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A study of the heroine in certain Victorian novels

  • Authors: Addecott, Grahame John
  • Date: 1959
  • Subjects: English fiction -- 19th century -- History and criticism , Heroines in literature
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2319 , http://hdl.handle.net/10962/d1013374
  • Description: During the reign of Queen Victoria was seen the gradual emergence of the emancipated woman. The idea that women were innocent beings who must be kept from real knowledge of the world died hard, however, and to the end of the era there were many who repudiated the very concept of emancipation whether in literature or life. Coupled with the chivalrous, idealistic concept of womanhood was Victorian respectability, and it is not surprising that in the earlier Victorian novels we see clearly the idealistic concept of women and the effects of the cult of respectability. To illustrate my theme, of the gradual change in the concept of the novel which naturally kept pace, more or less, with the progress the emancipation of women was making, I have chosen one novel from each of seven great Victorian novelists whose works span the whale era. The only exception I have made is with Charlotte Bronte. In her case the heroines of two of her novels are discussed mainly because she is the first Victorian novelist to sound a note of protest against the then conventional concept of the heroine.
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  • Date Issued: 1959

Between past and future: memory and mourning in the stories of Okwiri Oduor and Ndinda Kioko

  • Authors: Awuor, Nicholas Amol
  • Date: 2020
  • Subjects: Oduor, Okwiri -- Criticism and interpretation , Oduor, Okwiri -- The plea bargain , Oduor, Okwiri -- My father's head , Oduor, Okwiri -- Rag doll , Kioko, Ndinda -- Criticism and interpretation , Kioko, Ndinda -- Sometime Before Maulidi , Kioko, Ndinda -- Some Freedom Dreams , Authors, Kenyan -- Criticism and interpretation , Kenyan fiction (English) -- History and criticism , Kenyan literature (English) -- History and criticism
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: http://hdl.handle.net/10962/163168 , vital:41015
  • Description: This study investigates the literary activities of two emerging female Kenyan writers, Claudette Okwiri Oduor and Jacqueline Ndinda Kioko, both of whom are award-winning authors. Oduor won the 2014 Caine Prize for African Writing while Kioko bagged the Wasafiri New Writing Fiction Award 2017. It examines specifically how the writers deal with memory and mourning in negotiating between the past and future. I explore how their fictional and non-fictional narratives assist individuals and groups to confront loss, reconstruct new identities, and renegotiate belonging amidst personal and social upheaval. The fictional narratives at the centre of this research are Oduor’s “The Plea Bargain” (2011), “My Father’s Head” (2013) and “Rag Doll” (2014), and Kioko’s “Sometime Before Maulidi” (2014) and “Some Freedom Dreams” (2017). The study explores the themes of mental illness, existential crisis, and fragmentation, and considers bereavement, queer relationships, cultural freedom, and social recognition. The research further considers the active participation of these two writers in Kenya’s contemporary literary-cultural conversations, which span different genres and various media platforms, including blogs, YouTube clips, online magazines, and social media networks in dialogue with other writers. I trace the significance of the literary-cultural link these authors have with their local, continental, and global counterparts in countries like Uganda, Nigeria, and South Africa. The link finds expression through their (in)direct association with some of the new online publishing outlets in Kenya like Jalada Africa, Enkare Review, and Kikwetu. More importantly, their shared participation in and association with such international awards and scholarships as the Commonwealth Short Story Prize, Kwani Trust Manuscript Project, and Miles Morland Foundation is integral in apprehending contemporary literary exchanges and multidirectional flows of publishing in Africa and beyond. I equally illustrate how mentorship of younger writers through local writers’ organisations and collectives like AMKA and Writivism help in the formation of an alternative canon other than the mainstream. The study affirms that the authors seem to transcend the boundaries of production and circulation by fluidly moving between electronic and non-electronic platforms, thus mimicking the memory production of remembering, repeating, and working through.
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  • Date Issued: 2020

Africa's golden age debunked: a study of the sources of select black African historical novels

  • Authors: Ayivor, Moses Geoffrey Kwame
  • Date: 1994
  • Subjects: Mofolo, Thomas, 1875?-1948 -- Criticism and interpretation , Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932 , Armah, Ayi Kwei, 1939 -- Criticism and interpretation , Ouologuem, Yambo, 1940- , African literature -- 20th century -- History and criticism , African literature -- Black authors -- History and criticism
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2232 , http://hdl.handle.net/10962/d1002275 , Mofolo, Thomas, 1875?-1948 -- Criticism and interpretation , Plaatje, Sol. T. (Solomon Tshekisho), 1876-1932 , Armah, Ayi Kwei, 1939 -- Criticism and interpretation , Ouologuem, Yambo, 1940- , African literature -- 20th century -- History and criticism , African literature -- Black authors -- History and criticism
  • Description: The main thesis of this dissertation is that even a casual analysis of African writing reveals that contemporary African literature has and is still undergoing a distinctive metamorphosis. This change, which amounts to a significant departure from the early fifties, derives its creative impulse from demonic anger and cynical iconoclasm and is triggered by the mind-shattering disillusion that followed independence. The proclivity towards tyranny and the exploitation of the ruled in modern Africa is traced by radical African creative writers to an ancient source: the legendary and god-like rulers of precolonial Africa. Ouologuem's Bound to Violence and Armah's Two Thousand Seasons and The Healers hypothesize that past sins begot present sins. The legendary warrior heroes of the past, whose glory and splendour were once exalted in African writing, are now ruthlessly disentombed and paraded as miscreants and despots, who not only brutalized and sold their people into slavery but also ideologically fabricated their own legends and myths in order to maximize their tyrannical power. The preoccupation of these works is, therefore, to divest the ancient heroes of their false glory. contemporary critics tend to perceive this anti-traditional posture purely as a modern trend in African literature. The truth of the matter, however, is that the literary foundations of this anti-nativist/anti-Afrocentric literary tradition were laid by Thomas Mofolo and Sol Plaatje, whose Chaka (1925) and Mhudi (1930) are the precursors. The five primary works in this study parody and veer away from the generally accepted traditional African epic heroism and recorded history towards a communal heroic ideal which celebrates the larger community instead of the single epic heroes normally romanticized in African legendary tradition. These novelists, while dismantling the European and African myths about Africa's Golden Age, also disfigure the often glorified ancient historical landmarks and the fabled heroes of Africa's oral and recorded history. The rationale behind this investigation is the fact that though these works have innovated, assimilated, and parodied the African oral arts, particularly traditional African epic heroism, no detailed study has been made to explore the literary transformation these texts have undergone as written works. Treating African texts only as appendages of Western literature may undermine the ability of the critical evaluations which go into the heart of these texts and unravel their deeper meanings. The outcome of this kind of approach is that pertinent issues of style and theme originating from negro-African metaphysics, oral traditions, and iconography could thereby be left unexplored. Besides, the bulk of the current body of criticism on African literature, particularly on colonial Africa, tends to concentrate on colonialist Christian values and Western literary production models. One of the overriding concerns of this research, therefore, is to veer away from merely rehashing Eurocentric pronouncements on European influences and literary modes parodied by these works, by taking a fresh. look at the texts from the perspective of Afrocentrism and in particular from the point of view of the traditional African oral bards. To this end, therefore, the dissertation is divided into six main chapters and a short concluding chapter: Chapter 1, A Survey of Black Representations of Pre-colonial Africa, functions as an introduction, sketches the European image versus the Black counter-discourse, and locates the study within the current debate on the concept of pre-colonial Africa's Golden Age. Chapter 2, Thomas Mofolo's "Inverted Epic Hero", the nucleus of the study I analyzes the anti-epic and ironic modes manipulated by the text and also maps out the epic generic framework which structures the whole dissertation. Chapter 3, Traditional African Epic Heroism Revised, discusses Plaatje's Mhudi, paying special attention to the text's deployment of the African epic genre as well as the caricaturist and the anti-heroic modes. In Chapter 4, Yambo Ouologuem's Bound to Violence is examined under the title A World Trapped in an Orgy of Violence, Barbarism and Servitude. African oral art is used as the hermeneutic key in unlocking the complexities of Ouologuem's novel. Chapter 5, The African Anti-Legendary Creative Mythology, scrutinizes Armah's Two Thousand Seasons, highlighting, among other topics, Armah's daring innovative stylistic experimentation. Chapter 6, entitled The Akan Iconic Forest of Symbols, deals with Armah' s The Healers, concentrating on the Akan iconographic backdrop which shapes and informs this work. And finally, The Metamorphosis of Traditional African Epic Heroism, the title of the concluding chapter, sums up this dissertation.
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  • Date Issued: 1994

An analysis of the structural use of music, song and dance in certain novels by West African writers in relation to concepts of time

  • Authors: Baxter, Marion
  • Date: 1988
  • Subjects: Music and literature
  • Language: English
  • Type: text , Thesis , Masters , MA
  • Identifier: vital:2174 , http://hdl.handle.net/10962/d1001825
  • Description: The topic of this thesis is time in the West African novel in English and French, and the key approach is that West African time is readily grasped through a study of West African music. Though Western time is not exclusively or only linear, mechanical and exploitative, and African time not exclusively cyclic, synchronic and experiential, yet there is a characteristically African view of time and preferred modes of its employment in West African fiction. The novelists considered here wrote in European languages, yet each was a member of a specific cultural group and concerned to portray the aesthetics of his inheritance, an important aspect of which is the predominance of repetitive formulae, both in music and in oral literature. The Introduction offers an historical survey of some of the main notions of time that have been manifest in the West, and compares them with notions of African time. Chapter One examines the structural use of rhythm and repetition in the novels of Camara Laye. Chapter Two discusses the griot and other traditions of oral literature in the novels of Ayi Kwei Armah and Yambo Ouologuem, novels which are concerned with the griot 's continuing role in the creation and dissemination of historical perspective. Chapter Three analyses Chinua Achebe 's portrayal of the values of pre-colonial life in Igbo society where the role of music is to limit behaviour through the structures of ritual which thus create static/cyclic time. Chapter Four describes the syncretic art-form, 'highlife', as used by novelists such as Wole Soyinka, which, because it is transitory and always changing, underscores the ironies of modern city life. The thesis concludes that the authors discussed above are aware that music, because it is predominantly social in Africa, is a powerful medium for achieving a healing synthesis between the traditional past when communalistic values were binding, and the urban-orientated present with its insistence on individuation and material enrichment.
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  • Date Issued: 1988

Pastoralism and the function of the pastoral in late sixteenth century english literature

  • Authors: Beard, Margaret Mary
  • Date: 1978
  • Subjects: English literature -- Early modern, 1500-1700 -- History and criticism , Pastoral literature, English -- History and criticism
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2282 , http://hdl.handle.net/10962/d1007609 , English literature -- Early modern, 1500-1700 -- History and criticism , Pastoral literature, English -- History and criticism
  • Description: In this thesis I have made a study of certain aspects of pastoralism and the pastoral genre in late Elizabethan literature. I have done this because I felt that Elizabethan pastoral writing was, at its best, far more than just a literary exercise undertaken, as was much Continental pastoral writing, to furnish the vernacular with a genre approved by Classical precedent. The strength of Elizabethan pastoral derived from the combination of certain indigenous factors present during Elizabeth's reign, with the current interest in imitating the Classics and introducing a famous genre into the vernacular. There had always been in English literature a strong response to the natural world and this response revealed itself in pastoral writing in which the traditional naturalistic details derived from Classical sources were infused with the grace and strength of direct observation. More importantly, Elizabethan England had a monarch who was not only ideally suited through her sex and celibacy to play the leading role in a pastoral world, but who also actively encouraged and enjoyed the eulogistic sentiments native to the Renaissance pastoral. In the English attempt to imitate a favourite Renaissance version of the pastoral - the use of a pastoral framework to comment on ecclesiastical or political affairs - there was, in Tudor Protestantism, with all its internal conflicts and its vital struggle against the political and spiritual forces of the Roman church, an ideal source of material for eclogues in the style of Mantuan. Such factors ensured that Elizabethan pastoral had a significance and relevance largely lacking in the more academic products of Continental pastoralists. Preface, p. i
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  • Date Issued: 1978

Trapped identity in the novels of Dan Jacobson

  • Authors: Bekker, Janine
  • Date: 1981
  • Subjects: Jacobson, Dan -- Criticism and interpretation , Identity (Philosophical concept) in literature
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2260 , http://hdl.handle.net/10962/d1004545 , Jacobson, Dan -- Criticism and interpretation , Identity (Philosophical concept) in literature
  • Description: Dan Jacobson has written short stories, many non-fiction articles and eight novels: The Trap (1955), A Dance in The Sun (1956), The Price of Diamonds (1957), The Evidence of Love (1959), The Beginners (1966), The Rape of Tamar (1970), The Wonder-Worker (1973), and · The Confessions of Josef Baisz (1977) . The first five are all set in South Africa, though Jacobson has been living in England since 1954, i.e. since before his first novel was published. A distinct break in terms of subject matter and voice occurs after The Beginners , giving Jacobson what he calls "two rounds as a novelist. But critics recognizing this break seem not to have recognized that all eight novels are linked by certain thematic preoccupations, notably the notion of the trapped identity, which this thesis will attempt to demonstrate. On a first reading of Jacobson's work one is drawn to affirm his portrayal of the position of the white English-speaking South African, but a closer reading reveals that he does not speak as vitally to the South African situation as he seems to, or has been taken to do. Why this should be so is the second main concern of this thesis. In the first chapter the expectations underlying English literary activity in South Africa are outlined, as this is a necessary background to the discussion of Jacobson's South African novels. (Introduction, p. 4)
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  • Date Issued: 1981

The male novelist and the 'woman question' George Meredith's presentation of his Heroines in The Egoist (1879) and Diana of the Crossways (1885)

  • Authors: Bell, Alan Nigel
  • Date: 2008
  • Subjects: Meredith, George, 1828-1909 -- Criticism and interpretation Meredith, George, 1828-1909. Egoist Meredith, George, 1828-1909. Diana of the Crossways English fiction -- 19th century -- History and criticism English fiction -- Male authors -- History and criticism
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2203 , http://hdl.handle.net/10962/d1002245
  • Description: Focusing on four early works, then three from his middle period and three from the 1890s, this dissertation explores Meredith’s role as a novelist in the unfolding of a social and literary paradox, namely, that with the death of George Eliot in 1880, the dominant writers of fiction were male, and this remained the case until the advent of Virginia Woolf, while at the same time the woman’s movement for emancipation in all spheres of life—domestic, commercial, professional and political—was gathering in strength and conviction. None of the late nineteenth-century male novelists—James, Hardy, Moore and Gissing, as well as Meredith—was ideologically committed to the feminist cause; in fact the very term ‘feminist’ did not begin to become current in England until the mid-1890s. But they were all interested in one aspect or another of the ‘Woman Question’, even if James was ambivalent about female emancipation, and Gissing, on the whole, was somewhat hostile. Of all these novelists, it was Meredith whose work, especially in its last two decades, most copiously reveals a profound sympathy for women and their struggles to realize their desires and ambitions, both inside and outside the home, in a patriarchal world. The dissertation therefore concentrates on his presentation of his heroines in their relationships with the men who, in one way or another, dominate them, and with whom they must negotiate, within the social and sexual conventions of the time, a modus vivendi—a procedure that will entail, especially in the later work, some transgression of those conventions. Chapter 1 sketches more than two centuries of development in female consciousness of severe social disadvantage, from literary observations in the mid-seventeenth century to the intensifying of political representations in the writings of Mary Wollstonecraft, and the rise of the woman’s movement in the course of the Victorian century. The chapter includes an account of the impact on Meredith of John Stuart Mill’s The Subjection of Women (1869), and an examination of some of his female friendships by way of illuminating the experiential component of his insights into the ‘Woman Question’ as reflected in his fiction and letters. His unhappy first marriage is reserved for consideration in Chapter 2, as background to the discussion of The Ordeal of Richard Feverel (1859). This early novel, Meredith’s first in the realist mode, is widely accepted as being of high quality, and is given extended treatment, together with briefer accounts of three other early works, The Shaving of Shagpat (1855), Evan Harrington (1861), and Rhoda Fleming (1865), and one from Meredith’s middle period, Beauchamp’s Career (1876). Two more novels of this period, The Egoist (1879) and Diana of the Crossways (1885), are generally considered to be among his best works, and their heroines are given chapters to themselves (3 and 4). Chapter 5 provides further contextualization for the changing socio-political circumstances of the 1880s and 1890s, with particular reference to that heightening of feminist consciousness represented by the short-lived ‘New Woman’ phenomenon, to which Diana of the Crossways had been considered by some to be a contribution. Brief discussion of some other ‘New Woman’ novels of the 80s and 90s follows, giving literary context to the heroines of Meredith’s three late candidates in the genre, One of Our Conquerors (1891), Lord Ormont and His Aminta (1894), and The Amazing Marriage (1895). The dissertation concludes with a glance at Meredith’s influence on a few early twentieth-century novelists.
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  • Date Issued: 2008

From myth to allegory: a study of the poetry of W.H. Auden, with special reference to the poet's intention

  • Authors: Bell, I M
  • Date: 1968
  • Subjects: Auden, W. H., (Wystan Hugh), 1907-1973 -- Criticism and interpretation
  • Language: English
  • Type: Thesis , Doctoral , PhD
  • Identifier: vital:2290 , http://hdl.handle.net/10962/d1009514 , Auden, W. H., (Wystan Hugh), 1907-1973 -- Criticism and interpretation
  • Description: The more attentively Auden's poetry is studied, the more one critical problem emerges. How can the poet of the "twenties and ' thirties be reconciled with the poet of the last three decades? "We've all got to come to terms with the later Auden" writes Professor Richard Hoggart, but he does not explain how. The man who wrote the pungent early poetry with its constant reiteration of warnings to a sick society that what was needed was " … death, death of the grain, our death, Death of the old gang … " before it could achieve "new styles of architecture, a change of heart", seems an entirely different person from the man who is on the side of Authority to-day; that is to say in so far as Auden can ever be said to be definitely on one side or another. Intro. p. 1.
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  • Date Issued: 1968

Elie Wiesel's fictional universe : the paradox of the mute narrator

  • Authors: Berman, Mona
  • Date: 1986
  • Subjects: Wiesel, Elie, 1928- -- Criticism and interpretation , Holocaust, Jewish (1939-1945) -- Personal narratives , Auschwitz , Narration , Silence , English literature , Criticism
  • Language: English
  • Type: text , Thesis , Masters , MA
  • Identifier: vital:2178 , http://hdl.handle.net/10962/d1001829
  • Description: The approach I have chosen for my study is to analyse the narrative techniques in Wiesel's fiction, with particular emphasis on the role of the narrator and listener in the narratives. This will not only highlight aspects of his authorial strategy involving the reader's response to various dimensions of the Holocaust, but will allow an appraisal of the literary merit of Wiesel's novels. The hushed reverence that tends to accompany allusions to Auschwitz and its literature has impeded certain theoretical investigations, with the result that most critical studies undertaken on Wiesel's works have dealt predominantly with themes and content rather than with form. A narrative approach, however, while it accounts for themes, does so within the narrative process of the work. Form and content are examined as interwoven entities in the particular context of an individual work. My decision to adopt this pursuit is based on the conviction that Wiesel's fiction is a significant contribution to the literature of testimony, not only because of its subject matter, but also because of the way in which his narrators unfold their stories with words suspended by silence in the text. The paradox of the mute narrator, the title of my study, is intended to convey the paradoxical quality of Wiesel's fiction and to show how silence, which is manifested in the themes of his work, is concretized by his strategy of entrusting the transmission of the tale to narrators, who, for various reasons have been silenced. A mute by definition cannot emit an articulate sound. A narrator, on the other hand, is a storyteller who is reliant on verbal articulation for communication. This contradiction in terms is dramatized in the novels and is symptomatic of the dilemma of Wiesel's narrators who are compelled to bear testimony through their silence. In my study of Wiesel's fiction, I will follow the chronological sequence in which the novels were written, although I will not be using a developmental approach, except to point out that the trilogy which marks the beginning of his exploration into narrative strategies, and The Testament, the last book I will be dealing with, are a culmination of his previous fictional techniques. While a developmental analysis of his fiction, particularly from a thematic point of view, enables the reader to gain insight into his background, which is important in a comprehensive study of his works, I feel that this avenue of investigation has been competently dealt with by other critics. Ellen Fine's Legacy of Night, one of the first book-length studies of Wiesel, puts forward a convincing argument for examining his fiction in chronological sequence as a kind of serialized journey from being a witness in l'univers concentrationnaire to bearing - witness in a post-Holocaust world. Furthermore, it is possible to trace the direction Wiesel's fiction follows, as in each book the seeds are sown for new ideas which are expanded upon in subsequent books. My discussion, however, will deal with the narrative process of each novel as an individual work in its own particular context. Apart from the trilogy which is examined in one chapter, and The Testament which serves as a conclusion to the study, I have not used cross references to Wiesel's other fiction when analysing specific books. Moreover, I have deliberately avoided including Wiesel's comments on his works and references to them in his essays, interviews and non-fiction writing. The reason for this approach is that I consider each novel to be a separate narrative work which merits an interpretative response that is independent of the comparative criteria that has up to now influenced the assessment of his fiction. (Introduction, p. 12-14)
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  • Date Issued: 1986

The nouvelles of Henry James : a phenomeno-generic approach

  • Authors: Bijker, Antony Jan
  • Date: 1979
  • Subjects: Novelists, American -- 19th century -- Diaries , James, Henry, 1843-1916 -- Notebooks, sketchbooks, etc. , James, Henry, 1843-1916 -- Diaries
  • Language: English
  • Type: text , Thesis , Masters , MA
  • Identifier: vital:2168 , http://hdl.handle.net/10962/d1001819
  • Description: From Introduction: The present work is about the nouvelles of Henry James and not about phenomenology. That is to say that I am more concerned with James's use of the form of the nouvelle than with the illustration of a method. But, as Roland Barthes has pointed out: "How can we tell the novel from the short story, the tale from the myth, suspense drama from tragedy ... without reference to a common model? Any critical attempt to describe even the most specific, the most historically orientated narrative form implies such a model. "I Hence, because phenomenology is somewhat alien to the Anglo-American critical sensibility, I must temporarily reverse this emphasis and discuss the phenomenological "model" that underlies my investigation of James and the nouvelle form. Elsewhere phenomenological theory will take precedence only when it throws light on what is a highly elusive genre.
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  • Date Issued: 1979

Alternative mythical structures in the fiction of Patrick White

  • Authors: Bosman, Brenda Evadne
  • Date: 1990
  • Subjects: White, Patrick, 1912-1990 , White, Patrick, 1912-1990 -- Criticism and interpretation , Myth in literature
  • Language: English
  • Type: Thesis , Doctoral , PhD
  • Identifier: vital:2170 , http://hdl.handle.net/10962/d1001821
  • Description: The texts in this study interrogate the dominant myths which have affected the constructs of identity and history in the white Australian socio-historical context. These myths are exposed by White as ideologically determined and as operating by processes of exclusion, repression and marginalisation. White challenges the autonomy of both European and Australian cultures, reveals the ideological complicity between them and adopts a critical approach to all Western cultural assumptions. As a post-colonial writer, White shares the need of both post-colonising and post-colonised groups for an identity established not in terms of the colonial power but in terms of themselves. As a dissident white male, he is a privileged member of the post- colonising group but one who rejects the dominant discourses as illegitimate and unlegitimating. He offers a re-writing of the myths underpinning colonial and post-colonising discourses which privileges their suppressed and repressed elements. His re-writings affect aboriginal men and women, white women and the 'privileged' white male whose subjection to social control is masked as unproblematic freedom. White's re-writing of myth enbraces the post-modern as well as the post- colonial. He not only deconstructs and demystifies the phallogocentric/ethnocentric order of things; he also attempts to avoid totalization by privileging indeterminacy, fragmentation, hybridization and those liminary states which defy articulation: the ecstatic, the abject, the unspeakable. He himself is denied authority in that his re-writings are presented as mere acts in the always provisional process of making interpretations. White acknowledges the problematics of both presentation and re-presentation - an unresolved tension between the post-colonial desire for self-definition and the post-modern decentring of all meaning and interpretation permeates his discourse. The close readings of the texts attempt, accordingly, to reflect varying oppositional strategies: those which seek to overturn hierarchies and expose power-relations and those which seek an idiom in which contemporary Australia may find its least distorted reflexion. Within this ideological context, the Lacanian thematics of the subject, and their re-writing by Kristeva, are linked with dialectical criticism in an attempt to reflect a strictly provisional process of (re) construction
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  • Date Issued: 1990

“The surprising involvement of the outsider”: an examination of pessimism and Schopenhauerian ethics in J. M. Coetzee’s Waiting for the Barbarians and Joseph Conrad’s Under Western Eyes

  • Authors: Bosman, Sean James
  • Date: 2017
  • Subjects: Coetzee, J. M., 1940- -- Waiting for the barbarians , Conrad, Joseph, 1857-1924 -- Under Western eyes , Schopenhauer, Arthur, 1788-1860 , Ethics in literature , Outsiders in literature , Svenska akademien
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: http://hdl.handle.net/10962/36105 , vital:24479
  • Description: When the Swedish Academy lauded J. M. Coetzee for portraying situations in which “the distinction between right and wrong, while crystal clear, can be seen to serve no end” (“PR” para. 3), it presented an interpretation of his texts that considers ethics to be legislative and imperative (see Cartwright, NS 255). The Swedish Academy’s assertions are worth exploring, given that this highly respected body’s statements are indicative of the critical debates generated by Coetzee’s work. It identified a common metaphysical malaise between Coetzee’s Waiting for the Barbarians and Conrad’s Under Western Eyes, and offered pessimism as a dubious explanation for this apparent lack of value in choosing between right and wrong action. This thesis takes exception to the logical inconsistencies of this opinion and offers a sustained and systematic counterargument with the aim of suggesting an alternative interpretation of the value of ethical action in the two works. My counterargument uses interpretive and methodological models that draw on the works of Gabriele Helms, cultural narratology and Bakhtinian theory in order to investigate the texts, using the philosophy of one of the foremost German pessimists, Arthur Schopenhauer, as an ideological point of reference. The affinity between Schopenhauerian philosophy and Eastern religions (particularly Brahmanism and Buddhism) suggests, contrary to the implications of the Swedish Academy’s statements, that there is value in ethical and moral choices in systems other than those that posit Judeo-Christian rewards and punishments in an afterlife, and that pessimism cannot legitimately be used to nullify this value. Rather, UWE and WB present an alternative set of ethics - one that is voluntary and virtue-based, valuing acts of compassion above all else. But basing my arguments on the novels’ textual affinities with Schopenhauerian ethics, I maintain that neither Conrad nor Coetzee offers strictly uncomplicated presentations of the value of compassion. Yet the sustained thematic and authorial considerations of compassionate deeds suggest that there is indeed value in deciding between morally right and morally wrong action - even if the ‘rewards’ are not guaranteed and may only - at best - be temporary.
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  • Date Issued: 2017

Between nationalism and transnationalism: entanglements of history, individual narrative, and memory in diaspora spaces in selected transnational fiction

  • Authors: Bosman, Sean James
  • Date: 2020
  • Subjects: Literature and transnationalism , Gurnah, Abdulrazak, 1948- , Gurnah, Abdulrazak, 1948- -- By the sea , Gurnah, Abdulrazak, 1948- -- Gravel heart , Nguyen, Viet Thanh, 1971- , Nguyen, Viet Thanh, 1971- -- The sympathizer , Nguyen, Viet Thanh, 1971- -- The refugees , Urrea, Luis Alberto , Urrea, Luis Alberto -- The house of broken angels , Urrea, Luis Alberto -- The water museum
  • Language: English
  • Type: Thesis , Doctoral , PhD
  • Identifier: http://hdl.handle.net/10962/140932 , vital:37930
  • Description: This thesis offers close readings and a comparative analysis of selected works by Abdulrazak Gurnah, Viet Thanh Nguyen, and Luis Alberto Urrea. The selected primary texts used are Gurnah’s By the Sea (2000) and Gravel Heart (2017), Nguyen’s The Sympathizer (2015) and The Refugees (2017), and Urrea’s The Water Museum (2015) and The House of Broken Angels (2018). Analyses are informed by a conceptual framework that draws on critical works by Avtar Brah, J. U. Jacobs, Sarah Nuttall, Homi K. Bhabha, Judith Butler, Stuart Hall, Paul Ricoeur, Viet Thanh Nguyen, and Christopher B. Patterson. These theories are deployed to analyse how the selected works engage with the entanglements of history, individual narratives, and memory in the diaspora spaces they articulate. The thesis argues that the selected works indicate an emerging subgenre within the broader category of transnational literature. This subgenre rejects disempowering interpolations of transnational identities. Instead, it prioritises ethical forms of memory. These acknowledge that transnational subjects share at least partial accountability for the precarity they experience in diaspora spaces. The selected literature limns how this may be accomplished by rejecting the label of victim. In so doing, the selected literature also suggests that the elevation of transnationals to full ethical agency would enable them to exercise power in their diaspora spaces. All three authorial projects studied here also give rise to uncomfortable juxtapositions that suggest a mounting fear that, as nationalisms become more pronounced in the UK and the USA, transnationals may have to re-experience conditions from which they have already fled. The thesis concludes by identifying four additional areas of confluence amongst the selected literature worthy of future study.
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  • Date Issued: 2020

Chasing Eden: Margaret Atwood’s MaddAddam trilogy and the value of reading in a technological age

  • Authors: Bosman, Zoë June
  • Date: 2020
  • Subjects: Atwood, Margaret, 1939- MaddAddam trilogy , Speculative fiction -- History and criticism , Capitalism in literature , Dystopias in literature , Science fiction -- History and criticism , Technology in literature
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: http://hdl.handle.net/10962/145796 , vital:38467
  • Description: This thesis is focussed on Margaret Atwood’s MaddAddam trilogy: Oryx and Crake (2003) The Year of the Flood (2009) and MaddAddam (2013). Detailing Atwood’s own specifications as to why these texts should be categorised as works of speculative fiction, the thesis examines how this literary genre, and Atwood’s MaddAddam trilogy in particular, is uniquely capable of encouraging readers to interrogate critically the socio-economic, environmental, and ethical problems to which she, and the contemporary reader, bear witness in the present technological age. With reference to Atwood’s essays and critical writings, Darko Suvin’s Metamorphoses of Science Fiction, and Wolfgang Iser’s The Act of Reading, this project explores the value of reading speculative fiction and details how Atwood has constructed the fictional, yet plausible, possible future world of her trilogy by extrapolating our current scientific capabilities, environmental challenges, and political configurations to their logical conclusions. It explores the close relationship that exists between the near-future world of Atwood’s texts and the contemporary context from which she has drawn her subject matter, and argues that the trilogy demonstrates graphically the long-term consequences of capitalism, sustainability, and the doctrine of human exceptionalism, which this project, following Yuval Harari, defines as orthodox guiding narratives: fictions that humanity has created, and which structure our perception of reality and guide our behaviour. The project maintains that Atwood’s trilogy presents the reader with a hypothetical future that looks towards and beyond the end of contemporary technological society in order to urge her reader to imagine, and actualize, alternatives to the scenarios that these texts depict. The most significant question Atwood’s texts ask is whether contemporary technological society is willing and able to transform in order to avert the ecological apocalypse that is the logical conclusion to the Anthropocene?
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  • Date Issued: 2020

Detecting the transnational space: metaphysical detecting in Kazuo Ishiguro’s When we were orphans, Michiel Heyns’s Lost ground, and Amitav Gosh’s The Calcutta chromosome

  • Authors: Botes, Niki
  • Date: 2020
  • Subjects: Literature and transnationalism , Detective and mystery stories -- History and criticism , Ishiguro, Kazuo, 1954- , Ishiguro, Kazuo, 1954- -- When we were orpahns , Heyns, Michiel , Heyns, Michiel -- Lost ground , Ghosh, Amitav, 1956- , Ghosh, Amitav, 1956- -- The Calcutta chromosome
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: http://hdl.handle.net/10962/140971 , vital:37933
  • Description: The transnational detectives in the three primary texts under scrutiny—Kazuo Ishiguro’s When We Were Orphans, Michiel Heyns’s Lost Ground, and Amitav Ghosh’s The Calcutta Chromosome—are regarded as metaphysical detectives in this thesis. As transnational figures, they criss-cross physical and national borders, but their investigations also often require the crossing of epistemological and ontological borders, as well as thinking outside of binaries. The fictional transnational, postcolonial worlds presented in these texts all feature a lack of change and the persistence of the socio-economic inequalities and discriminations of the colonial or, in the case of Lost Ground, the apartheid past. This thesis will argue that the three texts foreground the inability to break free from conceptual frameworks and a lack in human relationships as two possible reasons why the communities and societies in question have not been able to affect change. To solve the various mysteries in the texts, the transnational detectives need to find new ways of knowing and being. The lessons that these detectives learn and the personal changes they experience serve as synecdoche for how a better tomorrow for the transnational, postcolonial world could possibly be achieved. The methodology employed in this thesis involves a comparative reading of the three primary texts. To analyse and interpret these texts, this thesis draws on the philosophies of postmodern philosophers such as Martin Heidegger, Michel Foucault, Jacques Derrida, and Emmanuel Levinas, as well as postcolonial theorists like Edward Said, Gayatri Chakravorty Spivak, and Homi K. Bhabha. The thesis will contend that especially Derrida’s work on deconstruction, which forms the conceptual basis for Bhabha’s notion of the ‘third space,’ as well as Levinas’s anti-totalitarian approach with regard to the ethical relationship between the self and the other, are viable better ways of knowing and being in the transnational, postcolonial worlds presented in the texts. Derrida’s notion of différance and the trace, as well as Bhabha’s third space, this thesis contends, completely destabilises binary thinking and offers ways to think outside of the limited frameworks of ideological discourse. This thesis also posits that Levinas’s metaphysical and pluralistic interpretation of how the self should, and can, relate to the other, presents a better way of forming human relationships and has the potential to affect positive change.
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  • Date Issued: 2020

The idea of gaiety in Yeats's lyric poetry

  • Authors: Brady, Bronwyn
  • Date: 1990
  • Subjects: Yeats, W. B. (William Butler), 1865-1939 -- Criticism and interpretation , Lyric poetry -- History and criticism
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2324 , http://hdl.handle.net/10962/d1015642
  • Description: In June 1917 W.B. Yeats wrote to his father : Much of your thought resembles mine . . but mine is part of a religious system more or less logically worked out, a system which will I hope interest you as a form of poetry. I find the setting it all in order has helped my verse, has given me a new framework and new patterns. (Wade 1954, 627) The new framework and new patterns that he claimed to have found in his system generated a new, and for Yeats, radically different sort of poetry. Before 1919 (The Wild Swans at Coole), the poetry had as its subject various traditional themes: the pity of love; the romance and heroism of Irish mythology; the threat of age, change and death. The poetry up to this point is, formally speaking, highly skillful, but locked into its own admissions of failure to touch or incorporate reality in any but a romantically defeatist way. However, the order which Yeats refers to in his letter, and the system he generated as a propaedeutic to this new order, once assimilated into the habit and texture of the poetry, generated new topics of its own which made those of the earlier work seem subjective, self- indulgent and intellectually uninformed. Yeats's poetry now changed drastically in focus and form, from subjective to objective poetry. Whereas the earlier poetry had opposed reality with romantic heroism or selfdestructive despondency, the poetry subsequent to his change of practice, incorporates a new vision of reality as the intrinsic architechtonics of poetry itself. Now the measure of human and aesthetic completion is no longer an inexplicable and inscrutable sadness, but an intelligent and informed detachment, an energy of mind that Yeats called "gaiety". My thesis explores this energy of mind and what it meant for Yeats and his poetry. My contention is that the idea of gaiety provides a way for Yeats to grant meaning to his life, a way for him to create himself. As the poetry is completed thanks to the new system, so is the poet. In order to see this, it is necessary to read the poems as a series of collections, or stories, that resonate back and forth with meaning and qualification and understanding. Yeats's system is his myth, and he writes his poetry in terms of and informed by that myth, shaping and re-shaping the experience of the created and fictional self until it has meaning in a way that the real self does not. The thesis explores this process of creation firstly in theoretical terms, using Lotman's ideas of Story and Myth, and looking at Yeats's intellectual and poetic inheritance. It goes on to examine some of the great poems in an attempt to define gaiety, and how Yeats achieves it in the poetry, and then to look at the early, pre-system poems to see how they differ. Finally, it takes the last of Yeats's lyric collections, Last Poems, and shows how gaiety works in the most mature poetry when the poems are read as narrative events within a story.
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  • Date Issued: 1990

Self-reliant transcendentalism in five modern American nonfiction texts

Spenser's Colin Clout : an introductory study

  • Authors: Brown, Molly Anne
  • Date: 1985
  • Subjects: Spenser, Edmund, 1552?-1599 -- Criticism and interpretation , Faerie Queene , English poetry , Epic , Criticism , Interpretation , Clout, Colin (Fictitious character)
  • Language: English
  • Type: text , Thesis , Masters , MA
  • Identifier: vital:2180 , http://hdl.handle.net/10962/d1001831
  • Description: From introduction: In the sixth book of The Faerie Qveene, the reader is presented with a vision of the Graces and their attendants dancing on Mount Acidale to the piping of a simple shepherd. Spenser identifies this favoured musician as Colin Clout and then goes on to pose a seemingly inconsequential rhetorical question. "Who knowes not Colin Cloute?” he asks. The note of confident pride which can be discerned in the query clearly reveals Spenser's peculiar interest in one of his most intriguing creations. It is almost impossible to read a representative selection of Spenser's poetical works without noticing the hauntingly frequent appearances of his "Southerne shepheardes boye". Colin appears or is named in no fewer than six of Spenser's poems.
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  • Date Issued: 1985

Shakespeare's early comedies: studies in The comedy of errors, The taming of the shrew and The two gentlemen of Verona

The ideals of consciousness and conduct in Henry James's The Ambassadors and The Golden Bowl

  • Authors: Bryer, Lynne
  • Date: 1969
  • Subjects: James, Henry, 1843-1916. Ambassadors , James, Henry, 1843-1916. Golden bowl
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: vital:2321 , http://hdl.handle.net/10962/d1014635
  • Description: The mature work of Henry James gives the fullest expression of certain ideals which I have called the ideals of consciousness and conduct. These ideals are the subject of this thesis. As they are best illustrated in the two novels The Ambassadors (1903) and The Golden Bowl (1904), I have first analysed these books in detail. Though emphasising "theme" rather than "techniques" (I make the usual working distinction while recognising its limitations), I have also attempted to show how intimately James's technique is related to his exploration of consciousness and conduct. In Part Three I have tried to gather up ideas arising from the analyses of The Ambassadors and The Golden Bowl to compare them, expand on them and generalise from them. In this way I have arrived at conclusions that may help to interpret mature vision of James.
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  • Date Issued: 1969
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