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A Smaller Circle

  • Authors: Bhikha, Nasira
  • Date: 2022-04
  • Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century , Diaries -- Authorship , Autobiography , Short stories, English History and criticism , American fiction History and criticism , Mexican fiction History and criticism
  • Language: English
  • Type: Master's thesis , text
  • Identifier: http://hdl.handle.net/10962/232427 , vital:49991
  • Description: My thesis is a collection of prose forms weaving my identity as a South African woman of colour, my observations of life through personal, cultural and sociological lenses, where traditions are constantly challenged and evolving. The collection focuses on the untold and unresolved, using fiction as a tool of pushback and psychological reflection. I am motivated by writers who use what I would term reflective expressionism to evoke empathy by tapping into innate, universal emotions. In particular Tiff Holland’s vivid telling of family in the novella Betty Superman where she navigates complex relationships, and bell hooks’ memoirs Bone Black: Memories of Girlhood written as poetic vignettes in fluctuating points of view to draw attention to the intricacies of social structures. Joanna Walsh’s Vertigo has strongly influenced my approach to writing through her compelling imagery and use of motif in fragmented prose that delves into the psyche of her characters. I am also inspired by Lidia Yuknavitch’s visceral use of language, identifying with her invitation: “You deserve to sit at the table. The radiance falls on all of us.” , Thesis (MACW) -- Faculty of Humanities, School of Languages, 2022
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  • Date Issued: 2022-04

Decoding the notion of a constructed identity within an autobiographical picture narrative

  • Authors: Joubert, Nina
  • Date: 2012
  • Subjects: Narrative art , Autobiography , Semiotics
  • Language: English
  • Type: Thesis , Masters , MTech
  • Identifier: vital:8497 , http://hdl.handle.net/10948/d1015685
  • Description: This study presents an investigation into the process of constructing an autobiographical self within the genre of the autobiographical picture narrative, and explores this process both in terms of a theoretical study of this concept as well as an interpretation of a number of photographs. The interpretation entails a reading of selected autobiographical picture narratives by the artist-photographers Maggie Taylor and Lori Nix by means of a method derived from visual social semiotics. Specifically, the semiotic reading focuses on Taylor and Nix’s photographs Twilight swim (2004) and Ice Storm (1999), respectively, after which the researcher’s own autobiographical photograph entitled Fennel and coriander is read by means of the same methodological approach. The semiotic reading is guided by five salient characteristics of the autobiographical picture narrative, namely fabrication and reality, autobiographical memory, socio-cultural relevance, commonalities in female narration and narrative function. Harrison’s (2003) visual social semiotic framework (which reflects the work of social semioticians Kress and Van Leeuwen, 2002) was augmented in light of the five salient characteristics in order to construct an appropriate methodological framework. A comparative reading of the works by Taylor, Nix and the researcher reveals that although each of the artistphotographers followed a peculiar and unique approach in constructing the autobiographical picture narrative, parallels can be established in terms of various central concepts, as is evident from the semiotic reading. In particular, the role of memory and the interpretation of autobiographical elements emerged as common denominators. The process of constructing an autobiographical memory therefore provides the narrator-photographer with the options of escaping into and not from memory, thus allowing for unique possibilities in terms of interpretation, fantasy and construction.
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  • Date Issued: 2012

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.
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  • Date Issued: 2002

A critical edition of the Memoirs of Amelia de Henningsen (Notre Mère)

  • Authors: Young, Margaret
  • Date: 1984
  • Subjects: Henningsen family , Henningsen family -- History , Autobiography
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2575 , http://hdl.handle.net/10962/d1003067 , Henningsen family , Henningsen family -- History , Autobiography
  • Description: The chief purpose in editing the Memoirs of Amelia de Henningsen (Notre Mère) is to place on record the role played by this remarkable woman in laying the foundations of Catholic Education in southern Africa and in the building up of the Catholic Church in the Eastern Vicariate of the Cape of Good Hope and beyond. Emphasis has been placed on her achievements in these fields of labour.
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  • Date Issued: 1984

Hugh Tracey memorial service

  • Authors: Dennis Etheredge (Speaker) , Tracey, Andrew T N
  • Date: 1977
  • Subjects: Tracey, Hugh , Memorial service , Autobiography , Tuning fork , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
  • Language: English
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/113245 , vital:33734 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC131b-02
  • Description: Dennis Etheredge giving a brief background on Hugh Tracey autobiography which he had read entitled "A river left for me"; Hugh's awardment of the Carnegie research fellowship, his tuning fork also how ILAM came into being in 1953 and how Dennis Etheredge and Gavin Relly came into contact with Hugh Tracey
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  • Date Issued: 1977

Hugh Tracey memorial service

  • Authors: Dennis Etheredge (Speaker) , Tracey, Andrew T N
  • Date: 1977
  • Subjects: Tracey, Hugh , Memorial service , Autobiography , Tuning forks , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
  • Language: English
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/112588 , vital:33613 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC129a-02
  • Description: Dennis Etheredge giving a brief background on Hugh Tracey autobiography which he had read entitled "A river left for me"; Hugh's awardment of the Carnegie research fellowship, his tuning fork also how ILAM came into being in 1953 and how Dennis Etheredge and Gavin Relly came into contact with Hugh Tracey
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  • Date Issued: 1977

Hugh Tracey memorial service 1

  • Authors: Stanley Grassow (1st speaker) , Dennis Etheredge (2nd speaker) , Dr Philip Tobias (3rd Speaker) , Tracey, Andrew T N
  • Date: 1977
  • Subjects: Tracey, Hugh , Memorial service , Autobiography , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
  • Language: English
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/112171 , vital:33555 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC127a-01
  • Description: Stanley Grassow talking about Hugh Tracey's background of his cresendo music followed by prayer , Dennis Etheredge giving a brief background on Hugh Tracey autobiography which he had read entitled "A river left for me" and also how ILAM came into being in 1953 , Philip Tobias speaking of his first encounter with Hugh Tracey's; Hugh Tracey's contribution on his works of anthropology; his pioneer study of African music termed as ethnomusicology; summary of Hugh Tracey as black man with a white face whose writings were excellent, great communicator and that Hugh Tracey saw music of Africa as the voice of the soul of Africa
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  • Date Issued: 1977

Hugh Tracey memorial service 2

  • Authors: Gambo Khumalo (Speaker) , Andrew Tracey (Transalator and Speaker) , Paul Tracey and Andrew Tracey (Performer) , Henry Howell (Speaker) , Phyllida Wentzel (Speaker) , Irene Frongs (Speaker) , Jill Hyacinth (Speaker) , Tracey, Andrew T N
  • Date: 1977
  • Subjects: Tracey, Hugh , Memorial service , Autobiography , Ethnomusicology , Sub-Saharan African music , Africa South Africa Saronde Farm f-sa
  • Language: English
  • Type: sound recordings , field recordings , sound recording-musical
  • Identifier: http://hdl.handle.net/10962/112199 , vital:33558 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC127b-01
  • Description: Gambo Khumalo paying tribute to Hugh Tracey on behalf of workers, stating their good working relationship with their master as they called Hugh Tracey and also mentioning Hugh Tracey's close relationship with Tshabalala and Daniel Mabuto who travelled with him all over Africa , Andrew Tracey the son reiterating his father's and family close relationship with Daniel Mabuto and Tshabalala and made a significant note to the Tshabalala family and those gathered for memorial service that Tshabalala died exactly a year ago on 23 October 1976 before his father Hugh Tracey who passed away 22 October 1977 , Mention of Paul Tracey and Andrew Tracey having inherited their father's musical gift, launched Wait a Minim and Paul performed a song which Hugh Tracey loved best from Wait a Minim entitled "my love is like a red rose" by Robert Burns accompanied by a flute , Tribute about Hugh Tracey's well beloved books namely 'Gitangali' and 'Faith of an Artist' which were inseparable from Hugh, mention of Hugh Tracey's other closer friend namely Babu Chipika from Rhodesia who was his constant companinion in Rhodesian bush, Hugh Tracey's devotion to Babu Chipika that Hugh actually painted Babu Chipika's portrait in pastels while playing the Chipendani bow and reading of verse authored by Tagore which depicted Hugh Tracey's friendship with Babu Chipika , Playing of Kalimba by Andrew Tracey of his father's favourite tune, litte bar which never failed to amaze people , A Reading of Hugh Tracey's Christmas Card printed for him two months ago and the read verse was an extract from the book 'Faith of an artist' , Irene Frongs former Greek student friend singing an ancient lullaby with guitar accompaniment in tribute to Hugh Tracey of work almost forgotten in Greece, this emanating from Hugh Tracey who encouraged her to do the Greek background and its heritage for her thesis , Mention by Jill Hyacinth the survived wife that Hugh Tracey's ashes shall be scattered in the valley surroundings or in the garden and this followed by reading an extract which confirms how Hugh Tracey loved the valley
  • Full Text: false
  • Date Issued: 1977

Hugh Tracey memorial service 3

Hugh Tracey memorial service 3

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