"A complex and delicate web" : a comparative study of selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy
- Authors: Glover, Jayne Ashleigh
- Date: 2008
- Subjects: Atwood, Margaret Eleanor, 1939- -- Criticism and interpretation Le Guin, Ursula K., 1929- -- Criticism and interpretation Lessing, Doris May, 1919- -- Criticism and interpretation Piercy, Marge Piercy, Marge -- Criticism and interpretation Utopias in literature Dystopias in literature Science fiction, English -- History and criticism Fantasy fiction -- History and criticism Fantasy literature -- History and criticism Women authors -- 20th Century Women authors -- 21st Century English fiction -- 20th Century English fiction -- 21st Century
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2199 , http://hdl.handle.net/10962/d1002241
- Description: This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.
- Full Text:
- Date Issued: 2008
- Authors: Glover, Jayne Ashleigh
- Date: 2008
- Subjects: Atwood, Margaret Eleanor, 1939- -- Criticism and interpretation Le Guin, Ursula K., 1929- -- Criticism and interpretation Lessing, Doris May, 1919- -- Criticism and interpretation Piercy, Marge Piercy, Marge -- Criticism and interpretation Utopias in literature Dystopias in literature Science fiction, English -- History and criticism Fantasy fiction -- History and criticism Fantasy literature -- History and criticism Women authors -- 20th Century Women authors -- 21st Century English fiction -- 20th Century English fiction -- 21st Century
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2199 , http://hdl.handle.net/10962/d1002241
- Description: This thesis examines selected speculative novels by Margaret Atwood, Ursula K. Le Guin, Doris Lessing and Marge Piercy. It argues that a specifiable ecological ethic can be traced in their work – an ethic which is explored by them through the tensions between utopian and dystopian discourses. The first part of the thesis begins by theorising the concept of an ecological ethic of respect for the Other through current ecological philosophies, such as those developed by Val Plumwood. Thereafter, it contextualises the novels within the broader field of science fiction, and speculative fiction in particular, arguing that the shift from a critical utopian to a critical dystopian style evinces their changing treatment of this ecological ethic within their work. The remainder of the thesis is divided into two parts, each providing close readings of chosen novels in the light of this argument. Part Two provides a reading of Le Guin’s early Hainish novels, The Left Hand of Darkness, The Word for World is Forest and The Dispossessed, followed by an examination of Piercy’s Woman on the Edge of Time, Lessing’s The Marriages Between Zones Three, Four and Five, and Atwood’s The Handmaid’s Tale. The third, and final, part of the thesis consists of individual chapters analysing the later speculative novels of each author. Piercy’s He, She and It, Le Guin’s The Telling, and Atwood’s Oryx and Crake are all scrutinised, as are Lessing’s two recent ‘Ifrik’ novels. This thesis shows, then, that speculative fiction is able to realise through fiction many of the ideals of ecological thinkers. Furthermore, the increasing dystopianism of these novels reflects the greater urgency with which the problem of Othering needs to be addressed in the light of the present global ecological crisis.
- Full Text:
- Date Issued: 2008
"Abject dictatorship of the flesh" : corporeality in the fiction of Patrick White
- Authors: Grogan, Bridget Meredith
- Date: 2013
- Subjects: White, Patrick, 1912-1990 -- Criticism and interpretation Human body in literature Dualism in literature Human body -- Social aspects Body image -- Social aspects Australian fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2166 , http://hdl.handle.net/10962/d1001554
- Description: Thesis embargoed for an indefinite period - full text not available
- Full Text: false
- Date Issued: 2013
- Authors: Grogan, Bridget Meredith
- Date: 2013
- Subjects: White, Patrick, 1912-1990 -- Criticism and interpretation Human body in literature Dualism in literature Human body -- Social aspects Body image -- Social aspects Australian fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2166 , http://hdl.handle.net/10962/d1001554
- Description: Thesis embargoed for an indefinite period - full text not available
- Full Text: false
- Date Issued: 2013
"All vistas close in the unseen" : a study of the transcendent in the fiction of E. M. Forster
- Authors: Butler, Ian
- Date: 1987
- Subjects: Forster, E. M. (Edward Morgan), 1879-1970 -- Criticism and interpretation , Forster, E. M. (Edward Morgan), 1879-1970
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2175 , http://hdl.handle.net/10962/d1001826
- Description: From introduction: It has become something of a commonplace among critics to remark Forster's relative lack of success in offering an alternative to the world which he satirises with such wit and humour. His comic treatment of the suburban absurdities of the Edwardian Englishman is, on the whole, far more compelling and memorable than the often vague, symbolic gestures by means of which he implies the possibility of something better. With the exception of his last and greatest novel, A Passage to India, his "alternatives" are largely factitious and contrived. Worse, the reader senses a fundamental uncertainty on the part of the author: his characteristic ambivalence in itself an indication of a perceptive and discriminating mind -- all too often suggests lack of conviction rather than an intelligent awareness of the infinitude of human possibilities.
- Full Text:
- Date Issued: 1987
- Authors: Butler, Ian
- Date: 1987
- Subjects: Forster, E. M. (Edward Morgan), 1879-1970 -- Criticism and interpretation , Forster, E. M. (Edward Morgan), 1879-1970
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: vital:2175 , http://hdl.handle.net/10962/d1001826
- Description: From introduction: It has become something of a commonplace among critics to remark Forster's relative lack of success in offering an alternative to the world which he satirises with such wit and humour. His comic treatment of the suburban absurdities of the Edwardian Englishman is, on the whole, far more compelling and memorable than the often vague, symbolic gestures by means of which he implies the possibility of something better. With the exception of his last and greatest novel, A Passage to India, his "alternatives" are largely factitious and contrived. Worse, the reader senses a fundamental uncertainty on the part of the author: his characteristic ambivalence in itself an indication of a perceptive and discriminating mind -- all too often suggests lack of conviction rather than an intelligent awareness of the infinitude of human possibilities.
- Full Text:
- Date Issued: 1987
"Form fading among fading forms" death, language and madness in the novels of Samuel Beckett
- Authors: Springer, Michael Leicester
- Date: 2008
- Subjects: Beckett, Samuel, 1906-1989 -- Criticism and interpretation English fiction -- 20th century -- History and criticism Death in literature Mental illness in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2198 , http://hdl.handle.net/10962/d1002240
- Description: The primary thesis of this dissertation is that the development of narrative strategy and technique through the course of Samuel Beckett’s fictional oeuvre enacts a parody of the Cartesian method of doubt, in which the search for first principles, instead of providing grounds for certainty, is a hopeless, grotesque quest for a self which eludes any and every assertion. My chief concerns are thus, firstly, to explicate and elucidate the nature of such narrative strategies and techniques, and how these can be said to parody epistemological procedure; and secondly, to interrogate the implications of this parody for the epistemological and interpretative endeavour of which the human sciences are comprised. These two issues are explored by way of an examination of Beckett’s earliest novel, Murphy, and the narrative impasse that arises from the contradiction between this work’s largely realist form and quasi-postmodern content. I thereafter argue that the later fiction, most particularly the Trilogy, achieves formal and stylistic solutions to the aesthetic and epistemological challenges raised by the earlier work. Beckett’s fictional oeuvre, I contend, can best be construed as an attempt to attain that which exceeds and escapes narrative in and through narrative, namely madness or death. The achievement of either would entail the obliteration of the possibility of narrating at all, and the novels, engaging in a self-deconstructing endeavour, thus occupy a profoundly paradoxical position. Any attempt to interpret a body of work of this nature can only respond in an analogous manner, by trying to make meaning of the subversion of meaning, and deconstructing the assumptions that inform its procedures. This dissertation argues that it is precisely in the way in which it necessitates such selfreflexive discursive analysis that the import of Samuel Beckett’s fiction lies, and extrapolates the significance of this for an understanding of discourse, literary criticism, and epistemological procedure.
- Full Text:
- Date Issued: 2008
- Authors: Springer, Michael Leicester
- Date: 2008
- Subjects: Beckett, Samuel, 1906-1989 -- Criticism and interpretation English fiction -- 20th century -- History and criticism Death in literature Mental illness in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2198 , http://hdl.handle.net/10962/d1002240
- Description: The primary thesis of this dissertation is that the development of narrative strategy and technique through the course of Samuel Beckett’s fictional oeuvre enacts a parody of the Cartesian method of doubt, in which the search for first principles, instead of providing grounds for certainty, is a hopeless, grotesque quest for a self which eludes any and every assertion. My chief concerns are thus, firstly, to explicate and elucidate the nature of such narrative strategies and techniques, and how these can be said to parody epistemological procedure; and secondly, to interrogate the implications of this parody for the epistemological and interpretative endeavour of which the human sciences are comprised. These two issues are explored by way of an examination of Beckett’s earliest novel, Murphy, and the narrative impasse that arises from the contradiction between this work’s largely realist form and quasi-postmodern content. I thereafter argue that the later fiction, most particularly the Trilogy, achieves formal and stylistic solutions to the aesthetic and epistemological challenges raised by the earlier work. Beckett’s fictional oeuvre, I contend, can best be construed as an attempt to attain that which exceeds and escapes narrative in and through narrative, namely madness or death. The achievement of either would entail the obliteration of the possibility of narrating at all, and the novels, engaging in a self-deconstructing endeavour, thus occupy a profoundly paradoxical position. Any attempt to interpret a body of work of this nature can only respond in an analogous manner, by trying to make meaning of the subversion of meaning, and deconstructing the assumptions that inform its procedures. This dissertation argues that it is precisely in the way in which it necessitates such selfreflexive discursive analysis that the import of Samuel Beckett’s fiction lies, and extrapolates the significance of this for an understanding of discourse, literary criticism, and epistemological procedure.
- Full Text:
- Date Issued: 2008
"Freelance mystic": individuation, mythopoeia and metafiction in the early fiction of Russell Hoban
- Authors: Rumbold, Matthew Ivan
- Date: 2007 , 2013-06-26
- Subjects: Hoban, Russell -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2257 , http://hdl.handle.net/10962/d1004455
- Description: This thesis is an exploration of three interrelated modes - the psychological, the religious or mythopoeic, and the metafictional - in the early novels of Russell Hoban. It investigates the relationship between Hoban's religious vision and his literary style, through the lens of his 'fictional philosophy' as it is presented in his essay collection The Moment under the Moment. In Chapter One, Kleinzeit is analysed to illustrate Hoban's portrayal of a contemporary crisis of meaning. It includes an introduction to the pattern of individuation and an exposition of Hoban's unique notion of heroism as embodied in Kleinzeit's journey of self-discovery. Hoban's mythopoeic impulse is elucidated with particular reference to his use of the Orpheus and Eurydice myth. Finally, in an attempt to demonstrate Hoban's ideas on the relationship between language and reality, various metafictional techniques are examined, especially in relation to the theme of transcendence. In Chapter Two, the individuation theme in The Medusa Frequenry is considered as a work of mourning, portraying Herman Orfrs movement towards reconciliation and creative renewal. Following Paul Ricoeur, the Orpheus and Eurydice myth is seen as a myth of fault, embodying a primal transgression, and a source of the creative arts. The metafictional style is examined, especially the narrative mode, in order to show how Hoban dissolves the everyday world of reality into a fantastic realm of myth. Chapter Three focuses on the individuation pattern as initiation in Riddley Walker, charting the hero's growth into adulthood. Various myths in the text are analysed to show how they portray human development and the nuclear catastrophe as a mythic Fall. The chapter argues that through Riddley's quest Hoban evokes a redemptive and regenerative fertility myth. The unique literary style of the novel, including the characteristics of 'Riddleyspeak' and the complexity of the process of interpretation is studied. In Chapter Four, which deals with Pilgermann, the final phase of individuation - preparation for death - is discussed. Hoban's religious vision is dissected in relation to his mystical impulse as exemplified in the construction of the Hidden Lion pattern. Hoban's notion of God is investigated in relation to the philosophical problem of evil and suffering. Finally, Pilger mann is shown to be Hoban's mOSt experimental literary novel as it activates his recurring meta fictional techniques, investigations into narrative, and the relationship between language and the sacred. This thesis concludes that Hoban's fiction is best understood holistically with both his religious and literary concerns inextricably entwined. Throughout his novels Hoban explores the human condition in modernity affirming the paradoxical, dialectical and mysterious nature of being. , KMBT_363 , Adobe Acrobat 9.54 Paper Capture Plug-in
- Full Text:
- Date Issued: 2007
- Authors: Rumbold, Matthew Ivan
- Date: 2007 , 2013-06-26
- Subjects: Hoban, Russell -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2257 , http://hdl.handle.net/10962/d1004455
- Description: This thesis is an exploration of three interrelated modes - the psychological, the religious or mythopoeic, and the metafictional - in the early novels of Russell Hoban. It investigates the relationship between Hoban's religious vision and his literary style, through the lens of his 'fictional philosophy' as it is presented in his essay collection The Moment under the Moment. In Chapter One, Kleinzeit is analysed to illustrate Hoban's portrayal of a contemporary crisis of meaning. It includes an introduction to the pattern of individuation and an exposition of Hoban's unique notion of heroism as embodied in Kleinzeit's journey of self-discovery. Hoban's mythopoeic impulse is elucidated with particular reference to his use of the Orpheus and Eurydice myth. Finally, in an attempt to demonstrate Hoban's ideas on the relationship between language and reality, various metafictional techniques are examined, especially in relation to the theme of transcendence. In Chapter Two, the individuation theme in The Medusa Frequenry is considered as a work of mourning, portraying Herman Orfrs movement towards reconciliation and creative renewal. Following Paul Ricoeur, the Orpheus and Eurydice myth is seen as a myth of fault, embodying a primal transgression, and a source of the creative arts. The metafictional style is examined, especially the narrative mode, in order to show how Hoban dissolves the everyday world of reality into a fantastic realm of myth. Chapter Three focuses on the individuation pattern as initiation in Riddley Walker, charting the hero's growth into adulthood. Various myths in the text are analysed to show how they portray human development and the nuclear catastrophe as a mythic Fall. The chapter argues that through Riddley's quest Hoban evokes a redemptive and regenerative fertility myth. The unique literary style of the novel, including the characteristics of 'Riddleyspeak' and the complexity of the process of interpretation is studied. In Chapter Four, which deals with Pilgermann, the final phase of individuation - preparation for death - is discussed. Hoban's religious vision is dissected in relation to his mystical impulse as exemplified in the construction of the Hidden Lion pattern. Hoban's notion of God is investigated in relation to the philosophical problem of evil and suffering. Finally, Pilger mann is shown to be Hoban's mOSt experimental literary novel as it activates his recurring meta fictional techniques, investigations into narrative, and the relationship between language and the sacred. This thesis concludes that Hoban's fiction is best understood holistically with both his religious and literary concerns inextricably entwined. Throughout his novels Hoban explores the human condition in modernity affirming the paradoxical, dialectical and mysterious nature of being. , KMBT_363 , Adobe Acrobat 9.54 Paper Capture Plug-in
- Full Text:
- Date Issued: 2007
"Let loose in the unthinkable unspeakable": waiting and alterity in Samuel Beckett's trilogy
- Authors: Marais, Jessica
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3917 , vital:20557
- Description: In this thesis, I examine the interrelated roles of waiting and alterity in Samuel Beckett's trilogy of novels: Molloy, Malone Dies and The Unnamable. The conventional understanding of waiting is as an intentional relationship between a waiting subject and an awaited object. This kind of waiting is end-directed, and, in order for it to be worthwhile, the awaited must, at some point, arrive. In the trilogy, however, the awaited never does arrive, and it is my contention that the novels are concerned with an unconventional kind of waiting, which, being without object or end, takes the form of a non-intentional relationship between waiter and awaited. Significantly, through the non-intentional wait, the subject awaits the unawaited. She or he thereby encounters the radically other, or that which cannot be rendered familiar or assimilated in any way – an unthinkable, unspeakable, ungraspable excess that overflows the limits of thought and language. The texts foreground the vexed question of response to such alterity: how can one approach the ungraspable as ungraspable, when it is in the nature of any approach to attempt to grasp? I argue that the texts explore a paradoxical form of "incurious seeking" as an avenue to accommodate the absolutely other.
- Full Text:
- Date Issued: 2016
- Authors: Marais, Jessica
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3917 , vital:20557
- Description: In this thesis, I examine the interrelated roles of waiting and alterity in Samuel Beckett's trilogy of novels: Molloy, Malone Dies and The Unnamable. The conventional understanding of waiting is as an intentional relationship between a waiting subject and an awaited object. This kind of waiting is end-directed, and, in order for it to be worthwhile, the awaited must, at some point, arrive. In the trilogy, however, the awaited never does arrive, and it is my contention that the novels are concerned with an unconventional kind of waiting, which, being without object or end, takes the form of a non-intentional relationship between waiter and awaited. Significantly, through the non-intentional wait, the subject awaits the unawaited. She or he thereby encounters the radically other, or that which cannot be rendered familiar or assimilated in any way – an unthinkable, unspeakable, ungraspable excess that overflows the limits of thought and language. The texts foreground the vexed question of response to such alterity: how can one approach the ungraspable as ungraspable, when it is in the nature of any approach to attempt to grasp? I argue that the texts explore a paradoxical form of "incurious seeking" as an avenue to accommodate the absolutely other.
- Full Text:
- Date Issued: 2016
"Rest and unrest": some rural and romantic themes in the poetry of Edward Thomas
- Authors: Lagan, Charles J
- Date: 1985-12
- Subjects: Thomas, Edward, 1878-1917 , Thomas, Edward, 1878-1917 -- Criticism and interpretation , English poetry -- 20th century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2264 , http://hdl.handle.net/10962/d1004770 , Thomas, Edward, 1878-1917 , Thomas, Edward, 1878-1917 -- Criticism and interpretation , English poetry -- 20th century
- Description: From Preface: The scope and focus of this thesis has been determined by the fact that I have tried to present a thematic, though not exhaustive, account of the poetry of Edward Thomas. (I have analysed a representative selection of the poems.) Much has been written on his life and poetry in this past decade to coincide with the centenary of his birth which was celebrated in 1978. Edna Longley, William Cooke and more recently, Andrew Motion have thrown much light on his poetry and I am indebted to them. I acknowledge especially the work of Edna Longley; her Edward Thomas: Poems and Last Poems, though it does not include all the poems, has proved to be an invaluable source because of the many extracts from Thomas's prose incorporated into her notes on his poems. Her book is also rich in suggestive insights into Thomas's poetry. Unfortunately not all of Thomas's works are available in South Africa. On a brief visit overseas I tried without success to obtain the more important books not available here. I have had to make use of anthologies of Thomas's prose where a particular text was not available, for example, In Pursuit of Spring and The South Country. I thank Ms Yolisa Soul who through the Inter Library Loan services of the University of Fort Hare managed to obtain for me a substantial number of Thomas's prose works.
- Full Text:
- Date Issued: 1985-12
- Authors: Lagan, Charles J
- Date: 1985-12
- Subjects: Thomas, Edward, 1878-1917 , Thomas, Edward, 1878-1917 -- Criticism and interpretation , English poetry -- 20th century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2264 , http://hdl.handle.net/10962/d1004770 , Thomas, Edward, 1878-1917 , Thomas, Edward, 1878-1917 -- Criticism and interpretation , English poetry -- 20th century
- Description: From Preface: The scope and focus of this thesis has been determined by the fact that I have tried to present a thematic, though not exhaustive, account of the poetry of Edward Thomas. (I have analysed a representative selection of the poems.) Much has been written on his life and poetry in this past decade to coincide with the centenary of his birth which was celebrated in 1978. Edna Longley, William Cooke and more recently, Andrew Motion have thrown much light on his poetry and I am indebted to them. I acknowledge especially the work of Edna Longley; her Edward Thomas: Poems and Last Poems, though it does not include all the poems, has proved to be an invaluable source because of the many extracts from Thomas's prose incorporated into her notes on his poems. Her book is also rich in suggestive insights into Thomas's poetry. Unfortunately not all of Thomas's works are available in South Africa. On a brief visit overseas I tried without success to obtain the more important books not available here. I have had to make use of anthologies of Thomas's prose where a particular text was not available, for example, In Pursuit of Spring and The South Country. I thank Ms Yolisa Soul who through the Inter Library Loan services of the University of Fort Hare managed to obtain for me a substantial number of Thomas's prose works.
- Full Text:
- Date Issued: 1985-12
"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
"The great foes of reality" : attitudes to language in selected novels by Joseph Conrad
- Authors: McDonald, Peter
- Date: 2013-02-19
- Subjects: Conrad, Joseph, 1857-1924
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2183 , http://hdl.handle.net/10962/d1001836 , Conrad, Joseph, 1857-1924
- Description: This dissertation examines Conrad's ambivalent attitude to the value of words in human affairs. Though his critical attitude is the main focus of the argument, his positive attitude will also be considered in some detail. In the first chapter, on The Nigger of the 'Narcissus', the critical attitude is primary. In this story language is seen in relation to silence and action, and in both cases the non- linguistic element is celebrated, while words are censured. Yet the values implied by the tale leave the writer of fiction, and the narrator who emerges at the end of the story, in an uncertain position: the world presented in the novel undermines the mode of presentation which is the novel. This paradox is to some extent resolved in the following two chapters which deal with Conrad's complex response to the culture of European imperialism. Chapter 2, on Heart of Darkness, examines the ways in which words contribute to the systematic lies that sustain the nineteenth-century civilizing mission. The story is, however, not wholly critical of language, since the value of Marlow's spoken narrative is clearly endorsed. Chapter 3 offers a more detailed account of the relationship between the story-teller and his society, and of the value of Marlow's words. In Lord Jim, Marlow's account of Jim is contrasted with the account of him given by the court of inquiry, and with the notion of the hero projected in the romantic fictions which Jim reads. Once again Marlow's use of language is affirmed, while other uses are shown to be reductive, or simply spurious. The final chapter deals with Under Western Eyes. Of the four novels selected for this thesis, Conrad's "Russian novel" offers the most explicit and sustained critique of language. The novel suggests that any simplistic identification of language with "communication" is naive, if not misleading. In the conclusion I discuss Conrad's understanding of the nature and function of his own words, as set out in the preface to The Nigger of the 'Narcissus' and A Personal Record
- Full Text:
- Authors: McDonald, Peter
- Date: 2013-02-19
- Subjects: Conrad, Joseph, 1857-1924
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2183 , http://hdl.handle.net/10962/d1001836 , Conrad, Joseph, 1857-1924
- Description: This dissertation examines Conrad's ambivalent attitude to the value of words in human affairs. Though his critical attitude is the main focus of the argument, his positive attitude will also be considered in some detail. In the first chapter, on The Nigger of the 'Narcissus', the critical attitude is primary. In this story language is seen in relation to silence and action, and in both cases the non- linguistic element is celebrated, while words are censured. Yet the values implied by the tale leave the writer of fiction, and the narrator who emerges at the end of the story, in an uncertain position: the world presented in the novel undermines the mode of presentation which is the novel. This paradox is to some extent resolved in the following two chapters which deal with Conrad's complex response to the culture of European imperialism. Chapter 2, on Heart of Darkness, examines the ways in which words contribute to the systematic lies that sustain the nineteenth-century civilizing mission. The story is, however, not wholly critical of language, since the value of Marlow's spoken narrative is clearly endorsed. Chapter 3 offers a more detailed account of the relationship between the story-teller and his society, and of the value of Marlow's words. In Lord Jim, Marlow's account of Jim is contrasted with the account of him given by the court of inquiry, and with the notion of the hero projected in the romantic fictions which Jim reads. Once again Marlow's use of language is affirmed, while other uses are shown to be reductive, or simply spurious. The final chapter deals with Under Western Eyes. Of the four novels selected for this thesis, Conrad's "Russian novel" offers the most explicit and sustained critique of language. The novel suggests that any simplistic identification of language with "communication" is naive, if not misleading. In the conclusion I discuss Conrad's understanding of the nature and function of his own words, as set out in the preface to The Nigger of the 'Narcissus' and A Personal Record
- Full Text:
"The struggle of memory against forgetting" contemporary fictions and rewriting of histories
- Authors: Patchay, Sheenadevi
- Date: 2008
- Subjects: Morrison, Toni. Beloved Dangarembga, Tsitsi. Nevous conditions Høeg, Peter, 1957- Frøken Smillas fornemmelse for sne Nahai, Gina Barkhordar. Moonlight on the avenue of faith Roy, Arundhati. God of small things Fiction -- History and criticism History in literature Contemporary, The, in literature Postcolonialism in literature Psychic trauma in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2210 , http://hdl.handle.net/10962/d1002253
- Description: This thesis argues that a prominent concern among contemporary writers of fiction is the recuperation of lost or occluded histories. Increasingly, contemporary writers, especially postcolonial writers, are using the medium of fiction to explore those areas of political and cultural history that have been written over or unwritten by the dominant narrative of “official” History. The act of excavating these past histories is simultaneously both traumatic and liberating – which is not to suggest that liberation itself is without pain and trauma. The retelling of traumatic pasts can lead, as is portrayed in The God of Small Things (1997), to further trauma and pain. Postcolonial writers (and much of the world today can be construed as postcolonial in one way or another) are seeking to bring to the fore stories of the past which break down the rigid binaries upon which colonialism built its various empires, literal and ideological. Such writing has in a sense been enabled by the collapse, in postcolonial and postmodernist discourse, of the Grand Narrative of History, and its fragmentation into a plurality of competing discourses and histories. The associated collapse of the boundary between history and fiction is recognized in the useful generic marker “historiographic metafiction,” coined by Linda Hutcheon. The texts examined in this study are all variants of this emerging contemporary genre. What they also have in common is a concern with the consequences of exile or diaspora. This study thus explores some of the representations of how the exilic experience impinges on the development of identity in the postcolonial world. The identities of “displaced” people must undergo constant change in order to adjust to the new spaces into which they move, both literal and metaphorical, and yet critical to this adjustment is the cultural continuity provided by psychologically satisfying stories about the past. The study shows that what the chosen texts share at bottom is their mutual need to retell the lost pasts of their characters, the trauma that such retelling evokes and the new histories to which they give birth. These texts generate new histories which subvert, enrich, and pre-empt formal closure for the narratives of history which determine the identities of nations.
- Full Text:
- Date Issued: 2008
- Authors: Patchay, Sheenadevi
- Date: 2008
- Subjects: Morrison, Toni. Beloved Dangarembga, Tsitsi. Nevous conditions Høeg, Peter, 1957- Frøken Smillas fornemmelse for sne Nahai, Gina Barkhordar. Moonlight on the avenue of faith Roy, Arundhati. God of small things Fiction -- History and criticism History in literature Contemporary, The, in literature Postcolonialism in literature Psychic trauma in literature
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2210 , http://hdl.handle.net/10962/d1002253
- Description: This thesis argues that a prominent concern among contemporary writers of fiction is the recuperation of lost or occluded histories. Increasingly, contemporary writers, especially postcolonial writers, are using the medium of fiction to explore those areas of political and cultural history that have been written over or unwritten by the dominant narrative of “official” History. The act of excavating these past histories is simultaneously both traumatic and liberating – which is not to suggest that liberation itself is without pain and trauma. The retelling of traumatic pasts can lead, as is portrayed in The God of Small Things (1997), to further trauma and pain. Postcolonial writers (and much of the world today can be construed as postcolonial in one way or another) are seeking to bring to the fore stories of the past which break down the rigid binaries upon which colonialism built its various empires, literal and ideological. Such writing has in a sense been enabled by the collapse, in postcolonial and postmodernist discourse, of the Grand Narrative of History, and its fragmentation into a plurality of competing discourses and histories. The associated collapse of the boundary between history and fiction is recognized in the useful generic marker “historiographic metafiction,” coined by Linda Hutcheon. The texts examined in this study are all variants of this emerging contemporary genre. What they also have in common is a concern with the consequences of exile or diaspora. This study thus explores some of the representations of how the exilic experience impinges on the development of identity in the postcolonial world. The identities of “displaced” people must undergo constant change in order to adjust to the new spaces into which they move, both literal and metaphorical, and yet critical to this adjustment is the cultural continuity provided by psychologically satisfying stories about the past. The study shows that what the chosen texts share at bottom is their mutual need to retell the lost pasts of their characters, the trauma that such retelling evokes and the new histories to which they give birth. These texts generate new histories which subvert, enrich, and pre-empt formal closure for the narratives of history which determine the identities of nations.
- Full Text:
- Date Issued: 2008
"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
"The wings of whipped butterflies" : trauma, silence and representation of the suffering child in selected contemporary African short fiction
- Authors: Njovane, Thandokazi
- Date: 2013
- Subjects: Children in literature Psychic trauma in literature Short stories, African (English) -- 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2253 , http://hdl.handle.net/10962/d1004214
- Description: This dissertation, which examines the literary representation of childhood trauma, is held together by three threads of inquiry. Firstly, I examine the stylistic devices through which three contemporary African writers – NoViolet Bulawayo, Uwem Akpan, and Mia Couto – engage with the subject of childhood trauma in five of their short stories: “Hitting Budapest”; “My Parents’ Bedroom” and “Fattening for Gabon”; and “The Day Mabata-bata Exploded” and “The Bird-Dreaming Baobab,” respectively. In each of these narratives, the use of ingén(u)s in the form of child narrators and/or focalisers instantiates a degree of structural irony, premised on the cognitive discrepancy between the protagonists’ perceptions and those of the implied reader. This structural irony then serves to underscore the reality that, though in a general sense the precise nature of traumatic experience cannot be directly communicated in language, this is exacerbated in the case of children, because children’s physical and psychological frameworks are underdeveloped. Consequently, children’s exposure to trauma and atrocity results in disruptions of both personal and communal notions of safety and security which are even more severe than those experienced by adults. Secondly, I analyse the political, cultural and economic factors which give rise to the traumatic incidents depicted in the stories, and the child characters’ interpretations and responses to these exigencies. Notions of subjectivity and intersubjectivity, identity and community, victimhood and survival, agency and disempowerment are discussed here in relation to the context of postcolonial Africa and the contemporary realities of chronic poverty, genocide, child-trafficking, the aftermath of civil war, and the legacies of colonialism and racism. Thirdly, this dissertation inspects the areas of congruence and divergence between trauma theory, literary scholarship on trauma narratives, and literary attempts to represent atrocity and trauma despite what is widely held to be the inadequacy of language – and therefore representation – to this task. There are certain differences between the three authors’ depictions of children’s experiences of trauma, despite the fact that the texts all grapple with the aporetic nature of trauma and the paradox of representing the unrepresentable. To this end, they utilise various strategies – temporal disjunctions and fragmentations, silences and lacunae, elements of the fantastical and surreal, magical realism, and instances of abjection and dissociation – to gesture towards the inexpressible, or that which is incommensurable with language. I argue that, ultimately, it is the endings of these stories which suggest the unrepresentable nature of trauma. Traumatic experience poses a challenge to representational conventions and, in its resistance, encourages a realisation that new ways of writing and speaking about trauma in the African continent, particularly with regards to children, are needed. , Adobe Acrobat 9.54 Paper Capture Plug-in
- Full Text:
- Date Issued: 2013
- Authors: Njovane, Thandokazi
- Date: 2013
- Subjects: Children in literature Psychic trauma in literature Short stories, African (English) -- 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2253 , http://hdl.handle.net/10962/d1004214
- Description: This dissertation, which examines the literary representation of childhood trauma, is held together by three threads of inquiry. Firstly, I examine the stylistic devices through which three contemporary African writers – NoViolet Bulawayo, Uwem Akpan, and Mia Couto – engage with the subject of childhood trauma in five of their short stories: “Hitting Budapest”; “My Parents’ Bedroom” and “Fattening for Gabon”; and “The Day Mabata-bata Exploded” and “The Bird-Dreaming Baobab,” respectively. In each of these narratives, the use of ingén(u)s in the form of child narrators and/or focalisers instantiates a degree of structural irony, premised on the cognitive discrepancy between the protagonists’ perceptions and those of the implied reader. This structural irony then serves to underscore the reality that, though in a general sense the precise nature of traumatic experience cannot be directly communicated in language, this is exacerbated in the case of children, because children’s physical and psychological frameworks are underdeveloped. Consequently, children’s exposure to trauma and atrocity results in disruptions of both personal and communal notions of safety and security which are even more severe than those experienced by adults. Secondly, I analyse the political, cultural and economic factors which give rise to the traumatic incidents depicted in the stories, and the child characters’ interpretations and responses to these exigencies. Notions of subjectivity and intersubjectivity, identity and community, victimhood and survival, agency and disempowerment are discussed here in relation to the context of postcolonial Africa and the contemporary realities of chronic poverty, genocide, child-trafficking, the aftermath of civil war, and the legacies of colonialism and racism. Thirdly, this dissertation inspects the areas of congruence and divergence between trauma theory, literary scholarship on trauma narratives, and literary attempts to represent atrocity and trauma despite what is widely held to be the inadequacy of language – and therefore representation – to this task. There are certain differences between the three authors’ depictions of children’s experiences of trauma, despite the fact that the texts all grapple with the aporetic nature of trauma and the paradox of representing the unrepresentable. To this end, they utilise various strategies – temporal disjunctions and fragmentations, silences and lacunae, elements of the fantastical and surreal, magical realism, and instances of abjection and dissociation – to gesture towards the inexpressible, or that which is incommensurable with language. I argue that, ultimately, it is the endings of these stories which suggest the unrepresentable nature of trauma. Traumatic experience poses a challenge to representational conventions and, in its resistance, encourages a realisation that new ways of writing and speaking about trauma in the African continent, particularly with regards to children, are needed. , Adobe Acrobat 9.54 Paper Capture Plug-in
- Full Text:
- Date Issued: 2013
'Carrying the fire' : Cormac McCarthy's moral philosophy
- Authors: Davies, Christopher
- Date: 2011
- Subjects: McCarthy, Cormac, 1933- -- Criticism and interpretation American fiction -- 20th century -- Moral and ethical aspects American fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2217 , http://hdl.handle.net/10962/d1002260
- Description: In this thesis, I argue that the question of ethics, despite claims to the contrary, is a central concern in Cormac McCarthy’s fiction. My principal contention, in this regard, is that an approach that is not reliant on conventional systems of meaning is needed if one is to engage effectively with the moral value of this writer’s oeuvre. In devising such an approach, I draw heavily on the ‘immoralist’ writings of Friedrich Nietzsche. The first chapter of the study contends that good and evil, terms central to conventional morality, do not occupy easily definable positions in McCarthy’s work. In the second chapter, the emphasis falls on the way in which language and myth’s mediation of reality informs choice. The final chapter focuses on the post-apocalyptic setting of The Road, in which normative systems of value are completely absent. It argues that, despite this absence, McCarthy presents a compassionate ethic that is able to find purchase in the harsh world depicted in the novel. Finally, then, this study argues that McCarthy’s latest novel, The Road, requires a reconsideration of the critical claim that his work is nihilistic and that it negates moral value.
- Full Text:
- Date Issued: 2011
- Authors: Davies, Christopher
- Date: 2011
- Subjects: McCarthy, Cormac, 1933- -- Criticism and interpretation American fiction -- 20th century -- Moral and ethical aspects American fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2217 , http://hdl.handle.net/10962/d1002260
- Description: In this thesis, I argue that the question of ethics, despite claims to the contrary, is a central concern in Cormac McCarthy’s fiction. My principal contention, in this regard, is that an approach that is not reliant on conventional systems of meaning is needed if one is to engage effectively with the moral value of this writer’s oeuvre. In devising such an approach, I draw heavily on the ‘immoralist’ writings of Friedrich Nietzsche. The first chapter of the study contends that good and evil, terms central to conventional morality, do not occupy easily definable positions in McCarthy’s work. In the second chapter, the emphasis falls on the way in which language and myth’s mediation of reality informs choice. The final chapter focuses on the post-apocalyptic setting of The Road, in which normative systems of value are completely absent. It argues that, despite this absence, McCarthy presents a compassionate ethic that is able to find purchase in the harsh world depicted in the novel. Finally, then, this study argues that McCarthy’s latest novel, The Road, requires a reconsideration of the critical claim that his work is nihilistic and that it negates moral value.
- Full Text:
- Date Issued: 2011
'I want to tell the story again': re-telling in selected novels by Jeanette Winterson and Alan Warner
- Authors: Collett, Jenna Lara
- Date: 2011
- Subjects: Warner, Alan Criticism and interpretation Winterson, Jeanette, 1959- -- Criticism and interpretation English fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2248 , http://hdl.handle.net/10962/d1002291
- Description: This thesis investigates acts of ‘re-telling’ in four selected novels by Jeanette Winterson and Alan Warner.Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature. Part One of this thesis comprises two chapters which deal with Winterson’s Sexing the Cherry (1989) and Weight (2005) respectively. In these chapters, I argue that, although the feminist and historiographic elements of her work are significant, there exist further motivations for Winterson’s acts of re-telling in both Sexing the Cherry and Weight. In Chapter One, I analyse Winterson’s subversion and re-imagining of historiography, as well as her re-telling of fairy tale, in Sexing the Cherry. Chapter Two provides a discussion of Winterson’s re-telling of the myth of Atlas from Greek mythology, in which she draws on the discourses of science, technology, and autobiography, in Weight. Part Two focuses on Warner’s first two novels, Morvern Callar (1995) and These Demented Lands (1997). In both novels, Warner re-imagines aspects of Christian, Celtic and pagan mythology in order to debunk the validity of biblical archetypes and narratives in a contemporary working-class setting, as well as to endow his protagonist with goddess-like or mythical sensibilities. Chapter Three deals predominantly with Warner’s use of language, which I argue is central to his blending of mythological and contemporary content, while Chapter Four analyses his use of myth in these two novels. This thesis argues that while both Winterson and Warner share many of the aims associated with contemporary re-visionary fiction, their novels also exceed the boundaries of the genre in various ways. Winterson and Warner may, therefore, represent a new class of re-visionary writers, whose aim is not solely to subvert the pre-text but to draw on its generic discourses and thematic conventions in order to demonstrate the generic and discursive possibilities inherent in the act of re-telling.
- Full Text:
- Date Issued: 2011
- Authors: Collett, Jenna Lara
- Date: 2011
- Subjects: Warner, Alan Criticism and interpretation Winterson, Jeanette, 1959- -- Criticism and interpretation English fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2248 , http://hdl.handle.net/10962/d1002291
- Description: This thesis investigates acts of ‘re-telling’ in four selected novels by Jeanette Winterson and Alan Warner.Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature. Part One of this thesis comprises two chapters which deal with Winterson’s Sexing the Cherry (1989) and Weight (2005) respectively. In these chapters, I argue that, although the feminist and historiographic elements of her work are significant, there exist further motivations for Winterson’s acts of re-telling in both Sexing the Cherry and Weight. In Chapter One, I analyse Winterson’s subversion and re-imagining of historiography, as well as her re-telling of fairy tale, in Sexing the Cherry. Chapter Two provides a discussion of Winterson’s re-telling of the myth of Atlas from Greek mythology, in which she draws on the discourses of science, technology, and autobiography, in Weight. Part Two focuses on Warner’s first two novels, Morvern Callar (1995) and These Demented Lands (1997). In both novels, Warner re-imagines aspects of Christian, Celtic and pagan mythology in order to debunk the validity of biblical archetypes and narratives in a contemporary working-class setting, as well as to endow his protagonist with goddess-like or mythical sensibilities. Chapter Three deals predominantly with Warner’s use of language, which I argue is central to his blending of mythological and contemporary content, while Chapter Four analyses his use of myth in these two novels. This thesis argues that while both Winterson and Warner share many of the aims associated with contemporary re-visionary fiction, their novels also exceed the boundaries of the genre in various ways. Winterson and Warner may, therefore, represent a new class of re-visionary writers, whose aim is not solely to subvert the pre-text but to draw on its generic discourses and thematic conventions in order to demonstrate the generic and discursive possibilities inherent in the act of re-telling.
- Full Text:
- Date Issued: 2011
(Re-)inventing our selves/ourselves : identity and community in contemporary South African short fiction cycles.
- Authors: Marais, Susan Jacqueline
- Date: 2014
- Subjects: South African fiction (English) -- History and criticism , Matlou, Joël -- Criticism and interpretation , Magona, Sindiwe -- Criticism and interpretation , Vladislavić, Ivan, 1957- -- Criticism and interpretation , Wicomb, Zoë -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2326 , http://hdl.handle.net/10962/d1016357
- Description: In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
- Full Text:
- Date Issued: 2014
- Authors: Marais, Susan Jacqueline
- Date: 2014
- Subjects: South African fiction (English) -- History and criticism , Matlou, Joël -- Criticism and interpretation , Magona, Sindiwe -- Criticism and interpretation , Vladislavić, Ivan, 1957- -- Criticism and interpretation , Wicomb, Zoë -- Criticism and interpretation
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2326 , http://hdl.handle.net/10962/d1016357
- Description: In this study I focus on a number of collections of short fiction by the South African writers Joël Matlou, Sindiwe Magona, Zoë Wicomb and Ivan Vladislavić, all of which evince certain of the characteristics of short story cycles or sequences. In other words, they display what Forrest L. Ingram describes as “a double tendency of asserting the individuality of [their] components on the one hand and of highlighting, on the other, the bonds of unity which make the many into a single whole”. The cycle form, thus defined, is characterised by a paradoxical yet productive and frequently unresolved tension between “the individuality of each of the stories and the necessities of the larger unit”, between “the one and the many”, and between cohesion and fragmentation. It is this “dynamic structure of connection and disconnection” which singularly equips the genre to represent the interrelationship of singular and collective identities, or the “coherent multiplicity of community”. Ingram, for example, asserts that “Numerous and varied connective strands draw the co-protagonists of any story cycle into a single community. … However this community may be achieved, it usually can be said to constitute the central character of a cycle”. Not unsurprisingly, then, in its dominant manifestations over much of the twentieth century the short story cycle demonstrated a marked inclination towards regionalism and the depiction of localised enclaves, and this tendency towards “place-based short story cycles” in which topographical unity is a conspicuous feature was as pronounced in South Africa as elsewhere. However, the specific collections which are my concern here increasingly employ innovative and self-reflexive narrative strategies that unsettle generic expectations and interrogate the notions of regionalism and community conventionally associated with the short story cycle. My investigation seeks to explain this shift in emphasis, and its particular significance within the South African context.
- Full Text:
- Date Issued: 2014
A book history study of Michael Radford's filmic production William Shakespeare's The Merchant of Venice
- Green, Bryony Rose Humphries
- Authors: Green, Bryony Rose Humphries
- Date: 2008
- Subjects: Shakespeare, William, 1564-1616 -- Film adaptations Shakespeare, William, 1564-1616. Merchant of Venice Merchant of Venice (Motion picture: 2004) English drama -- Film and video adaptations Film adaptations -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2197 , http://hdl.handle.net/10962/d1002239
- Description: Falling within the ambit of the Department of English Literature but with interdisciplinary scope and method, the research undertaken in this thesis examines Michael Radford’s 2004 film production William Shakespeare’s The Merchant of Venice using the Book History approach to textual study. Previously applied almost exclusively to the study of books, Book History examines the text in terms of both its medium and its content, bringing together bibliographical, literary and historical approaches to the study of books within one theoretical paradigm. My research extends this interdisciplinary approach into the filmic medium by using a modified version of Robert Darnton’s “communication circuit” to examine the process of transmission of this Shakespearean film adaptation from creation to reception. The research is not intended as a complete Book History study and even less as a comprehensive investigation of William Shakespeare’s The Merchant of Venice. Rather, it uses a Shakespearean case study to bring together the two previously discrete fields of Book History and filmic investigation. Drawing on film studies, literary concepts, cultural and media studies, modern management theory as well as reception theories and with the use of both quantitative and qualitative data, I show Book History to be an eminently useful and constructive approach to the study of film.
- Full Text:
- Date Issued: 2008
- Authors: Green, Bryony Rose Humphries
- Date: 2008
- Subjects: Shakespeare, William, 1564-1616 -- Film adaptations Shakespeare, William, 1564-1616. Merchant of Venice Merchant of Venice (Motion picture: 2004) English drama -- Film and video adaptations Film adaptations -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2197 , http://hdl.handle.net/10962/d1002239
- Description: Falling within the ambit of the Department of English Literature but with interdisciplinary scope and method, the research undertaken in this thesis examines Michael Radford’s 2004 film production William Shakespeare’s The Merchant of Venice using the Book History approach to textual study. Previously applied almost exclusively to the study of books, Book History examines the text in terms of both its medium and its content, bringing together bibliographical, literary and historical approaches to the study of books within one theoretical paradigm. My research extends this interdisciplinary approach into the filmic medium by using a modified version of Robert Darnton’s “communication circuit” to examine the process of transmission of this Shakespearean film adaptation from creation to reception. The research is not intended as a complete Book History study and even less as a comprehensive investigation of William Shakespeare’s The Merchant of Venice. Rather, it uses a Shakespearean case study to bring together the two previously discrete fields of Book History and filmic investigation. Drawing on film studies, literary concepts, cultural and media studies, modern management theory as well as reception theories and with the use of both quantitative and qualitative data, I show Book History to be an eminently useful and constructive approach to the study of film.
- Full Text:
- Date Issued: 2008
A case for contemporary third literature: the black experience in the postmillennial fiction of three Kwela authors
- Authors: Mthembu, Lumumba
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3322 , vital:20480
- Description: This study seeks to uncover the manner in which the young black experience is constructed in three novels by Sifiso Mzobe, Kgebetli Moele and K. Sello Duiker. Young Blood, Untitled and Thirteen Cents all feature teenage narrators navigating the social milieu of South Africa in the twenty-first century. My analysis is informed by Frantz Fanon’s postcolonial theory because South Africa’s socio-economic landscape conforms to the divisions laid out in The Wretched of the Earth. I contend that post-apartheid South Africa is developing in a manner that is symptomatic of the Fanonian post-independence African state. My close reading of the novels teases out the conditions under which young black subjects must survive and express themselves. I look into the roles of the community, the government, the family, and the school in shaping this experience. Naturally, my discussion segues into questions of sexuality and gender as they intersect with race. I demonstrate how these texts fail and succeed as works of Third Literature, a genre derived from Third Cinema, which I have adapted due to its Fanonian ideological underpinning. Third Literature is a fundamentally revolutionary and activistic genre which seeks to pave the way for social change. In this regard, I concern myself with the recommendations these three authors may have for the readers of their texts. In conclusion, these texts demonstrate that racialized identities are social constructs with measurable experiential effects. However, there are ways of actively resisting or even
- Full Text:
- Date Issued: 2016
- Authors: Mthembu, Lumumba
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3322 , vital:20480
- Description: This study seeks to uncover the manner in which the young black experience is constructed in three novels by Sifiso Mzobe, Kgebetli Moele and K. Sello Duiker. Young Blood, Untitled and Thirteen Cents all feature teenage narrators navigating the social milieu of South Africa in the twenty-first century. My analysis is informed by Frantz Fanon’s postcolonial theory because South Africa’s socio-economic landscape conforms to the divisions laid out in The Wretched of the Earth. I contend that post-apartheid South Africa is developing in a manner that is symptomatic of the Fanonian post-independence African state. My close reading of the novels teases out the conditions under which young black subjects must survive and express themselves. I look into the roles of the community, the government, the family, and the school in shaping this experience. Naturally, my discussion segues into questions of sexuality and gender as they intersect with race. I demonstrate how these texts fail and succeed as works of Third Literature, a genre derived from Third Cinema, which I have adapted due to its Fanonian ideological underpinning. Third Literature is a fundamentally revolutionary and activistic genre which seeks to pave the way for social change. In this regard, I concern myself with the recommendations these three authors may have for the readers of their texts. In conclusion, these texts demonstrate that racialized identities are social constructs with measurable experiential effects. However, there are ways of actively resisting or even
- Full Text:
- Date Issued: 2016
A changing didacticism : the development of South African young adult fiction from 1985 to 2006
- Authors: Williams, Jenna Elizabeth
- Date: 2009 , 2013-07-16
- Subjects: Didactic fiction, English -- History and criticism Young adult fiction, South African -- History and criticism South Africa -- In literature South Africa -- Politics and government
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2255 , http://hdl.handle.net/10962/d1004293
- Description: This thesis endeavours to establish how political transformation in South Africa has impacted on the didactic function of locally produced young adult fiction between the years of 1985 and 2006. To this end, a selection of young adult novels and short stories are examined in relation to the time period during which they were written or are set, namely the final years of apartheid (from 1985 to the early 1990s), the period of transition from apartheid to democracy (approximately 1991 to 1997), and the early years of the twenty-first century (2000 to 2006). Chapter One provides a brief overview of publishing for the juvenile market in South Africa over the last century, noting how significant historical and political events affected both the publishing industry itself and the content of children's and young adult literature. This chapter also adumbrates the theoretical foundations of the study. The second chapter examines a selection of texts either written or set during the final years of the apartheid regime. This chapter establishes how authors during this period challenged notions of racial inequality and undermined the policies of the apartheid government, with varying degrees of success. The authors' methods in encouraging their (predominantly white) readers to question apartheid ideology are also interrogated. Those novels written after, but set during, the apartheid era are examined with the aim of determining their authors' didactic objectives in revisiting this period in their novels. Chapter Three explores how authors writing during the transition period aimed to encourage readers to participate in the building of a 'rainbow nation,' by portraying idealised modes of relating to the racial 'other.' While some of the authors examined in this chapter are optimistic, and even naïve, in their celebration of a newly established democracy, others are more cautious in suggesting that decades of oppression and separation can so easily be overcome. Chapter Four demonstrates how the freedoms afforded by a democratic society have prompted young adult authors to explore the possibilities of adapting the sub-genre of the teenage problem novel to suit a distinctly South African context. While some of these texts are not overtly didactic in nature, they confront the unique issues faced by a generation of South African teenagers raised in a democratic society, and in some cases challenge readers to reconsider their approach to such issues.
- Full Text:
- Date Issued: 2009
- Authors: Williams, Jenna Elizabeth
- Date: 2009 , 2013-07-16
- Subjects: Didactic fiction, English -- History and criticism Young adult fiction, South African -- History and criticism South Africa -- In literature South Africa -- Politics and government
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2255 , http://hdl.handle.net/10962/d1004293
- Description: This thesis endeavours to establish how political transformation in South Africa has impacted on the didactic function of locally produced young adult fiction between the years of 1985 and 2006. To this end, a selection of young adult novels and short stories are examined in relation to the time period during which they were written or are set, namely the final years of apartheid (from 1985 to the early 1990s), the period of transition from apartheid to democracy (approximately 1991 to 1997), and the early years of the twenty-first century (2000 to 2006). Chapter One provides a brief overview of publishing for the juvenile market in South Africa over the last century, noting how significant historical and political events affected both the publishing industry itself and the content of children's and young adult literature. This chapter also adumbrates the theoretical foundations of the study. The second chapter examines a selection of texts either written or set during the final years of the apartheid regime. This chapter establishes how authors during this period challenged notions of racial inequality and undermined the policies of the apartheid government, with varying degrees of success. The authors' methods in encouraging their (predominantly white) readers to question apartheid ideology are also interrogated. Those novels written after, but set during, the apartheid era are examined with the aim of determining their authors' didactic objectives in revisiting this period in their novels. Chapter Three explores how authors writing during the transition period aimed to encourage readers to participate in the building of a 'rainbow nation,' by portraying idealised modes of relating to the racial 'other.' While some of the authors examined in this chapter are optimistic, and even naïve, in their celebration of a newly established democracy, others are more cautious in suggesting that decades of oppression and separation can so easily be overcome. Chapter Four demonstrates how the freedoms afforded by a democratic society have prompted young adult authors to explore the possibilities of adapting the sub-genre of the teenage problem novel to suit a distinctly South African context. While some of these texts are not overtly didactic in nature, they confront the unique issues faced by a generation of South African teenagers raised in a democratic society, and in some cases challenge readers to reconsider their approach to such issues.
- Full Text:
- Date Issued: 2009
A critical edition of the poems of Henry Vaux (c. 1559-1587) in MS. Folger Bd with STC 22957
- Hacksley, Timothy Christopher
- Authors: Hacksley, Timothy Christopher
- Date: 2008
- Subjects: Vaux, Henry, ca. 1559-1587 -- Criticism and interpretation Vaux, Henry, ca. 1559-1587 Latin poetry, Medieval and modern -- History and criticism English poetry -- Early modern, 1500-1700
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2200 , http://hdl.handle.net/10962/d1002242
- Description: This thesis offers an edition of the English and Latin poems found in MS. Folger bd with STC 22957, attributed to Henry Vaux (c. 1559—1587), a recusant, priest-smuggler, and child prodigy. THE TEXT of the edition is preceded by an introduction comprising three parts: a GENERAL INTRODUCTION describing Vaux‘s socio-historical and biographical context; a CRITICAL INTRODUCTION describing the Medieval and Early Modern literary contexts of Vaux‘s poems and the forms, traditions, topoi, and conventions adhered to in them; and a TEXTUAL INTRODUCTION describing the seventeenth-century manuscript copy of the poems used as the source text and explaining and justifying the editorial decisions made. Textual variants and instances of doubtful authorship are also discussed. THE TEXT itself is presented in the original spelling of the MS. and is a diplomatic edition: the scribe‘s use of characters that are now defunct (such as long ‗s‘ and ‗=‘ for ‗-‘) has not been modernised. A critical apparatus is provided with THE TEXT. THE TEXT is followed by an extensive COMMENTARY, which glosses un-usual or archaic words and phrases, points out allusions and their likely sources, discusses literary forms and conventions which inform the reading of the po-ems, and observes peculiarities in poetic metre. Translations and commentary are offered for Vaux‘s Latin poems. The five appendices following the COMMEN-TARY comprise a MODERNISED TEXT of the poems, a FACSIMILE OF THE FOLGER MS., a SUBSEQUENT HISTORY OF THE VAUX FAMILY after Henry Vaux‘s death, a text JOHN OF PECHAM‘S PHILOMENA PRAEVIA (a text which informs the reading of Vaux‘s ―A complaint to the Nightingale‖) along with a parallel translation by me, and transcriptions of TEXTUAL VARIANTS. A BIBLIOGRAPHY of works cited, re-ferred to or consulted follows the appendices. A comprehensive GENERAL INDEX of subjects, people, places, and literary works and forms follows this, and an IN-DEX OF FIRST LINES AND TITLES of Vaux‘s poems completes the edition.
- Full Text:
- Date Issued: 2008
- Authors: Hacksley, Timothy Christopher
- Date: 2008
- Subjects: Vaux, Henry, ca. 1559-1587 -- Criticism and interpretation Vaux, Henry, ca. 1559-1587 Latin poetry, Medieval and modern -- History and criticism English poetry -- Early modern, 1500-1700
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2200 , http://hdl.handle.net/10962/d1002242
- Description: This thesis offers an edition of the English and Latin poems found in MS. Folger bd with STC 22957, attributed to Henry Vaux (c. 1559—1587), a recusant, priest-smuggler, and child prodigy. THE TEXT of the edition is preceded by an introduction comprising three parts: a GENERAL INTRODUCTION describing Vaux‘s socio-historical and biographical context; a CRITICAL INTRODUCTION describing the Medieval and Early Modern literary contexts of Vaux‘s poems and the forms, traditions, topoi, and conventions adhered to in them; and a TEXTUAL INTRODUCTION describing the seventeenth-century manuscript copy of the poems used as the source text and explaining and justifying the editorial decisions made. Textual variants and instances of doubtful authorship are also discussed. THE TEXT itself is presented in the original spelling of the MS. and is a diplomatic edition: the scribe‘s use of characters that are now defunct (such as long ‗s‘ and ‗=‘ for ‗-‘) has not been modernised. A critical apparatus is provided with THE TEXT. THE TEXT is followed by an extensive COMMENTARY, which glosses un-usual or archaic words and phrases, points out allusions and their likely sources, discusses literary forms and conventions which inform the reading of the po-ems, and observes peculiarities in poetic metre. Translations and commentary are offered for Vaux‘s Latin poems. The five appendices following the COMMEN-TARY comprise a MODERNISED TEXT of the poems, a FACSIMILE OF THE FOLGER MS., a SUBSEQUENT HISTORY OF THE VAUX FAMILY after Henry Vaux‘s death, a text JOHN OF PECHAM‘S PHILOMENA PRAEVIA (a text which informs the reading of Vaux‘s ―A complaint to the Nightingale‖) along with a parallel translation by me, and transcriptions of TEXTUAL VARIANTS. A BIBLIOGRAPHY of works cited, re-ferred to or consulted follows the appendices. A comprehensive GENERAL INDEX of subjects, people, places, and literary works and forms follows this, and an IN-DEX OF FIRST LINES AND TITLES of Vaux‘s poems completes the edition.
- Full Text:
- Date Issued: 2008
A critical investigation of the problems of teaching poetry to English-speaking pupils in South African senior schools
- Authors: Durham, Ken
- Date: 1969
- Subjects: Poetry -- Study and teaching (Secondary) -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2293 , http://hdl.handle.net/10962/d1011609 , Poetry -- Study and teaching (Secondary) -- South Africa
- Description: This thesis is a study of the problems of teaching poetry to English speaking pupils at South African senior schools. It is a study of what is generally agreed to be 'a peculiarly difficult department of teaching' Reeves 1958. Some would go as far as to suggest that the teaching of poetry is the most difficult aspect of any school subject : "No topic in the school curriculum has so many pitfalls as the teaching of poetry in the classroom: it is easier to go astray in attempting to promote aesthetic responses to a poem than in any other kind of lesson. 'Currey {19S8) p. 126.' If one may judge too by the number of complaints from a large body of teachers (see Chapter Four) about the difficulty of teaching poetry successfully the assessments given by Reeves and Currey appear to be well- founded. Additional weight is given by some of the attitudes of pupils themselves towards poetry and the poetry lesson (see Chapter Three). Further confirmation is evident at Teachers' Conferences and from examiners' reports that examination questions on poetry are often among the most badly answered and the least popular of all questions set. Even more significant, perhaps. were the responses from two separate graduate student teacher groups (U.E.D. English Method classes, Rhodes University 1965, 1967). When asked at the beginning of the course to name the one type of English lesson they felt least confident in handling, 42 of the 64 student teachers answered, 'The poetry lesson'. Into. p. 1.
- Full Text:
- Date Issued: 1969
- Authors: Durham, Ken
- Date: 1969
- Subjects: Poetry -- Study and teaching (Secondary) -- South Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2293 , http://hdl.handle.net/10962/d1011609 , Poetry -- Study and teaching (Secondary) -- South Africa
- Description: This thesis is a study of the problems of teaching poetry to English speaking pupils at South African senior schools. It is a study of what is generally agreed to be 'a peculiarly difficult department of teaching' Reeves 1958. Some would go as far as to suggest that the teaching of poetry is the most difficult aspect of any school subject : "No topic in the school curriculum has so many pitfalls as the teaching of poetry in the classroom: it is easier to go astray in attempting to promote aesthetic responses to a poem than in any other kind of lesson. 'Currey {19S8) p. 126.' If one may judge too by the number of complaints from a large body of teachers (see Chapter Four) about the difficulty of teaching poetry successfully the assessments given by Reeves and Currey appear to be well- founded. Additional weight is given by some of the attitudes of pupils themselves towards poetry and the poetry lesson (see Chapter Three). Further confirmation is evident at Teachers' Conferences and from examiners' reports that examination questions on poetry are often among the most badly answered and the least popular of all questions set. Even more significant, perhaps. were the responses from two separate graduate student teacher groups (U.E.D. English Method classes, Rhodes University 1965, 1967). When asked at the beginning of the course to name the one type of English lesson they felt least confident in handling, 42 of the 64 student teachers answered, 'The poetry lesson'. Into. p. 1.
- Full Text:
- Date Issued: 1969