face of political necessity, a situation relevant to his own complex relationship with Northern Irish politics. His alterations to the text accentuate the positive aspects of the play, suggesting the very real possibility of social change within the seemingly constant violence of Northern Ireland. The third chapter explores Heaney’s engagement with the Anglo-Saxon epic poem, Beowulf, as a means of coming to terms with the complex history of Irish colonisation through language. This chapter assesses Heaney’s incorporation of Irish dialectal words into his translation, which lend the poem political weight, and yet prove to be contextually appropriate, rendering Heaney’s Beowulf a masterpiece of readability and subtle political commentary.
- Full Text:
- Date Issued: 2007
- Authors: Van der Woude, Peter William
- Date: 2007
- Subjects: Heaney, Seamus, 1939- Criticism and interpretation Heaney, Seamus, 1939- Sweeney astray Sophocles. Philoctetes -- Translations History and criticism Beowulf -- Translations History and criticism Buile Suibhne Geilt Buile Suibhne Geilt -- Translations History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2213 , http://hdl.handle.net/10962/d1002256
- Description: This thesis examines Seamus Heaney’s approach to translation with specific reference to Sweeney Astray, The Cure at Troy, and Beowulf. An assessment of Heaney’s translations, and the ways in which they relate to his poetry, is essential to an understanding of his work as a poet. This thesis demonstrates the centrality of translation to Heaney’s oeuvre as an effective means to comment on his Northern Irish socio-political context without producing political propaganda. Translation is a valuable means for Heaney to elucidate his contemporary experience by considering it in terms of the recorded past captured within his chosen translations. Instead of comparing the three translations with their original texts, this thesis concentrates on Heaney’s translations as a continuation of his own creative work and as catalysts for further poetry. The translations are explored in chronological order to allow a sense of Heaney’s development as a translator and his efforts to remain critically attuned to the Northern Irish political situation. The first chapter examines Heaney’s translation of the Gaelic poem Buile Suibhne, which is published as Sweeney Astray. In this first major act of translation Heaney recognises the political role that translation is able to play. He draws attention to the protagonist’s sense of cultural ease in both Britain and Ireland, which he argues is exemplary for the people of Ulster and renders the narrative particularly accessible to a Northern Irish readership due to his anglicisation of the text, which is intended as a reminder to both Catholics and Protestants of their shared identity as Irishmen. The second chapter focuses on Heaney’s translation of Sophocles’ Philoctetes, entitled The Cure at Troy. Heaney’s translation contextualises the Ancient Greek concern for personal integrity in the face of political necessity, a situation relevant to his own complex relationship with Northern Irish politics. His alterations to the text accentuate the positive aspects of the play, suggesting the very real possibility of social change within the seemingly constant violence of Northern Ireland. The third chapter explores Heaney’s engagement with the Anglo-Saxon epic poem, Beowulf, as a means of coming to terms with the complex history of Irish colonisation through language. This chapter assesses Heaney’s incorporation of Irish dialectal words into his translation, which lend the poem political weight, and yet prove to be contextually appropriate, rendering Heaney’s Beowulf a masterpiece of readability and subtle political commentary.
- Full Text:
- Date Issued: 2007
An edition of a selection of poems by John Randal Bradburne
- Authors: Hacksley, Helen Elizabeth
- Date: 2006
- Subjects: Bradburne, John, -1979 Bradburne, John, -1979 -- Criticism and interpretation Poets, South African -- 20th century -- Biography
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2288 , http://hdl.handle.net/10962/d1008069
- Description: This thesis examines the life and work of John Randal Bradburne (1921-1979), poet, mystic, musician, cenobite, sometime soldier, pilgrim and wanderer. His religious experiences, particularly, gave rise to a vast corpus of verse, virtually all of it as yet unpublished. This study provides a brief overview of his life, and a critical and textual introduction to a sample selection of poems entitled Bradburne 's Assays. The biography has been compiled from published and unpublished sources, as well as from personal interviews and correspondence with Bradburne's friends, relatives and associates in South Africa, Zimbabwe and the United Kingdom. Chief among these are two unpublished biographies by Judith, Countess of List owe I. Bradburne's extant corpus consists of over five thousand titled pieces of verse, ranging from brieflyrics to verses hundreds of pages long. The forty-seven poems comprising Bradburne 's Assays, published here for the first time, were selected and arranged by Bradburne himself in a single sequence. A unique collection in his corpus, they are unified by their common sonnet form and their contemplative approach to secular and religious experiences. An accurate reading text of this set of poems, transcribed from Bradburne's typescripts, currently held at Holyhead in Wales, is provided. These typescripts have been electronically scanned and are presented in the Appendix. Editorial intrusion, which has been kept to a minimum, is recorded in the critical apparatus beneath the text of the poems. Since all the poems in this ed ition are presented here for the first time, each is accompanied by detailed commentary on their form and content. Where necessary, interpretations of obscure passages have been suggested. A general index to the Introduction and Commentary is supplied, along with indexes of first lines and titles of the poems. It is hoped that this thesis will stimulate further study of the life and work of a unique and intriguing figure.
- Full Text:
- Date Issued: 2006
- Authors: Hacksley, Helen Elizabeth
- Date: 2006
- Subjects: Bradburne, John, -1979 Bradburne, John, -1979 -- Criticism and interpretation Poets, South African -- 20th century -- Biography
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2288 , http://hdl.handle.net/10962/d1008069
- Description: This thesis examines the life and work of John Randal Bradburne (1921-1979), poet, mystic, musician, cenobite, sometime soldier, pilgrim and wanderer. His religious experiences, particularly, gave rise to a vast corpus of verse, virtually all of it as yet unpublished. This study provides a brief overview of his life, and a critical and textual introduction to a sample selection of poems entitled Bradburne 's Assays. The biography has been compiled from published and unpublished sources, as well as from personal interviews and correspondence with Bradburne's friends, relatives and associates in South Africa, Zimbabwe and the United Kingdom. Chief among these are two unpublished biographies by Judith, Countess of List owe I. Bradburne's extant corpus consists of over five thousand titled pieces of verse, ranging from brieflyrics to verses hundreds of pages long. The forty-seven poems comprising Bradburne 's Assays, published here for the first time, were selected and arranged by Bradburne himself in a single sequence. A unique collection in his corpus, they are unified by their common sonnet form and their contemplative approach to secular and religious experiences. An accurate reading text of this set of poems, transcribed from Bradburne's typescripts, currently held at Holyhead in Wales, is provided. These typescripts have been electronically scanned and are presented in the Appendix. Editorial intrusion, which has been kept to a minimum, is recorded in the critical apparatus beneath the text of the poems. Since all the poems in this ed ition are presented here for the first time, each is accompanied by detailed commentary on their form and content. Where necessary, interpretations of obscure passages have been suggested. A general index to the Introduction and Commentary is supplied, along with indexes of first lines and titles of the poems. It is hoped that this thesis will stimulate further study of the life and work of a unique and intriguing figure.
- Full Text:
- Date Issued: 2006
The poetry of N.H. Brettell : a critical edition
- Authors: Hacksley, Reginald Gregory
- Date: 2006
- Subjects: Brettell, N H -- Criticism and interpretation South African poetry (English) -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2289 , http://hdl.handle.net/10962/d1008072
- Description: This thesis presents for the first time a critical reading edition of all known poems by N. H. Brettell. It makes no claim to being definitive, nor does it attempt to establish a final text. It represents merely the best thinking of the editor. Brettell printed and circulated his poetry primarily in hand-made illustrated volumes in a process reminiscent of the scribal publication of the seventeenth century. Only 137 of his 206 extant poems were commercially published during his lifetime. In this study all known printed versions of Brettell's poetry whether in privately printed or commercially published form were examined. All variant readings were recorded and are shown. Wherever possible the relationships between texts are also noted. The poems in this edition are ordered in each case according to the version in the latest datable privately produced collection. The commentary and critical introduction were compiled with the general reader in mind. No previous familiarity with southern African fauna and flora is assumed: animals, birds and insects are described and their scientific names supplied. Expressions current in ordinary British or South African English and present in non-specialist dictionaries are not glossed, but archaic and dialectal forms felt to require explication are briefly explained. So too are less familiar South African dialectal expressions which have been assimilated into the South African English lexicon. Intertextual, Christian and mythological references, both African and Western, are annotated in an attempt to make such references accessible to readers who may not share Brettell's cultural background. The intention is to close the changing distance between the text and the audience. An essay discussing the merits, potential and limitations of electronic scholarly editing is included as part of the textual introduction. A CD-Rom containing Brettell's watercolour illustrations in his privately produced collections and audio-clips of him reading his poetry accompanies this thesis.
- Full Text:
- Date Issued: 2006
- Authors: Hacksley, Reginald Gregory
- Date: 2006
- Subjects: Brettell, N H -- Criticism and interpretation South African poetry (English) -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2289 , http://hdl.handle.net/10962/d1008072
- Description: This thesis presents for the first time a critical reading edition of all known poems by N. H. Brettell. It makes no claim to being definitive, nor does it attempt to establish a final text. It represents merely the best thinking of the editor. Brettell printed and circulated his poetry primarily in hand-made illustrated volumes in a process reminiscent of the scribal publication of the seventeenth century. Only 137 of his 206 extant poems were commercially published during his lifetime. In this study all known printed versions of Brettell's poetry whether in privately printed or commercially published form were examined. All variant readings were recorded and are shown. Wherever possible the relationships between texts are also noted. The poems in this edition are ordered in each case according to the version in the latest datable privately produced collection. The commentary and critical introduction were compiled with the general reader in mind. No previous familiarity with southern African fauna and flora is assumed: animals, birds and insects are described and their scientific names supplied. Expressions current in ordinary British or South African English and present in non-specialist dictionaries are not glossed, but archaic and dialectal forms felt to require explication are briefly explained. So too are less familiar South African dialectal expressions which have been assimilated into the South African English lexicon. Intertextual, Christian and mythological references, both African and Western, are annotated in an attempt to make such references accessible to readers who may not share Brettell's cultural background. The intention is to close the changing distance between the text and the audience. An essay discussing the merits, potential and limitations of electronic scholarly editing is included as part of the textual introduction. A CD-Rom containing Brettell's watercolour illustrations in his privately produced collections and audio-clips of him reading his poetry accompanies this thesis.
- Full Text:
- Date Issued: 2006
Unstable ironies: narrative instability in Herman Charles Bosman's "Oom Schalk Lourens" series
- Authors: Davis, Rebecca
- Date: 2006
- Subjects: Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2215 , http://hdl.handle.net/10962/d1002258 , Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Description: This thesis examines the narrative situation within Herman Charles Bosman’s “Oom Schalk Lourens” series of stories, focussing on the nature of the relationship between author and narrator. In particular, it seeks to trace the source of the multiple ironies at work in the texts. It has been customary for critics in the past to claim that the irony within the stories stems from Bosman, operating authorially ‘above’ Oom Schalk. In terms of this theory, Oom Schalk is read as being largely unaware of the inconsistencies and contradictions within his narrative. It is the claim of this thesis, however, that Oom Schalk is the self-aware creator of the texts’ ironies much of the time. Chapter 1 commences with an attempt at defining irony, and provides a brief overview of the history of its deployment within South African literature before discussing the literary genre which Bosman was to exploit as his ironic vehicle: the “oral-style” short story. Chapter 2 examines Wayne C. Booth’s notions of “stable” and “unstable” irony: the irony of the Oom Schalk stories has, in the past, been classified as belonging to the former category, but this thesis attempts to show that its inconsistent deployment within the stories consigns it more accurately to the latter. Chapter 3 offers an assessment of the extrinsic contexts relevant to the analysis: the context of the stories’ publication, and the likely composition of Bosman’s reading public. Chapter 4 begins to examine the distance between implied author and implied narrator in the stories. Chapters 5, 6 and 7 subject stories dealing with the themes of art, race and land to detailed analysis in order to examine the shifting – and progressively, though unevenly, diminishing – distance between Bosman and Oom Schalk. The thesis concludes that the degree to which the ironic distance between author and narrator fluctuates within, and between, the stories, results in a narrative situation which must be classified as fundamentally unstable.
- Full Text:
- Date Issued: 2006
- Authors: Davis, Rebecca
- Date: 2006
- Subjects: Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2215 , http://hdl.handle.net/10962/d1002258 , Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Description: This thesis examines the narrative situation within Herman Charles Bosman’s “Oom Schalk Lourens” series of stories, focussing on the nature of the relationship between author and narrator. In particular, it seeks to trace the source of the multiple ironies at work in the texts. It has been customary for critics in the past to claim that the irony within the stories stems from Bosman, operating authorially ‘above’ Oom Schalk. In terms of this theory, Oom Schalk is read as being largely unaware of the inconsistencies and contradictions within his narrative. It is the claim of this thesis, however, that Oom Schalk is the self-aware creator of the texts’ ironies much of the time. Chapter 1 commences with an attempt at defining irony, and provides a brief overview of the history of its deployment within South African literature before discussing the literary genre which Bosman was to exploit as his ironic vehicle: the “oral-style” short story. Chapter 2 examines Wayne C. Booth’s notions of “stable” and “unstable” irony: the irony of the Oom Schalk stories has, in the past, been classified as belonging to the former category, but this thesis attempts to show that its inconsistent deployment within the stories consigns it more accurately to the latter. Chapter 3 offers an assessment of the extrinsic contexts relevant to the analysis: the context of the stories’ publication, and the likely composition of Bosman’s reading public. Chapter 4 begins to examine the distance between implied author and implied narrator in the stories. Chapters 5, 6 and 7 subject stories dealing with the themes of art, race and land to detailed analysis in order to examine the shifting – and progressively, though unevenly, diminishing – distance between Bosman and Oom Schalk. The thesis concludes that the degree to which the ironic distance between author and narrator fluctuates within, and between, the stories, results in a narrative situation which must be classified as fundamentally unstable.
- Full Text:
- Date Issued: 2006
"Symbiosis or death" an ecocritical examination of Douglas Livingstone's poetry
- Authors: Stevens, Mariss Patricia
- Date: 2005
- Subjects: Livingstone, Douglas Criticism and interpretation Poets, South African -- 20th century -- Criticism and interpretation Ecology in literature Ecocriticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2211 , http://hdl.handle.net/10962/d1002254
- Description: As the quotation in the title of this thesis indicates, Douglas Livingstone states that unless humankind can learn to live in mutuality with the rest of the natural world, the human race faces extinction. Using the relatively new critical approach of ecological literary criticism (ecocriticism) this thesis explores Livingstone's preoccupation with "symbiosis or death" and shows that the predominant theme in his ecologically-orientated poetry is one of ecological despair. Countering this is a tentative thread of hope. Possible resolution lies in the human capacity to attain compassion and wisdom through the judicious use of science, creativity, the power of art and the power of love. Livingstone's ecological preoccupation is thus informed by the universal themes which have pervaded literature since its recorded beginnings. The first chapter examines the concepts of ecology and literary ecocriticism, followed by a chapter on the life and work of Douglas Livingstone, and a review of the critical response to the five collections of poetry which predate A Littoral Zone, his final work. The remaining four chapters offer an analysis of his ecologically-orientated poetry, with the majority of the space given to an examination of A Littoral Zone. The following ecological themes are used in the analysis of the poems: evolutionary theory, humankind's relationship to nature, ecological equilibrium, and ecological destruction. The latter two themes are shown to represent Livingstone's view of the ideal and the real, or the opposites of hope and despair. The analysis interweaves an argument with the existing critical response to this collection. This thesis demonstrates that Livingstone's crucial message – the need for humankind to attain ecological sensibility or “the knowledge of right living” (Ellen Swallow) and so obviate its certain extinction – has largely been ignored in previous critical works.
- Full Text:
- Date Issued: 2005
- Authors: Stevens, Mariss Patricia
- Date: 2005
- Subjects: Livingstone, Douglas Criticism and interpretation Poets, South African -- 20th century -- Criticism and interpretation Ecology in literature Ecocriticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2211 , http://hdl.handle.net/10962/d1002254
- Description: As the quotation in the title of this thesis indicates, Douglas Livingstone states that unless humankind can learn to live in mutuality with the rest of the natural world, the human race faces extinction. Using the relatively new critical approach of ecological literary criticism (ecocriticism) this thesis explores Livingstone's preoccupation with "symbiosis or death" and shows that the predominant theme in his ecologically-orientated poetry is one of ecological despair. Countering this is a tentative thread of hope. Possible resolution lies in the human capacity to attain compassion and wisdom through the judicious use of science, creativity, the power of art and the power of love. Livingstone's ecological preoccupation is thus informed by the universal themes which have pervaded literature since its recorded beginnings. The first chapter examines the concepts of ecology and literary ecocriticism, followed by a chapter on the life and work of Douglas Livingstone, and a review of the critical response to the five collections of poetry which predate A Littoral Zone, his final work. The remaining four chapters offer an analysis of his ecologically-orientated poetry, with the majority of the space given to an examination of A Littoral Zone. The following ecological themes are used in the analysis of the poems: evolutionary theory, humankind's relationship to nature, ecological equilibrium, and ecological destruction. The latter two themes are shown to represent Livingstone's view of the ideal and the real, or the opposites of hope and despair. The analysis interweaves an argument with the existing critical response to this collection. This thesis demonstrates that Livingstone's crucial message – the need for humankind to attain ecological sensibility or “the knowledge of right living” (Ellen Swallow) and so obviate its certain extinction – has largely been ignored in previous critical works.
- Full Text:
- Date Issued: 2005
A study of Ted Hughes's Birthday letters
- Authors: Highman, Kathryn Barbara
- Date: 2004
- Subjects: Hughes, Ted, 1930-1998 Criticism and interpretation Hughes, Ted, 1930-1998 Birthday Letters
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2193 , http://hdl.handle.net/10962/d1002235
- Description: This thesis focusses on the literary self-reflexivity of Birthday Letters, Ted Hughes's collection of poems addressed to his long-dead first wife, poet Sylvia Plath. By close attention to the language of select poems and a discussion of cross-referencing images and allusions across the volume, and intertextually, I argue that the collection is more self-consciously ordered and designed than the mainly biographical criticism the work has met with suggests. The thesis focusses on the poets' art rather than the biographical context of Birthday Letters, though it does not draw a neat distinction between their lives and their poetry - rather it demonstrates how Birthday Letters itself treats the relationship of art to life thematically. The introduction outlines the context of the volume's genesis and publication and the notions of poetry, myth and drama out of which Hughes works, and introduces the central metaphor of metamorphosis as figured in Ariel's song "Full Fathom Five" from The Tempest, as well as the importance of that play to Plath. Each of the chapters that follow focusses on a cluster of inter-related imagery through a discussion of four or five key poems. Chapter One examines Hughes's portrayal of himself as imprisoned by Plath's poetic portraits, and relates this to the recurring motifs of the snapshot and the Medusa myth. The poems discussed emphasize Hughes's consciousness of the metamorphic and "magical" relationship of art to life. The second chapter discusses Hughes's use of the myth of the labyrinth and the Minotaur, tracing it back to Plath's writings and reading, and pointing out its self-reflexivity: the labyrinth figures Hughes's own loss as well as the labyrinthine nature of writing. The third chapter considers the themes of possession and loss, and how they attach themselves to images of houses and jewels. Possession and loss tum, self-reflexively, upon issues of inheritance and remembrance, notably Hughes's inheritance of Plath's poetic legacy, and his remembrance of her and her poetry through his own poetry. The conclusion pursues connections between the observations made in the separate chapters, outlining the larger context out of which the poems emerge, and returning to the trope of metamorphosis as figured in "Full Fathom Five"
- Full Text:
- Date Issued: 2004
- Authors: Highman, Kathryn Barbara
- Date: 2004
- Subjects: Hughes, Ted, 1930-1998 Criticism and interpretation Hughes, Ted, 1930-1998 Birthday Letters
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2193 , http://hdl.handle.net/10962/d1002235
- Description: This thesis focusses on the literary self-reflexivity of Birthday Letters, Ted Hughes's collection of poems addressed to his long-dead first wife, poet Sylvia Plath. By close attention to the language of select poems and a discussion of cross-referencing images and allusions across the volume, and intertextually, I argue that the collection is more self-consciously ordered and designed than the mainly biographical criticism the work has met with suggests. The thesis focusses on the poets' art rather than the biographical context of Birthday Letters, though it does not draw a neat distinction between their lives and their poetry - rather it demonstrates how Birthday Letters itself treats the relationship of art to life thematically. The introduction outlines the context of the volume's genesis and publication and the notions of poetry, myth and drama out of which Hughes works, and introduces the central metaphor of metamorphosis as figured in Ariel's song "Full Fathom Five" from The Tempest, as well as the importance of that play to Plath. Each of the chapters that follow focusses on a cluster of inter-related imagery through a discussion of four or five key poems. Chapter One examines Hughes's portrayal of himself as imprisoned by Plath's poetic portraits, and relates this to the recurring motifs of the snapshot and the Medusa myth. The poems discussed emphasize Hughes's consciousness of the metamorphic and "magical" relationship of art to life. The second chapter discusses Hughes's use of the myth of the labyrinth and the Minotaur, tracing it back to Plath's writings and reading, and pointing out its self-reflexivity: the labyrinth figures Hughes's own loss as well as the labyrinthine nature of writing. The third chapter considers the themes of possession and loss, and how they attach themselves to images of houses and jewels. Possession and loss tum, self-reflexively, upon issues of inheritance and remembrance, notably Hughes's inheritance of Plath's poetic legacy, and his remembrance of her and her poetry through his own poetry. The conclusion pursues connections between the observations made in the separate chapters, outlining the larger context out of which the poems emerge, and returning to the trope of metamorphosis as figured in "Full Fathom Five"
- Full Text:
- Date Issued: 2004
Spirituality in the fiction of Henry Rider Haggard
- Authors: Senior, John
- Date: 2004
- Subjects: Haggard, H. Rider (Henry Rider), 1856-1925 -- Religion Haggard, H. Rider (Henry Rider), 1856-1925 -- Criticism and interpretation Religion in literature Spirituality in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2209 , http://hdl.handle.net/10962/d1002252
- Description: Neither an unquestioning support for British imperialism nor a personal pre-Jungian philosophy were the driving forces behind Rider Haggard’s beliefs or his literature. These two concerns were secondary to the author’s fascination with the supernatural, a theme prominent in his era, but less so in our own. A declining faith in European religion provided the dominant focal point in Haggard’s work. Although there are important overtones of imperial concern and indeed points of Jungian significance in the texts, these are generally subservient to an intensive wide-ranging spiritual discourse. The place of Haggard’s work in history and its literary merit are thus misunderstood when his spiritualism is not taken into account. No analysis of the author’s work can be complete without first coming to terms with his spiritual ideas and then with their impact on other topics of significance to both the author and audiences of his day. The spiritual or religious aspect of his writing has been largely ignored because of its subtle nature and its relative unfashionability throughout most of the twentieth century in the critical and intellectual climate of the Western world. However, in the Victorian era, under the materialist impact of Darwin, Marx and industrialization, Europe's Christian God was pushed from centre stage, creating widespread spiritual hunger and anguish. In the resulting religious vacuum Haggard's overtures were of particular significance to his audience. In fact, when considered in terms of his immense contemporary popularity, the pervasive presence of spirituality throughout Haggard's works and in his personal writing gives some indication of the subject's enormous importance not only to the author, but to late Victorian society as a whole. In light of this Victorian significance, the spiritual element rises, by its constant presence and persistent foregrounding, to subvert not only the imperial and the Jungian, but even Haggard's overt adventure text by dealing directly with the underlying metaphysical crisis in Western society.
- Full Text:
- Date Issued: 2004
- Authors: Senior, John
- Date: 2004
- Subjects: Haggard, H. Rider (Henry Rider), 1856-1925 -- Religion Haggard, H. Rider (Henry Rider), 1856-1925 -- Criticism and interpretation Religion in literature Spirituality in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2209 , http://hdl.handle.net/10962/d1002252
- Description: Neither an unquestioning support for British imperialism nor a personal pre-Jungian philosophy were the driving forces behind Rider Haggard’s beliefs or his literature. These two concerns were secondary to the author’s fascination with the supernatural, a theme prominent in his era, but less so in our own. A declining faith in European religion provided the dominant focal point in Haggard’s work. Although there are important overtones of imperial concern and indeed points of Jungian significance in the texts, these are generally subservient to an intensive wide-ranging spiritual discourse. The place of Haggard’s work in history and its literary merit are thus misunderstood when his spiritualism is not taken into account. No analysis of the author’s work can be complete without first coming to terms with his spiritual ideas and then with their impact on other topics of significance to both the author and audiences of his day. The spiritual or religious aspect of his writing has been largely ignored because of its subtle nature and its relative unfashionability throughout most of the twentieth century in the critical and intellectual climate of the Western world. However, in the Victorian era, under the materialist impact of Darwin, Marx and industrialization, Europe's Christian God was pushed from centre stage, creating widespread spiritual hunger and anguish. In the resulting religious vacuum Haggard's overtures were of particular significance to his audience. In fact, when considered in terms of his immense contemporary popularity, the pervasive presence of spirituality throughout Haggard's works and in his personal writing gives some indication of the subject's enormous importance not only to the author, but to late Victorian society as a whole. In light of this Victorian significance, the spiritual element rises, by its constant presence and persistent foregrounding, to subvert not only the imperial and the Jungian, but even Haggard's overt adventure text by dealing directly with the underlying metaphysical crisis in Western society.
- Full Text:
- Date Issued: 2004
The Harry Potter phenomenon literary production, generic traditions, and the question of values
- Authors: Glover, Jayne Ashleigh
- Date: 2004
- Subjects: Rowling, J. K. Criticism and interpretation , Potter, Harry (Fictitious character) , Children's literature -- History and criticism , Fantasy fiction, English -- History and criticism , Wizards in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2201 , http://hdl.handle.net/10962/d1002243 , Rowling, J. K. Criticism and interpretation , Potter, Harry (Fictitious character) , Children's literature -- History and criticism , Fantasy fiction, English -- History and criticism , Wizards in literature
- Description: This thesis is a study of the first four books of J. K. Rowling’s Harry Potter series. It accounts for the widespread success of the novels by examining their publication and marketing histories, and their literary achievement as narratives including a sophisticated mix of generic traditions. Chapter One looks at the popularity of the novels, comparing their material production and marketing by Rowling’s English language publishers: Bloomsbury in Britain and Scholastic in the United States of America. The publisher’s influence on the public perception of each book is demonstrated by comparative study of its mode of illustration and layout. Further, the design of the books is linked to their strategic marketing and branding within the literary world. The second chapter considers Rowling’s debt to the school story. It concentrates first on the history of this relatively short-lived genre, briefly discussing its stereotypical features and values. Traditional elements of setting and characterisation are then examined to show how the Harry Potter novels present a value system which, though apparently old-fashioned, still has an ethical standpoint designed to appeal to the modern reader. Chapter Three focuses on the characterisation of Harry as a hero-figure, especially on how the influence of classical and medieval texts infuses Rowling’s portrayal of Harry as a hero in the chivalric mode. The episodes of “quest” and “test” in each book illustrate specifically how he learns the values of selflessness, loyalty, mercy and fairness. Chapter Four surveys the contribution of modern fantasy writing to the series. It shows how Rowling creates a secondary world that allows us to perceive magic as a metaphorical representation of power. This focus on the relationship between magic and power in turn has a bearing on our assessment of the author’s moral stance. The thesis concludes by suggesting that Rowling’s unusual mix of genres is justified by the values they share, and which are inscribed in her work: the generic combination forms a workable, new and exciting mode of writing that helps to account for the phenomenal popularity of the series.
- Full Text:
- Date Issued: 2004
- Authors: Glover, Jayne Ashleigh
- Date: 2004
- Subjects: Rowling, J. K. Criticism and interpretation , Potter, Harry (Fictitious character) , Children's literature -- History and criticism , Fantasy fiction, English -- History and criticism , Wizards in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2201 , http://hdl.handle.net/10962/d1002243 , Rowling, J. K. Criticism and interpretation , Potter, Harry (Fictitious character) , Children's literature -- History and criticism , Fantasy fiction, English -- History and criticism , Wizards in literature
- Description: This thesis is a study of the first four books of J. K. Rowling’s Harry Potter series. It accounts for the widespread success of the novels by examining their publication and marketing histories, and their literary achievement as narratives including a sophisticated mix of generic traditions. Chapter One looks at the popularity of the novels, comparing their material production and marketing by Rowling’s English language publishers: Bloomsbury in Britain and Scholastic in the United States of America. The publisher’s influence on the public perception of each book is demonstrated by comparative study of its mode of illustration and layout. Further, the design of the books is linked to their strategic marketing and branding within the literary world. The second chapter considers Rowling’s debt to the school story. It concentrates first on the history of this relatively short-lived genre, briefly discussing its stereotypical features and values. Traditional elements of setting and characterisation are then examined to show how the Harry Potter novels present a value system which, though apparently old-fashioned, still has an ethical standpoint designed to appeal to the modern reader. Chapter Three focuses on the characterisation of Harry as a hero-figure, especially on how the influence of classical and medieval texts infuses Rowling’s portrayal of Harry as a hero in the chivalric mode. The episodes of “quest” and “test” in each book illustrate specifically how he learns the values of selflessness, loyalty, mercy and fairness. Chapter Four surveys the contribution of modern fantasy writing to the series. It shows how Rowling creates a secondary world that allows us to perceive magic as a metaphorical representation of power. This focus on the relationship between magic and power in turn has a bearing on our assessment of the author’s moral stance. The thesis concludes by suggesting that Rowling’s unusual mix of genres is justified by the values they share, and which are inscribed in her work: the generic combination forms a workable, new and exciting mode of writing that helps to account for the phenomenal popularity of the series.
- Full Text:
- Date Issued: 2004
The location of meaning in the postmodernist literary text: a reading of Mark Z. Danielewski's House of Leaves and related material
- Authors: Jeffery, Thomas Carnegie
- Date: 2004
- Subjects: Danielewski, Mark Z. House of leaves , Danielewski, Mark Z. Criticism and interpretation , Horror tales , English literature -- Criticism, Textual , Literature, Modern -- History and criticism , Postmodernism (Literature)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2196 , http://hdl.handle.net/10962/d1002238
- Description: In House of Leaves, Mark Z. Danielewski has produced a text which epitomises the traits and concerns of postmodernist literature. Through his attention to aspects such as metafiction, intertextuality and parody, Danielewski develops a narrative structure which is best understood as a literary labyrinth. It is a structure intended to reflect the social conditions of the twenty-first century and comment on the experience of people living at this time. Some of the meaning-making strategies within the book’s labyrinthine structure are thus discussed in detail in order to demonstrate the relevance and importance of House of Leaves as social commentary. House of Leaves is an exemplary postmodernist text, but it is also one that seeks to guide the reader beyond the intellectual impasse of the postmodernist paradigm toward a renewed ethical and political engagement with the world. One of the most important goals of both Danielewski’s novel and this thesis is to attempt to redefine the postmodernist perspective in such a way as to insist on the necessity of what I call a new realism. This is founded upon an awareness of the pervasiveness of the self-perpetuating ideology of capitalism, even in the perspective of postmodernism (which purports to subvert all authoritative ideologies). Playing a crucial role in perpetuating the status quo of capitalism is the growth of entertainment culture, which works to sideline crucial political issues by replacing information with infotainment. The result is an intensification of the processes of commodification. Such an intensification, it is argued, may be countered by a radical scepticism which draws upon the methods and insights of contemporary science.
- Full Text:
- Date Issued: 2004
- Authors: Jeffery, Thomas Carnegie
- Date: 2004
- Subjects: Danielewski, Mark Z. House of leaves , Danielewski, Mark Z. Criticism and interpretation , Horror tales , English literature -- Criticism, Textual , Literature, Modern -- History and criticism , Postmodernism (Literature)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2196 , http://hdl.handle.net/10962/d1002238
- Description: In House of Leaves, Mark Z. Danielewski has produced a text which epitomises the traits and concerns of postmodernist literature. Through his attention to aspects such as metafiction, intertextuality and parody, Danielewski develops a narrative structure which is best understood as a literary labyrinth. It is a structure intended to reflect the social conditions of the twenty-first century and comment on the experience of people living at this time. Some of the meaning-making strategies within the book’s labyrinthine structure are thus discussed in detail in order to demonstrate the relevance and importance of House of Leaves as social commentary. House of Leaves is an exemplary postmodernist text, but it is also one that seeks to guide the reader beyond the intellectual impasse of the postmodernist paradigm toward a renewed ethical and political engagement with the world. One of the most important goals of both Danielewski’s novel and this thesis is to attempt to redefine the postmodernist perspective in such a way as to insist on the necessity of what I call a new realism. This is founded upon an awareness of the pervasiveness of the self-perpetuating ideology of capitalism, even in the perspective of postmodernism (which purports to subvert all authoritative ideologies). Playing a crucial role in perpetuating the status quo of capitalism is the growth of entertainment culture, which works to sideline crucial political issues by replacing information with infotainment. The result is an intensification of the processes of commodification. Such an intensification, it is argued, may be countered by a radical scepticism which draws upon the methods and insights of contemporary science.
- Full Text:
- Date Issued: 2004
Paranoid metaphors: an examination of the discursive, theoretical and sometimes personal, interaction between the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne
- Authors: De Klerk, Eugene
- Date: 2003
- Subjects: Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2192 , http://hdl.handle.net/10962/d1002234 , Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Description: This thesis examines the historical interaction of the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne. It traces the discursive, and sometimes personal, relationship between these figures which led to a psychoanalytic-based conception of paranoia that impacted on both surrealism and the surrealist-inspired poetry and theory of David Gascoyne. Furthermore it seeks to identify the potential ramifications of this conception of paranoia, and the artistic practice it engendered, for literary, Marxist and psychoanalytic theory.
- Full Text:
- Date Issued: 2003
- Authors: De Klerk, Eugene
- Date: 2003
- Subjects: Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2192 , http://hdl.handle.net/10962/d1002234 , Paranoia , Lacan, Jacques, 1901-1981 , Dali, Salvador, 1904-1989 , Gascoyne, David, 1916-2001
- Description: This thesis examines the historical interaction of the psychoanalyst, Jacques Lacan, the surrealist, Salvador Dali, and the English poet, David Gascoyne. It traces the discursive, and sometimes personal, relationship between these figures which led to a psychoanalytic-based conception of paranoia that impacted on both surrealism and the surrealist-inspired poetry and theory of David Gascoyne. Furthermore it seeks to identify the potential ramifications of this conception of paranoia, and the artistic practice it engendered, for literary, Marxist and psychoanalytic theory.
- Full Text:
- Date Issued: 2003
Transcendence in Patrick White: the imagery of the Tree of Man and Voss
- Authors: Van Niekerk, Timothy
- Date: 2003
- Subjects: White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2254 , http://hdl.handle.net/10962/d1004269 , White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Description: This study represents an exploration of White's concept of transcendence in The Tree of Man and Voss by means of a detailed account of some of the key patterns of imagery deployed in these novels. White's imagery is a key mode of expression in his work, not simply manifesting in overarching religious symbols and framing structures but figuring in constantly modulated tropes continuous with the narrative, as well as in minor, but no less significant images occasionally susceptible to etymological or onomastic reading. While no attempt is made to provide an exhaustive exploration of the tropes at work in these novels, a sufficient range of material is covered, and its metaphoric density adequately penetrated, to highlight and explore a fundamental concern in White's work with a paradoxical unity underlying the dualities inherent in temporal existence. A useful way of approaching his fiction is to view the perpetual modulations of his imagery as the dramatisation of an enantiodromia or play of opposites, in which the conflicts of duality are elaborated and paradoxically - though typically only momentarily - resolved. This resolution or coincidence of opposites is a significant feature of his notion of transcendence as well as his depictions of illuminatory experience, and in this respect White's metaphysics share an essential characteristic, not only of Christianity, but a range of religious and mythological systems concerned with expressing a transcendent reality. Despite these analogies, however, the novels at hand are not so tightly bound to Christian, or any other, meaning-making systems so as to constitute sustained allegories, and hence this study does not aim to chart a series of correspondences between White's images and biblical or mythological symbols. Indeed, a criticism often levelled at White - with The Tree of Man and Voss typically figuring in support of this claim - is that he too rigidly imposes religious frameworks on his work. An extension of this view is formulated in the Jungian critique of White's corpus offered by David Tacey, who argues that White's conception of transcendence is consistently challenged by the archetypal significance of the images he employs, which point to a contrary process of psycho-spiritual regression in his protagonists. In a fundamentally text-based approach, this study explores White's use of imagery while taking biblical resonances and archetypal interpretations into account, and suggests that, though White's images are highly allusive, they are not merely agents of imported Christian, or other traditional symbolic values. Nor do they undermine the authenticity of his depiction of the spirituality of his protagonists, or obtrude on the fabric of the narrative. Instead, the range of his images are - though often ambivalent - integral to a network of mercurial tropes which articulate and constantly evaluate a notion of transcendence through inflections and oscillations rather than equations of meaning.
- Full Text:
- Date Issued: 2003
- Authors: Van Niekerk, Timothy
- Date: 2003
- Subjects: White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2254 , http://hdl.handle.net/10962/d1004269 , White, Patrick, 1912-1990. Tree of man , White, Patrick, 1912-1990. Voss
- Description: This study represents an exploration of White's concept of transcendence in The Tree of Man and Voss by means of a detailed account of some of the key patterns of imagery deployed in these novels. White's imagery is a key mode of expression in his work, not simply manifesting in overarching religious symbols and framing structures but figuring in constantly modulated tropes continuous with the narrative, as well as in minor, but no less significant images occasionally susceptible to etymological or onomastic reading. While no attempt is made to provide an exhaustive exploration of the tropes at work in these novels, a sufficient range of material is covered, and its metaphoric density adequately penetrated, to highlight and explore a fundamental concern in White's work with a paradoxical unity underlying the dualities inherent in temporal existence. A useful way of approaching his fiction is to view the perpetual modulations of his imagery as the dramatisation of an enantiodromia or play of opposites, in which the conflicts of duality are elaborated and paradoxically - though typically only momentarily - resolved. This resolution or coincidence of opposites is a significant feature of his notion of transcendence as well as his depictions of illuminatory experience, and in this respect White's metaphysics share an essential characteristic, not only of Christianity, but a range of religious and mythological systems concerned with expressing a transcendent reality. Despite these analogies, however, the novels at hand are not so tightly bound to Christian, or any other, meaning-making systems so as to constitute sustained allegories, and hence this study does not aim to chart a series of correspondences between White's images and biblical or mythological symbols. Indeed, a criticism often levelled at White - with The Tree of Man and Voss typically figuring in support of this claim - is that he too rigidly imposes religious frameworks on his work. An extension of this view is formulated in the Jungian critique of White's corpus offered by David Tacey, who argues that White's conception of transcendence is consistently challenged by the archetypal significance of the images he employs, which point to a contrary process of psycho-spiritual regression in his protagonists. In a fundamentally text-based approach, this study explores White's use of imagery while taking biblical resonances and archetypal interpretations into account, and suggests that, though White's images are highly allusive, they are not merely agents of imported Christian, or other traditional symbolic values. Nor do they undermine the authenticity of his depiction of the spirituality of his protagonists, or obtrude on the fabric of the narrative. Instead, the range of his images are - though often ambivalent - integral to a network of mercurial tropes which articulate and constantly evaluate a notion of transcendence through inflections and oscillations rather than equations of meaning.
- Full Text:
- Date Issued: 2003
Versions of confinement: Melville's bodies and the psychology of conquest
- Authors: Goddard, Kevin Graham
- Date: 2003
- Subjects: Melville, Herman, 1819-1891 -- Criticism and interpretation Human body in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2216 , http://hdl.handle.net/10962/d1002259
- Description: This thesis explores aspects of Melville’s presentation of both the whale and the human bodies in Moby-Dick and human bodies in other important novels. It argues that Melville uses his presentation of bodies to explore some of the versions of confinement those bodies experience, and by doing so, analyses the psychology which subtends that confinement. Throughout Melville’s works bodies are confined, both within literal spatial limits and by the psychology which creates and/or accepts these spatial limits. The thesis argues that perhaps the most important version of bodily confinement Melville addresses is the impulse to conquer bodies, both that of the other and one’s own. It adopts a largely psychoanalytic approach to interpreting bodies and their impulse to conquer, so that the body is seen to figure both in its actions and its external appearance the operations of the inner psyche. The figure of the body is equally prevalent in Melville’s exploration of nationalist conquest, where, as with Manifest Destiny and antebellum expansionism, the psychological and physical lack experienced by characters can be read as motivating factors in the ideology of conquest. A final important strand of the thesis is its argument in favour of a gradual shift in Melville’s interpretation of the value and possibility of genuine communion between human beings and between humans and the whale. One may read Typee as an attempt by Melville to explore the possibility of a this-worldly utopia in which human beings can return to a version of primitive interconnectedness. This exploration may be seen to be extended in Moby-Dick, particularly in Ishmael’s attempts to find communion with others and in some moments of encounter with the whales. The thesis uses phenomenology as a theory to interpret what Melville is trying to suggest in these moments of encounter. However, it argues, finally, that such encounter, or ‘intersubjectivity’ is eventually jettisoned, especially in the works after Moby-Dick. By the end of Melville’s life and work, any hope of an intersubjective utopia he may have harboured as a younger man have been removed in favour of a refusal actually to assert any final ‘truth’ about social, political or even religious experience. Billy Budd, his last body, is hanged, and his final word is silence.
- Full Text:
- Date Issued: 2003
- Authors: Goddard, Kevin Graham
- Date: 2003
- Subjects: Melville, Herman, 1819-1891 -- Criticism and interpretation Human body in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2216 , http://hdl.handle.net/10962/d1002259
- Description: This thesis explores aspects of Melville’s presentation of both the whale and the human bodies in Moby-Dick and human bodies in other important novels. It argues that Melville uses his presentation of bodies to explore some of the versions of confinement those bodies experience, and by doing so, analyses the psychology which subtends that confinement. Throughout Melville’s works bodies are confined, both within literal spatial limits and by the psychology which creates and/or accepts these spatial limits. The thesis argues that perhaps the most important version of bodily confinement Melville addresses is the impulse to conquer bodies, both that of the other and one’s own. It adopts a largely psychoanalytic approach to interpreting bodies and their impulse to conquer, so that the body is seen to figure both in its actions and its external appearance the operations of the inner psyche. The figure of the body is equally prevalent in Melville’s exploration of nationalist conquest, where, as with Manifest Destiny and antebellum expansionism, the psychological and physical lack experienced by characters can be read as motivating factors in the ideology of conquest. A final important strand of the thesis is its argument in favour of a gradual shift in Melville’s interpretation of the value and possibility of genuine communion between human beings and between humans and the whale. One may read Typee as an attempt by Melville to explore the possibility of a this-worldly utopia in which human beings can return to a version of primitive interconnectedness. This exploration may be seen to be extended in Moby-Dick, particularly in Ishmael’s attempts to find communion with others and in some moments of encounter with the whales. The thesis uses phenomenology as a theory to interpret what Melville is trying to suggest in these moments of encounter. However, it argues, finally, that such encounter, or ‘intersubjectivity’ is eventually jettisoned, especially in the works after Moby-Dick. By the end of Melville’s life and work, any hope of an intersubjective utopia he may have harboured as a younger man have been removed in favour of a refusal actually to assert any final ‘truth’ about social, political or even religious experience. Billy Budd, his last body, is hanged, and his final word is silence.
- Full Text:
- Date Issued: 2003
"The wife of Lucifer" : women and evil in Charles Dickens
- Authors: Ebelthite, Candice Axell
- Date: 2002
- Subjects: Dickens, Charles, 1812-1870 -- Characters -- Women Evil in literature Women in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2189 , http://hdl.handle.net/10962/d1002231
- Description: This thesis examines Dickens's presentation of evil women. In the course of my reading I discovered that most of the evil women in his novels are mothers, or mother-figures, a finding which altered the nature of my interpretation and led to closer examination of these characters, rather than the prostitutes and criminals who may have been viewed negatively by Nineteenth century society and thereby condemned as evil. Among the many unsympathetically portrayed mothers and mother-figures in Dickens's works, the three that are most interesting are Lady Dedlock, Miss Havisham, and Mrs Skewton. Madame Defarge initiates the discussion, however, as a seminal figure among the many evil women in the novels. Psychoanalytical and socio-historic readings grounded in Nineteenth century conceptions of womanhood provide background material for this thesis. Though useful and informative, however, these areas of study are not sufficient in themselves. The theory that shapes the arguments of this thesis is defined by Steven Cohan, who argues strongly that the demand for psychological coherence as a requisite of character obscures the imaginative power of character as textual construct, and who both refutes and develops character theory as it is argued by Baruch Hochman. Cohan's theory is also finally closer to that outlined by Thomas Docherty, who provides a complex reading of character as ultimately "unknowable".
- Full Text:
- Date Issued: 2002
- Authors: Ebelthite, Candice Axell
- Date: 2002
- Subjects: Dickens, Charles, 1812-1870 -- Characters -- Women Evil in literature Women in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2189 , http://hdl.handle.net/10962/d1002231
- Description: This thesis examines Dickens's presentation of evil women. In the course of my reading I discovered that most of the evil women in his novels are mothers, or mother-figures, a finding which altered the nature of my interpretation and led to closer examination of these characters, rather than the prostitutes and criminals who may have been viewed negatively by Nineteenth century society and thereby condemned as evil. Among the many unsympathetically portrayed mothers and mother-figures in Dickens's works, the three that are most interesting are Lady Dedlock, Miss Havisham, and Mrs Skewton. Madame Defarge initiates the discussion, however, as a seminal figure among the many evil women in the novels. Psychoanalytical and socio-historic readings grounded in Nineteenth century conceptions of womanhood provide background material for this thesis. Though useful and informative, however, these areas of study are not sufficient in themselves. The theory that shapes the arguments of this thesis is defined by Steven Cohan, who argues strongly that the demand for psychological coherence as a requisite of character obscures the imaginative power of character as textual construct, and who both refutes and develops character theory as it is argued by Baruch Hochman. Cohan's theory is also finally closer to that outlined by Thomas Docherty, who provides a complex reading of character as ultimately "unknowable".
- Full Text:
- Date Issued: 2002
A history of confession: the dialogue between cynicism and grace in selected novels of J.M. Coetzee
- Authors: Hornby, Catherine Muriel
- Date: 2002
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Cynicism in literature , Grace (Theology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2190 , http://hdl.handle.net/10962/d1002232 , Coetzee, J. M., 1940- -- Criticism and interpretation , Cynicism in literature , Grace (Theology) in literature
- Description: In introducing the four novels under discussion as a “History of Confession”, this study explores the resistance to the dominant discourse of ‘history’ offered by the sustained confessions of individuals. In examining Coetzee’s oeuvre it is possible to delineate the outline of a dialogue between cynicism and grace, and the effects of these on the process of confession in each of the works Chapter One, dealing with Age of Iron, draws on Levinas’ theory of ‘the Other’ in order to elucidate the role played by the interlocutor or confessor in the process of confession.The recognition of the passage of the self through the Other is integral to the attainment of a state of grace, without which confession cannot be brought to an end The countermanding claims of the writer's will-to-write and duty to society are illuminated as a source of cynicism which overwhelms the intervention of grace. The Master of Petersburg, discussed in Chapter Two, is a confession of the guilt and despair faced by the writer who sacrifices his soul to answer the urge to write. Chapter Three, which examines Coetzee’s excursion into autobiography, represents a continuation of the confessional trend. The distance between the narrator and protagonist of Boyhood illustrates the convolutions of self-deception in the process of confession. The chapter which deals with Disgrace identifies a new trend in Coetzee’s writing:the concern with animals. Levinas’ theory, which identifies the encounter with the Other as necessary to precipitate an intervention of grace, is again useful in explaining how Coetzee has postulated the unassimilable otherness of animals as primary to human ethical development. This chapter also concludes that Disgrace represents a high point in the recovery of both grace and agency in Coetzee’s oeuvre.The concluding chapter suggests that the accumulation of meanings to the term ‘grace’enables its definition as a semi-religious abstraction. Coetzee suggests that belief in its existence has the power to affect interactions on the physical plane, especially those between the self and the Other.
- Full Text:
- Date Issued: 2002
- Authors: Hornby, Catherine Muriel
- Date: 2002
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Cynicism in literature , Grace (Theology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2190 , http://hdl.handle.net/10962/d1002232 , Coetzee, J. M., 1940- -- Criticism and interpretation , Cynicism in literature , Grace (Theology) in literature
- Description: In introducing the four novels under discussion as a “History of Confession”, this study explores the resistance to the dominant discourse of ‘history’ offered by the sustained confessions of individuals. In examining Coetzee’s oeuvre it is possible to delineate the outline of a dialogue between cynicism and grace, and the effects of these on the process of confession in each of the works Chapter One, dealing with Age of Iron, draws on Levinas’ theory of ‘the Other’ in order to elucidate the role played by the interlocutor or confessor in the process of confession.The recognition of the passage of the self through the Other is integral to the attainment of a state of grace, without which confession cannot be brought to an end The countermanding claims of the writer's will-to-write and duty to society are illuminated as a source of cynicism which overwhelms the intervention of grace. The Master of Petersburg, discussed in Chapter Two, is a confession of the guilt and despair faced by the writer who sacrifices his soul to answer the urge to write. Chapter Three, which examines Coetzee’s excursion into autobiography, represents a continuation of the confessional trend. The distance between the narrator and protagonist of Boyhood illustrates the convolutions of self-deception in the process of confession. The chapter which deals with Disgrace identifies a new trend in Coetzee’s writing:the concern with animals. Levinas’ theory, which identifies the encounter with the Other as necessary to precipitate an intervention of grace, is again useful in explaining how Coetzee has postulated the unassimilable otherness of animals as primary to human ethical development. This chapter also concludes that Disgrace represents a high point in the recovery of both grace and agency in Coetzee’s oeuvre.The concluding chapter suggests that the accumulation of meanings to the term ‘grace’enables its definition as a semi-religious abstraction. Coetzee suggests that belief in its existence has the power to affect interactions on the physical plane, especially those between the self and the Other.
- Full Text:
- Date Issued: 2002
Reading William Blake and T.S. Eliot: contrary poets, progressive vision
- Authors: Rayneard, Max James Anthony
- Date: 2002
- Subjects: Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2279 , http://hdl.handle.net/10962/d1007545 , Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Description: Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
- Full Text:
- Date Issued: 2002
- Authors: Rayneard, Max James Anthony
- Date: 2002
- Subjects: Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2279 , http://hdl.handle.net/10962/d1007545 , Blake, William, 1757-1827 -- Criticism and interpretation , Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Description: Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
- Full Text:
- Date Issued: 2002
South African memoirs in a decade of transition: Athol Fugard's Cousins (1994), J.M. Coetzee's Boyhood (1997), and Breyten Breytenbach's Dog Heart (1999)
- Authors: Roux, Christine Ann
- Date: 2002
- Subjects: Autobiography , Fugard, Athol , Coetzee, J. M., 1940 , Breytenbach, Breyten
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2191 , http://hdl.handle.net/10962/d1002233 , Autobiography , Fugard, Athol , Coetzee, J. M., 1940 , Breytenbach, Breyten
- Description: This thesis examines three South African memoirs using M. M. Bakhtin’s theories of the dialogical relationship in language and literature. By offering an alternative to a postmodern or multicultural interpretation of autobiographies, Bakhtin’s precepts, that define a dialogic, help to reframe a way of discussing memoirs and avoiding dead-ends previously arrived at by essayists in James Olney’s 1980 collection. Bakhtin’s ideas discussed here, which include the “once-occurrent moment”, “architectonic contraposition”, ”emotional-volitional tone”, “alibi”, “non-alibi”, and “centripetal” and “centrifugal” force, help to rebuild a discussion based on temporary and evolving self truth rather than fiction, the postmodern interpretation, or confession, the new-age secular spiritualism based on multicultural and politically correct standards. For this, each author’s memoir had to be examined separately and a conclusion was arrived at through inductive analysis. Rather than try to find similar characteristics, I focused on what made each memoir different and unique. Janet Varner Gunn’s Autobiography: Toward A Poetics of Experience (1982) refocused the debate over autobiography on process. The question, what steps did each author take toward writing about himself, led the discussion to an examination of the priorities each author exemplified. Beginning with Fugard who emphasized spatial, concrete, and sensory detail to help him contain his emotional life, the thesis moves on to an examination of Coetzee’s sense of justice. From the physical and intellectual world follows Breytenbach’s spiritual space-making. In each memoir, control of space is evident on different levels of experience. Articulating space inevitably leads to a discussion of boundaries. Here, Charles Taylor’s emphasis on the modern self’s need to articulate a horizon or a framework is helpful in generalizing the effect of the autobiographical process. The conclusion reached is that autobiography is inherently centrifugal: it moves away from the center of cultural thinking because its “truth” bolsters itself on dialogical process which does not depend on a fixed authority but rather on communicative exchange. As an example of exchange, autobiography’s central truth is that it returns to a “unique point of origin”, namely the self, only to reconnect to the other in a potentially eternal exchange of responsiveness moving away from the center.
- Full Text:
- Date Issued: 2002
- Authors: Roux, Christine Ann
- Date: 2002
- Subjects: Autobiography , Fugard, Athol , Coetzee, J. M., 1940 , Breytenbach, Breyten
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2191 , http://hdl.handle.net/10962/d1002233 , Autobiography , Fugard, Athol , Coetzee, J. M., 1940 , Breytenbach, Breyten
- Description: This thesis examines three South African memoirs using M. M. Bakhtin’s theories of the dialogical relationship in language and literature. By offering an alternative to a postmodern or multicultural interpretation of autobiographies, Bakhtin’s precepts, that define a dialogic, help to reframe a way of discussing memoirs and avoiding dead-ends previously arrived at by essayists in James Olney’s 1980 collection. Bakhtin’s ideas discussed here, which include the “once-occurrent moment”, “architectonic contraposition”, ”emotional-volitional tone”, “alibi”, “non-alibi”, and “centripetal” and “centrifugal” force, help to rebuild a discussion based on temporary and evolving self truth rather than fiction, the postmodern interpretation, or confession, the new-age secular spiritualism based on multicultural and politically correct standards. For this, each author’s memoir had to be examined separately and a conclusion was arrived at through inductive analysis. Rather than try to find similar characteristics, I focused on what made each memoir different and unique. Janet Varner Gunn’s Autobiography: Toward A Poetics of Experience (1982) refocused the debate over autobiography on process. The question, what steps did each author take toward writing about himself, led the discussion to an examination of the priorities each author exemplified. Beginning with Fugard who emphasized spatial, concrete, and sensory detail to help him contain his emotional life, the thesis moves on to an examination of Coetzee’s sense of justice. From the physical and intellectual world follows Breytenbach’s spiritual space-making. In each memoir, control of space is evident on different levels of experience. Articulating space inevitably leads to a discussion of boundaries. Here, Charles Taylor’s emphasis on the modern self’s need to articulate a horizon or a framework is helpful in generalizing the effect of the autobiographical process. The conclusion reached is that autobiography is inherently centrifugal: it moves away from the center of cultural thinking because its “truth” bolsters itself on dialogical process which does not depend on a fixed authority but rather on communicative exchange. As an example of exchange, autobiography’s central truth is that it returns to a “unique point of origin”, namely the self, only to reconnect to the other in a potentially eternal exchange of responsiveness moving away from the center.
- Full Text:
- Date Issued: 2002
Plaatje's African romance: the translation of tragedy in Mhudi and other writings
- Authors: Walter, Brian Ernest
- Date: 2001
- Subjects: Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932. Mhudi Race in literature Politics in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2188 , http://hdl.handle.net/10962/d1002230
- Description: This study brings together Plaatje’s politicaland literary visions, arguing that the one informs the other. Plaatje’s literary work is used as a starting point for the discussion, and the first chapter explores the relationship of his political and artistic visions. Mhudi is his definitive romance text, and it is argued that Plaatje’s romance visionin this text is reflected in his political thinking, and in turn reflected by it. His romance work was part of a literary romance tradition which Plaatje both drew upon and transformed, and thus the basic features of romance are explored in Chapter Two. Plaatje’s work is situated between two influential romance models, therefore Chapter Two also discusses the romances of Shakespeare, whomPlaatje read as reflectinga non-racial humanism that was translatable into the African context, in terms of political vision and of literary text. His other models were the colonial romances of Haggard. It is argued that, while Plaatje could glean many elements fromHaggardthat suited his purposes as an African, specifically a SouthAfrican, writer, he nevertheless—despite his own pro-British leanings, qualified though they might have been by the complexities of his colonial context—would not have represented Africa and Africans in terms of the exotic other in the way Haggard clearly did. Thus Plaatje, in terms of his romance vision, may have usedmanyofthe themesand techniques of Haggardianromance, but consistently qualified these colonial works by using the more classically shaped Shakespearean romance structure at the deep level of his work. The third chapter examines Haggard’s romance, but differentiates between two Haggardian types, the completed or resolved romance, whichis more classical in its form, and evokes an image of a completed quest, as well as the necessity of the quester entering the world again. Haggard’s “completed” African romance, it is argued, is resolved only in terms of a colonial vision. Chapter Four, by contrast, examines examples of his unresolved African romance, in which African ideals implode, and show themselves to be inneed of foreign intervention. It is argued that Haggard’s image of Africa was based on the unresolved or incomplete romance. His vision of Africa was such that it could not in itself provide the materialfor completed romance. This vision saw intervention as the only option for South Africa. While Plaatje uses elements of Haggard’s “incomplete” romance models when writing Mhudi, he handles both his narrative and politicalcommentaryin this text in terms of his own politicalthought. This non-racial politicalvisionis guided by his belief that virtue and vice are not the monopoly of any colour, a non-racialism he associates with Shakespeare. However, within the context of the South Africa of his fictionand of his life, this non-racial ideal is constantly under threat. It is partly threatened by political forces, but also challenged by moral changes within individuals and societies. In Chapter Five the examination of Plaatje’s work begins withhis Boer War Diary, inwhicha romance structure is sought beneath his diurnal observations and political optimismduring a time of warfare and siege. The discussion of this text is followed by a reading of Native Life in South Africa in which it is argued that Plaatje looks, in the midst of personal and social suffering, for that which can translate a tragic situation into romance resolution. “Translation” is used in a broad sense, echoing Plaatje’s view of the importance of translation for cross-cultural understanding and harmony. The arguments of Chapter Five are extended into Chapter Six, where a reading of Mhudi places emphasis on the possibilities of change implied in romance. Plaatje’s non-racial humanism recognizes the great potential for injustice and human suffering within the context of South African racism, but constantly seeks to translate such suffering into the triumph of romance. While the narrative of Mhudi concludes on a romance peak, tensions between the tragic and romance possibilities alert the reader to the sense that, despite its romance resolution, something has been lost in the translation of the potential tragedy into romance.
- Full Text:
- Date Issued: 2001
- Authors: Walter, Brian Ernest
- Date: 2001
- Subjects: Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932. Mhudi Race in literature Politics in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2188 , http://hdl.handle.net/10962/d1002230
- Description: This study brings together Plaatje’s politicaland literary visions, arguing that the one informs the other. Plaatje’s literary work is used as a starting point for the discussion, and the first chapter explores the relationship of his political and artistic visions. Mhudi is his definitive romance text, and it is argued that Plaatje’s romance visionin this text is reflected in his political thinking, and in turn reflected by it. His romance work was part of a literary romance tradition which Plaatje both drew upon and transformed, and thus the basic features of romance are explored in Chapter Two. Plaatje’s work is situated between two influential romance models, therefore Chapter Two also discusses the romances of Shakespeare, whomPlaatje read as reflectinga non-racial humanism that was translatable into the African context, in terms of political vision and of literary text. His other models were the colonial romances of Haggard. It is argued that, while Plaatje could glean many elements fromHaggardthat suited his purposes as an African, specifically a SouthAfrican, writer, he nevertheless—despite his own pro-British leanings, qualified though they might have been by the complexities of his colonial context—would not have represented Africa and Africans in terms of the exotic other in the way Haggard clearly did. Thus Plaatje, in terms of his romance vision, may have usedmanyofthe themesand techniques of Haggardianromance, but consistently qualified these colonial works by using the more classically shaped Shakespearean romance structure at the deep level of his work. The third chapter examines Haggard’s romance, but differentiates between two Haggardian types, the completed or resolved romance, whichis more classical in its form, and evokes an image of a completed quest, as well as the necessity of the quester entering the world again. Haggard’s “completed” African romance, it is argued, is resolved only in terms of a colonial vision. Chapter Four, by contrast, examines examples of his unresolved African romance, in which African ideals implode, and show themselves to be inneed of foreign intervention. It is argued that Haggard’s image of Africa was based on the unresolved or incomplete romance. His vision of Africa was such that it could not in itself provide the materialfor completed romance. This vision saw intervention as the only option for South Africa. While Plaatje uses elements of Haggard’s “incomplete” romance models when writing Mhudi, he handles both his narrative and politicalcommentaryin this text in terms of his own politicalthought. This non-racial politicalvisionis guided by his belief that virtue and vice are not the monopoly of any colour, a non-racialism he associates with Shakespeare. However, within the context of the South Africa of his fictionand of his life, this non-racial ideal is constantly under threat. It is partly threatened by political forces, but also challenged by moral changes within individuals and societies. In Chapter Five the examination of Plaatje’s work begins withhis Boer War Diary, inwhicha romance structure is sought beneath his diurnal observations and political optimismduring a time of warfare and siege. The discussion of this text is followed by a reading of Native Life in South Africa in which it is argued that Plaatje looks, in the midst of personal and social suffering, for that which can translate a tragic situation into romance resolution. “Translation” is used in a broad sense, echoing Plaatje’s view of the importance of translation for cross-cultural understanding and harmony. The arguments of Chapter Five are extended into Chapter Six, where a reading of Mhudi places emphasis on the possibilities of change implied in romance. Plaatje’s non-racial humanism recognizes the great potential for injustice and human suffering within the context of South African racism, but constantly seeks to translate such suffering into the triumph of romance. While the narrative of Mhudi concludes on a romance peak, tensions between the tragic and romance possibilities alert the reader to the sense that, despite its romance resolution, something has been lost in the translation of the potential tragedy into romance.
- Full Text:
- Date Issued: 2001
Transcribing tales, creating cultural identities an analysis of selected written english texts of Xhosa folktales
- Authors: Naidu, Samantha
- Date: 2000
- Subjects: Tales -- South Africa , Folklore -- South Africa , Xhosa literature -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2187 , http://hdl.handle.net/10962/d1002229 , https://orcid.org/0000-0001-9456-8657 , Tales -- South Africa , Folklore -- South Africa , Xhosa literature -- History and criticism
- Description: This thesis maps a marriage of postcolonial theory and folklore studies. The progeny of this marriage is an analytic tool which can suitably and effectively tackle the subject of written folktale texts, whether they be part of a nineteenth century colonialist discourse, or a twenty-first century nationalist discourse. First, GM Theal's collection of folktale texts, Kaffir Folklore (1882), is analysed as part of his specific colonialist discourse. Theal formulated for himself, and for the Xhosa peoples, identities which consolidated the colonialisms he supported. I argue that these folktale texts, although a part of Theal's colonialist discourse, are hybrid, containing the voices of both coloniser and colonised. Second, the position of contemporary written folktales in a neo-colonialist and >new nationalist discourse=, is examined. The optimistic belief of scholars and authors, that folktales are a means of bridging cultural gaps, is questioned. Finally, it is shown that authors of folktale texts can synthesise diverse literary traditions in a hybrid artform. This synthesis, to some extent, embodies the >new nationalist= aim of a unified national cultural identity in South Africa. The central value of recognising the role of folktale texts in colonialist and nationalist discourses lies in the awareness that this type of literary activity in South Africa is a cross-cultural practice. The confluence of voices which constitutes these folktale texts, reveals that our stories are intertwined. In the past, the discourses of colonialism and apartheid controlled the formation of the diverse and hierarchised cultural identities of South Africa. But this is not to say that alternative stories of self-fashioning and cultural self-determination did not exist. In the folktale texts of writers such as Mhlope, Jordan, and even in Theal's colonial collection, different mediums, literary heritages and styles converge to create narratives which speak of cross-cultural interaction and the empowerment of the black voice. In post-apartheid South Africa, there is even greater opportunity to reshape stories, to recreate selves, and to redefine intercultural relations. This thesis has outlined how some of those stories, which use folktale texts as their central trope, are constructed and commodified. Not only do these reinvented folktale texts embody the heterogeneous cultural influences of South Africa, they also have the potential to promote, first, the understanding of cultural differences, and second, the acceptance of the notion of cultural hybridity in our society.
- Full Text:
- Date Issued: 2000
- Authors: Naidu, Samantha
- Date: 2000
- Subjects: Tales -- South Africa , Folklore -- South Africa , Xhosa literature -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2187 , http://hdl.handle.net/10962/d1002229 , https://orcid.org/0000-0001-9456-8657 , Tales -- South Africa , Folklore -- South Africa , Xhosa literature -- History and criticism
- Description: This thesis maps a marriage of postcolonial theory and folklore studies. The progeny of this marriage is an analytic tool which can suitably and effectively tackle the subject of written folktale texts, whether they be part of a nineteenth century colonialist discourse, or a twenty-first century nationalist discourse. First, GM Theal's collection of folktale texts, Kaffir Folklore (1882), is analysed as part of his specific colonialist discourse. Theal formulated for himself, and for the Xhosa peoples, identities which consolidated the colonialisms he supported. I argue that these folktale texts, although a part of Theal's colonialist discourse, are hybrid, containing the voices of both coloniser and colonised. Second, the position of contemporary written folktales in a neo-colonialist and >new nationalist discourse=, is examined. The optimistic belief of scholars and authors, that folktales are a means of bridging cultural gaps, is questioned. Finally, it is shown that authors of folktale texts can synthesise diverse literary traditions in a hybrid artform. This synthesis, to some extent, embodies the >new nationalist= aim of a unified national cultural identity in South Africa. The central value of recognising the role of folktale texts in colonialist and nationalist discourses lies in the awareness that this type of literary activity in South Africa is a cross-cultural practice. The confluence of voices which constitutes these folktale texts, reveals that our stories are intertwined. In the past, the discourses of colonialism and apartheid controlled the formation of the diverse and hierarchised cultural identities of South Africa. But this is not to say that alternative stories of self-fashioning and cultural self-determination did not exist. In the folktale texts of writers such as Mhlope, Jordan, and even in Theal's colonial collection, different mediums, literary heritages and styles converge to create narratives which speak of cross-cultural interaction and the empowerment of the black voice. In post-apartheid South Africa, there is even greater opportunity to reshape stories, to recreate selves, and to redefine intercultural relations. This thesis has outlined how some of those stories, which use folktale texts as their central trope, are constructed and commodified. Not only do these reinvented folktale texts embody the heterogeneous cultural influences of South Africa, they also have the potential to promote, first, the understanding of cultural differences, and second, the acceptance of the notion of cultural hybridity in our society.
- Full Text:
- Date Issued: 2000
Glimpsing the balance between earth and sky: a meeting ground for postmodernism and Christianity in four selected novels by Jeanette Winterson and John Irving
- Authors: Edwards, Ross Stephen
- Date: 1999
- Subjects: Postmodernism -- Religious aspects Winterson, Jeanette, 1959- Irving, John, 1942- Postmodernism (Literature)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2186 , http://hdl.handle.net/10962/d1002228
- Description: The phrase “glimpsing the balance between earth and sky” in the thesis title is taken from Jeanette Winterson’s Oranges Are Not the Only Fruit. In this novel, the central character Jeanette believes she has glimpsed the possibility that human relationships can find their mirror in the relationship with God, as she understands the divine Other. This glimpse has set her wandering, trying to find such a balance. This examination of four selected novels by Jeanette Winterson and John Irving shows that for Irving, “glimpsing the balance” means in part, giving voice to a strongly “Christian” view of humankind and human nature but in an age where the prevailing intellectual worldview is strongly sceptical of any Grand Narrative. The “voice” expressed in Irving’s work has to be situated, like Winterson’s, as one among many possibilities. Irving’s voice is itself masked as different, other/Other, freakish, in the narrative worlds he creates. Through his use of grotesque comedy as a vehicle for deeper philosophical concerns, Irving asks us: What after all in the postmodern world is the main show? This thesis argues that if Winterson and Irving are testing or re-presenting a Christian worldview in a postmodern context, than they are asking whether Christianity is capable of assimilating and rising above the worst circumstances the world, writer, and life can throw at it. In Oranges Are Not the Only Fruit, Winterson tells a story of “forbidden love”, posed as a direct challenge to the prevailing way of knowing in her character’s community. In Gut Symmetries, she expands this challenge by employing the insights of quantum physics to make sense of the complexities raised by a triangular love relationship. Irving offers the story of Owen in A Prayer for Owen Meany as the kind of story which might possibly make a believer out of him; in short, that he would have to be a witness to some kind of miracle, something utterly inexplicable. In A Son of the Circus Irving narrates the quest for identity undertaken by an Indian doctor who is in every way a Displaced Person – the condition, he implies, of anyone who purports to find their piece of the truth. The theoretical concerns of the postmodern project are examined through Lawrence Cahoone’s argument that postmodern writing offers criticism of: presence, origin, unity and transcendence through an analytical strategy of constitutive otherness. In each of their texts, Irving and Winterson are seen to use these four critical elements and to offer a postmodern strategy of re-presenting meaning through “constitutive otherness”. Both writers also employ a strategy of historiographic metafiction (as defined by Linda Hutcheon) as a means of constructing and re-presenting their narrated stories. Postmodern paradox is compatible with what could be called a Christian plan for living, if the latter is in turn given an appropriate 1990s interpretation. The selected novels by Winterson and Irving are offered as contemporary evidence for this view. This thesis argues that the connection between postmodernism and other worldviews, particularly Christianity, is found in both projects’ process of making meanings through encounters with an other/Other.
- Full Text:
- Date Issued: 1999
- Authors: Edwards, Ross Stephen
- Date: 1999
- Subjects: Postmodernism -- Religious aspects Winterson, Jeanette, 1959- Irving, John, 1942- Postmodernism (Literature)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2186 , http://hdl.handle.net/10962/d1002228
- Description: The phrase “glimpsing the balance between earth and sky” in the thesis title is taken from Jeanette Winterson’s Oranges Are Not the Only Fruit. In this novel, the central character Jeanette believes she has glimpsed the possibility that human relationships can find their mirror in the relationship with God, as she understands the divine Other. This glimpse has set her wandering, trying to find such a balance. This examination of four selected novels by Jeanette Winterson and John Irving shows that for Irving, “glimpsing the balance” means in part, giving voice to a strongly “Christian” view of humankind and human nature but in an age where the prevailing intellectual worldview is strongly sceptical of any Grand Narrative. The “voice” expressed in Irving’s work has to be situated, like Winterson’s, as one among many possibilities. Irving’s voice is itself masked as different, other/Other, freakish, in the narrative worlds he creates. Through his use of grotesque comedy as a vehicle for deeper philosophical concerns, Irving asks us: What after all in the postmodern world is the main show? This thesis argues that if Winterson and Irving are testing or re-presenting a Christian worldview in a postmodern context, than they are asking whether Christianity is capable of assimilating and rising above the worst circumstances the world, writer, and life can throw at it. In Oranges Are Not the Only Fruit, Winterson tells a story of “forbidden love”, posed as a direct challenge to the prevailing way of knowing in her character’s community. In Gut Symmetries, she expands this challenge by employing the insights of quantum physics to make sense of the complexities raised by a triangular love relationship. Irving offers the story of Owen in A Prayer for Owen Meany as the kind of story which might possibly make a believer out of him; in short, that he would have to be a witness to some kind of miracle, something utterly inexplicable. In A Son of the Circus Irving narrates the quest for identity undertaken by an Indian doctor who is in every way a Displaced Person – the condition, he implies, of anyone who purports to find their piece of the truth. The theoretical concerns of the postmodern project are examined through Lawrence Cahoone’s argument that postmodern writing offers criticism of: presence, origin, unity and transcendence through an analytical strategy of constitutive otherness. In each of their texts, Irving and Winterson are seen to use these four critical elements and to offer a postmodern strategy of re-presenting meaning through “constitutive otherness”. Both writers also employ a strategy of historiographic metafiction (as defined by Linda Hutcheon) as a means of constructing and re-presenting their narrated stories. Postmodern paradox is compatible with what could be called a Christian plan for living, if the latter is in turn given an appropriate 1990s interpretation. The selected novels by Winterson and Irving are offered as contemporary evidence for this view. This thesis argues that the connection between postmodernism and other worldviews, particularly Christianity, is found in both projects’ process of making meanings through encounters with an other/Other.
- Full Text:
- Date Issued: 1999
In search of self explorations of identity in the work of Paul Auster
- Van der Vlies, Andrew Edward
- Authors: Van der Vlies, Andrew Edward
- Date: 1999
- Subjects: Auster, Paul, 1947- -- Criticism and interpretation , Identity (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2208 , http://hdl.handle.net/10962/d1002251 , Auster, Paul, 1947- -- Criticism and interpretation , Identity (Psychology) in literature
- Description: Paul Auster is regarded by some as an important novelist. He has, in a relatively short space of time, produced an intriguing body of work, which has attracted comparatively little critical attention. This study is based on the premise that Auster's art is the record of an entertaining, intelligent and utterly serious engagement with the possibilities of conceiving of the identity of an individual subject in the contemporary, late-twentieth century moment. This study, focussing on Auster's novels, but also considering selected poetry and critical prose, explores the representation of identity in his work. The short Foreword introduces Paul Auster and sketches in outline the concerns of the study. Chapter One explores the manner in which Auster's early (anti-),detective' fiction develops a concern with identity. It is suggested that Squeeze Play, Auster's pseudonymous 'hard-boiled' detective thriller, provided the author with a testing ground for his subsequent appropriation and subversion of the detective genre in The New York Trilogy. Through a close consideration of City of Glass, and an examination of elements in Ghosts, it is shown how the loss of the traditional detective's immunity, and the problematising of strategies which had previously guaranteed him access to interpretive and narrative closure, precipitates a collapse which initiates an interrogation of the nature and construction of ideas about individual identity. Chapter Two develops a suggestion that City of Glass was written in response to particular emotional concerns of the author by turning to an examination of the memoir-novel, The Invention of Solitude. This chapter examines the extent to which Auster's Jewishness is implicated in his understanding of identity, and in the techniques with which he expresses his concerns. It is argued that Auster's engagement with texts and memories important to him in order to find a voice adequate to the task which he assumes in The Invention of Solitude, reveals the ethical imperative of recognizing and accepting a relationship to alterity. The influence on Auster of certain Jewish writers, like Edmond Jabes, is considered in the course of the chapter. The third chapter addresses the issue of the description of Auster's work as postmodernist, in the light of what the study has presented as Auster's ethical engagement with alterity. Critical responses to Auster's texts are canvassed, before it is suggested that aspects of the ethical phenomenology of Emmanuel Levinas may be useful in considering these important issues in Auster's oeuvre. Chapter Four returns to a consideration of The New York Trilogy, examining its final part, The Locked Room, before discussing In the Country of Last Things and Moon Palace. All three novels are narrated by first-person narrators who, in very different situations, come (consciously and unconsciously) to negotiate their own identities in relation either to other people or to adverse circumstances. The chapter thus considers the manner in which these texts figure Auster's concern with relationships between individuals and otherness. Chapter Five seeks, as a means of concluding the study, to consider aspects of Auster's presentation of the manner in which identity is connected to perception, and to an engagement with that which is other than the self This chapter focuses on Auster's figuration of necessary responses to the otherness of the objective world and to chance as a radical alterity. Beginning with a consideration of an early essay, the chapter explores relevant aspects of Moon Palace, The Music of Chance, Leviathan and Mr Vertigo, considers elements in Auster's poetry, and demonstrates the usefulness of exploring the influence on his work of the 'objectivist' poets and aspects of Dada and Surrealist poetics. The seemingly punitive severity of the fates of some of Auster's protagonists is shown ultimately to be positive, and (potentially) redemptive, reflecting Auster's profoundly ethical conception of the responsibilities and possibilities of selfhood.
- Full Text:
- Date Issued: 1999
- Authors: Van der Vlies, Andrew Edward
- Date: 1999
- Subjects: Auster, Paul, 1947- -- Criticism and interpretation , Identity (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2208 , http://hdl.handle.net/10962/d1002251 , Auster, Paul, 1947- -- Criticism and interpretation , Identity (Psychology) in literature
- Description: Paul Auster is regarded by some as an important novelist. He has, in a relatively short space of time, produced an intriguing body of work, which has attracted comparatively little critical attention. This study is based on the premise that Auster's art is the record of an entertaining, intelligent and utterly serious engagement with the possibilities of conceiving of the identity of an individual subject in the contemporary, late-twentieth century moment. This study, focussing on Auster's novels, but also considering selected poetry and critical prose, explores the representation of identity in his work. The short Foreword introduces Paul Auster and sketches in outline the concerns of the study. Chapter One explores the manner in which Auster's early (anti-),detective' fiction develops a concern with identity. It is suggested that Squeeze Play, Auster's pseudonymous 'hard-boiled' detective thriller, provided the author with a testing ground for his subsequent appropriation and subversion of the detective genre in The New York Trilogy. Through a close consideration of City of Glass, and an examination of elements in Ghosts, it is shown how the loss of the traditional detective's immunity, and the problematising of strategies which had previously guaranteed him access to interpretive and narrative closure, precipitates a collapse which initiates an interrogation of the nature and construction of ideas about individual identity. Chapter Two develops a suggestion that City of Glass was written in response to particular emotional concerns of the author by turning to an examination of the memoir-novel, The Invention of Solitude. This chapter examines the extent to which Auster's Jewishness is implicated in his understanding of identity, and in the techniques with which he expresses his concerns. It is argued that Auster's engagement with texts and memories important to him in order to find a voice adequate to the task which he assumes in The Invention of Solitude, reveals the ethical imperative of recognizing and accepting a relationship to alterity. The influence on Auster of certain Jewish writers, like Edmond Jabes, is considered in the course of the chapter. The third chapter addresses the issue of the description of Auster's work as postmodernist, in the light of what the study has presented as Auster's ethical engagement with alterity. Critical responses to Auster's texts are canvassed, before it is suggested that aspects of the ethical phenomenology of Emmanuel Levinas may be useful in considering these important issues in Auster's oeuvre. Chapter Four returns to a consideration of The New York Trilogy, examining its final part, The Locked Room, before discussing In the Country of Last Things and Moon Palace. All three novels are narrated by first-person narrators who, in very different situations, come (consciously and unconsciously) to negotiate their own identities in relation either to other people or to adverse circumstances. The chapter thus considers the manner in which these texts figure Auster's concern with relationships between individuals and otherness. Chapter Five seeks, as a means of concluding the study, to consider aspects of Auster's presentation of the manner in which identity is connected to perception, and to an engagement with that which is other than the self This chapter focuses on Auster's figuration of necessary responses to the otherness of the objective world and to chance as a radical alterity. Beginning with a consideration of an early essay, the chapter explores relevant aspects of Moon Palace, The Music of Chance, Leviathan and Mr Vertigo, considers elements in Auster's poetry, and demonstrates the usefulness of exploring the influence on his work of the 'objectivist' poets and aspects of Dada and Surrealist poetics. The seemingly punitive severity of the fates of some of Auster's protagonists is shown ultimately to be positive, and (potentially) redemptive, reflecting Auster's profoundly ethical conception of the responsibilities and possibilities of selfhood.
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- Date Issued: 1999