Doctoral Degrees (English, Media and Performance Studies)

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African Jerusalem : the vision of Robert Grendon.
(2007) Christison, Grant.; Woeber, Catherine Ann.
This thesis discovers the spiritual and aesthetic vision of poet-journalist Robert Grendon (c. 1867–1949), a man of Irish-Herero parentage. It situates him in the wider Swedenborgian discourse regarding African ‘regeneration’. While preserving the overall diachronic continuity of a literary biography, it treats his principal thematic preoccupations synchronically. The objective has been to show the imaginative ways in which he employs his rich and diverse religio-philosophical background to account for South Africa’s social problems, to pass judgement upon the principal players, and to point out an alternative path to a brighter future. Chapter 1 looks at Emanuel Swedenborg’s mystical revelations on the heightened spiritual proclivity of the ‘celestial’ African, and the consequences of New Jerusalem’s descent over the heart of Africa, which Swedenborg believed to be taking place, undetected by Europeans, around 1770. It also examines how those pronouncements were received in Europe, America, and—most particularly—in Africa. Chapter 2 examines the circumstances surrounding Grendon’s birth and childhood in what is today Namibia. It takes note of a family tradition that Joseph Grendon married a daughter of Maharero, a prominent Herero chief, and it looks at Robert Grendon’s views on ‘miscegenation’. Chapter 3 deals with Grendon’s schooling at Zonnebloem College, Cape Town. Chapter 4 describes his cultural, sporting, and political activities in Kimberley and Uitenhage in the 1890s, bringing to light his editorship of Coloured South African in 1899. It also considers his conception of ‘progress’. Chapter 5 looks at some early poems, including the domestic verse-drama, ‘Melia and Pietro’ (1897–98). It also contextualizes a single, surviving editorial from Coloured South African. Chapter 6 treats Grendon’s tour de force, the epic poem, Paul Kruger’s Dream (1902), as well as his personal involvement in the South African War, and his spiritualized account of the ‘Struggle for Supremacy’ in South Africa. Chapter 7 relates to Grendon’s fruitful Natal period, 1900–05: his headmastership of the Edendale Training Institute and of Ohlange College, and his editorship of Ilanga’s English columns during the foreign absence of the editor-in-chief, John L. Dube, from February 1904 to May 1905. Chapter 8 analyzes some of the shorter and medium-length poems written in Natal, 1901–04. Chapter 9 is a close examination of the poem, ‘Pro Aliis Damnati’, showing its Swedenborgian basis, and how it dramatizes Swedenborg’s concept of ‘scortatory’ love. Chapter 10 describes Grendon’s early years in Swaziland from 1905. Chapter 11 deals with his period as editor of Abantu-Batho in Johannesburg, 1915–16. Chapter 12 describes his last years in Swaziland, and his relationship with the Swazi royal family.
An analysis of racial stereotyping in SABC-TV commercials in the context of reform, 1978-1992.
(1998) Holt, Alexander Robert.; Tomaselli, Keyan Gray.
This thesis uses racial stereotyping as a critical approach to the analysis of television advertising commercials broadcast by the SABC during the period of Reform in South Africa, 1978-1992. Due respect is given to theoretical debates about the ideological role of consumer advertising. In the light of various possible causes, such as an increasing importance of blacks to the consumer market, government co-option in terms of 'Total Strategy', or calls by the business sector for a strong black middle class, particular attention is given to the underlying dynamics of black middle class depiction in advertisements. The Introduction outlines the main arguments of the thesis, key theoretical moves, and discusses research sources. Chapter 1 clarifies the concept of stereotype, the nature of racial stereotyping, and proposes a category framework for the analysis of racial stereotyping in a reformist apartheid context. Chapter 2 marries a racial stereotyping critical approach of consumer advertising in South Africa with theoretically-informed advertising criticism in terms of a conception of consumption as a means of hegemony. Chapter 3 outlines aspects of the post-World War II political economy which have underpinned the ensuing forms of South African racial stereotyping. Chapter 4 examines the basis of the SABC-TV broadcasting dispensation and its influence upon the forms of racial stereotyping in commercials. Chapter 5 examines the use of political and public service advertising during the P.W. Botha era, in consideration of what influence such political dimensions of Reform might have had upon the ideological content of advertising in general. Chapter 6 examines advertising production practices during the period of Reform in order to assess the position of the advertising industry with regard to the changing forms in racial stereotyping. Chapter 7 applies the preceding theorisation and assessments about the relationship between the political economy and changing forms of racial stereotyping in SABC-TV commercials in a case study based on the advertising commercial 'history reel' for Castle Lager. Chapter 8 gives further verification in a case study of the history reel for Rama margarine. The Conclusion sums up the preceding chapters and reassess earlier observations. Appendices in Volume II of the thesis provide 830 shot-by-shot descriptions and 890 stills for 41 commercials that comprise the two case studies.
An analysis of students' responses to ABC & VCT messages at three universities in KwaZulu-Natal Province, South Africa.
(2008) Mulwo, Abraham Kiprop.; Tomaselli, Keyan Gray.
The high levels of HIV prevalence amongst young people in several sub-Saharan African countries, in spite of massive HIV prevention interventions, has prompted calls to investigate the contextual factors that drive the epidemic. A crucial component that often has been missed in the literature is an understanding of the mediation processes involved in HIV prevention communication within cultural contexts. The uniqueness of this study is thus premised in its focus on the structures and processes of meaningproduction within social groups, with regard to sex and HIV/AIDS, and how the produced meanings affect the interpretation and impact of HIV prevention texts. Using Hermeneutics, Reception Theory and the Social Constructionism Theory, this study examines how students at University of KwaZulu-Natal, University of Zululand and the Durban University of Technology make sense of the cultural meanings offered by HIV prevention messages, such as ‘Abstinence’, ‘Be faithful’, ‘Condomise’ and Voluntary Counselling and Testing (VCT). A multi-method approach, involving a questionnaire survey, in-depth interviews with sampled students and HIV/AIDS coordinators, and non-participant observations, was used to obtain data for the study. Findings of the study support the conclusion that the categories of students’ responses to HIVprevention messages were often predicated upon their relationships and participation in the various social groups. Their decisions to adopt/not adopt these prevention options were often based, therefore, on how meanings attached to these options articulated with the social significance of sex and sexual practices. In the context of intersubjective meaning-formation, therefore, the relational categories of abstinence, being faithful, condomise and VCT should not be conceptualised as discreet, frozen categories, but should rather be understood as open-ended possibilities existing concurrently, coextensively and dialectically.
Andries Botha : creativity in a context of change.
(2009) Leigh, Valerie T. L.; Leeb-du Toit, Juliette Cecile.
In this text I consider Andries Botha's work over the period 1977 to 2007. I particularly look at Botha's creative response to the period of change in which he has worked and at his own considerations of works of art as acts of creative citizenship and private creativity. The text is based largely on interviews with Botha wherein he discusses his intentions and gives insight into the character of his creative imagination. In light of the interviews I write on individual works in detail, giving attention, to a certain extent, to chronology. During the late 1970s Botha was particularly concerned with establishing a sculptural language that would be expressive of his experience as a South African creative artist in the time of turbulence in the country and of paradox in his own circumstances as liberal thinker and inheritor of a conservative Afrikaner Nationalist background. Botha's creative output has been considerable. He commenced his career in a period of waning modernity and an increasing presence of Postmodernist culture. In his works of the 1980s he makes use of conceptual means – installation, assemblage, multiples, technology and unusual materials to express, through myth and allegory, his understanding of aspects of the human condition. The many associations, aesthetic, historical and political, regarding land, in a South African and in an international context, also became his concern. He sought to look at the affects on selfhood in the wake of apartheid, considering particularly the Afrikaner male and indigenous women, with especial reference to KwaZulu- Natal. He has been particularly interested in the effects of the abuse of power in a local and in an international sphere and in the situation of subaltern peoples in the aftermath of domination. When Botha commenced studies at the (then) University of Natal, the prevailing philosophical attitude was Humanism, and his attitude to social responsibility is often markedly humanistic. His own thinking regarding his creative work coincided in many aspects with Marxist aesthetic. A development of Postmodernist thinking occurred in South Africa with the writing of Die Sestigers, who had had large contact with French philosophical writing of mid-twentieth century. Botha's challenge, as was that of Die Sestigers, was to take cognisance of international thinking and at the same time to work creatively within an experience of the South African locale. Botha's reading of Merleau-Pontys' writings on phenomenology influenced him to respond to the immediacy of experience and record that response in his work. Largeness is a distinguishing feature of his art which I discuss in connection with the character of the sublime, as perceived by Burke. The character of duende, as seen by Lorca, is also distinctive to Botha's art and is used by him creatively to effect catharsis. He shows responsibility in his creative citizenship and in his private creativity in understanding and meeting the changes of the time.
Are Africa's development failures due to cultural irrationality or the manner of development? : towards a theory of sustainable community development through communication.
(1999) Kasongo, Emmanuel.; Teer-Tomaselli, Ruth Elizabeth.
This study is an analysis of the implications of the manner of development, decision making and communication therein on Africa's development performance since the 1950s. It sought to establish the causes of development failures in Sub-Saharan Africa and to explore a way for sustainable community development. Four hypotheses were set: • First, Africa's development failures are due to cultural irrationality, as many modernisation theorists have suggested, including Goran Hyden (1980: 3-4) who asserts that "Africa's underdevelopment lies in the persistence of its pre-modern and pre-capitalist practices and structures" and Ulf Himmelstrand (1994: 25) with his "European superiority" notion; • Second, Africa's development failures are due to the exclusionary manner of development; • Third, as justification for the exclusionary manner of development, community participation in development could lead to disorder and paralyse governmental delivery capacities (Huntington, 1991), and • Lastly, community participation is untenable because communitarian values no longer exist in African communities. This study is in two parts. Part One verifies the first two hypotheses through reviewing the literature. Part Two verifies the last two hypotheses using field research data.
Autobiography of bone : an original cycle of dramatic poems researching the problematics of reconceptualisation of the formal boundaries between the genres of poetry and drama.
(2010) Moolman, Jacobus Philippus.; Chapman, Michael James Faulds.; Green, Michael Cawood.
Autobiography of Bone consists of a cycle of original dramatic poems and short poetic dramas which investigate the problematics of a reconceptualisation of the genre-based distinctions between poetry and drama. The work seeks to extend and then map the new territory revealed to me as a result of my experiments with form, and with the consequences that new forms have for content and meaning. The material in the cycle of poems presents and explores a multi-layered and wide-ranging, rather than unitary, response to issues of the body (specifically disability), memory and language. A concluding scholarly essay, “Orthopaedia” – Understanding the Writing Practice”, researches some of the theoretical and conceptual issues that informed the poems, including the influence of verse drama and the contemporary long poem, in an attempt to construct an archaeology of the writing process and the imagination of the writer.
Beyond the biopic an exploration into the nature of biography through the medium of film.
(2017) van Eeden Harrison, Janet.; Arnott, Jill Margaret.
This research deals with the process of writing a biographical screenplay which sheds light and insight into the life of Mary Wollstonecraft, the eighteenth-century writer of ground-breaking works such as A Vindication on the Rights of Woman (1792). Although the facts around Wollstonecraft’s life are relatively well-known, especially in Britain, I wanted to write the screenplay to explore how her struggle to be taken seriously as a woman is still relevant today. For this reason I chose to create the modern, parallel narrative of Khetiwe’s story to illustrate the struggle for emancipation, which still continues in some parts of the world. Primarily, I aimed to create a structure which illustrates the defining characteristics of the protagonists, and ensures that the form of the screenplay enhances the hermeneutics of the narrative. This practice-based research begins with an examination of the most popular writing techniques which could be employed as obvious structural solutions. I begin with an exploration of the biographical genre itself, to discover how genre usually dictates structure. I then examine traditional storytelling structures, namely the hero’s journey. Next, I explore ways of making these traditional structures move beyond the privileged masculine point of view. I subsequently explore the hero’s journey’s apparent opposite, the heroine’s journey. Then, I document how I stumble across the use of the mise en abyme through writing and producing one of my short films. This leads to an examination of the exact nature of this particular literary device. I examine two biographical feature films, La Vie en Rose and Saving Mr Banks, to show how they make use of the mise en abyme, and show how successful these applications are. Finally, I track the process of writing A Hyena in Petticoats, making note of the structures I have employed. In conclusion, I collate a template to illustrate my structural choices with the use of the mise en abyme as a hyper-structure, on top of a baseline structure. I suggest that the template proffers a new way of approaching biographical feature-film writing, and offers opportunities for biographical feature scripts, as well as possibilities for narrative-feature scripts.
Challenging patriarchal normativity: Southern African women writers’ constructions of women’s concerns, needs, changing identities, agency and solidarity.
(2021) Rubaya, Clemence.; Narismulu, Gayatri Priyadarshini.
This thesis explores literary representations of African women challenging the oppressiveness of patriarchal normativity that has and continues to undermine and destroy the quality of women’s lives the world over, by persistently oppressing them and denying them equal rights, freedoms and opportunities. Contesting patriarchal normativity is critical to addressing the discrimination and oppression experienced by women, and understanding how they seek to emancipate themselves, to enjoy their rights to respect, dignity and fulfilling lives, as full members of the society to which they belong. African women have played important roles in surviving and challenging a range of interlocking patriarchal systems. They have tackled the imperatives of transforming the oppressive structures that hinder peace and development in many societies. To address his topic, the researcher adopted an interpretive content analysis of feminist literature from Southern Africa, and reviewed a range of secondary literature to support the study. Lauretta Ngcobo’s And They Didn’t Die and Tsitsi Dangarembga’s Nervous Conditions are the primary texts selected for study. The research indicates the power and resilience of a range of women in struggles against colonial/apartheid/capitalist patriarchy that have intersected to compound the abuse and tyranny experienced by African women. Dangarembga and Ngcobo’s powerful representations of African women in their novels afford deep insights into the critical roles of African women in ensuring family and community survival, and challenging the assumptions embedded in patriarchal thinking. Drawing on the inspiring leadership of the authors, the study challenges more men to get involved in the feminist struggle against patriarchal normativity and oppressive systems, because all women, children, men, families, communities, societies, our continent, and the world benefit from gender empowerment and justice, and the full integration of women. The thesis also addresses the value and strength of women’s (and men’s) solidarity in challenging these oppressive systems.
Computer aided techniques for the attribution of Attic black-figure vase-paintings using the Princeton painter as a model.
(2009) Ryan, Adrian John.; Hilton, John Laurence.; Hough, Gavin.
Because of their abundance and because of the insight into the ancient world offered by the depictions on their decorated surfaces, Attic painted ceramics are an extremely valuable source of material evidence. Knowing the identities and personalities of the artists who painted them not only helps us understand the paintings, but also helps in the process of dating them and, in the case of sherds, reconstructing them. However, few of the artists signed their wares, and the identities of the artists have to be revealed through a close analysis of the style in a process called attribution. The vast majority of the attributions of archaic Attic vases are due to John Beazley whose monumental works set the stage for the dominance of attribution studies in the scholarship of Greek ceramics for most of the 20th century. However, the number of new scholars trained in this arcane art is dwindling as new avenues of archaeological research have gained ascendency. A computer-aided technique for attribution may preserve the benefits of the art while allowing new scholars to explore previously ignored areas of research. To this end, the present study provides a theoretical framework for computer-aided attribution, and using the corpus of the Princeton Painter - a painter active in the 6th century BCE - demonstrates the principal that, by employing pattern recognition techniques, computers may be trained to serve as an aid in the attribution process. Three different techniques are presented that are capable of distinguishing between paintings of the Princeton Painter and some of his contemporaries with reasonable accuracy. The first uses shape descriptors to distinguish between the methods employed by respective artists to render minor anatomical details. The second shows that the relative positions of cranial features of the male figures on black-figure paintings is an indicator of style and may also be used as part of the attribution process. Finally a novel technique is presented that can distinguish between pots constructed by different potters based on their shape profiles. This technique may offer valuable clues for attribution when artists are known to work mostly with a single potter.
Creativity or control? : a study of selected Xhosa radio plays in the Apartheid years.
(2011) Gqibitole, Khaya Michael.; Stobie, Cheryl.
Although radio drama is a very popular form of the media, it is largely neglected in scholarship. As a result of this, it has been pushed into the periphery of research, thereby diminishing its value in society at large. The present study attempts to unearth the importance and value of the genre and its role in society, particularly during the apartheid era in South Africa. In this regard, the splendid work done by, among others, K. Tomaselli, R. Teer-Tomaselli, R. Fardon and G. Furniss, L. Gunner, D.A. Spitulnik, D. Sibiya, M. Maphumulo, N.E. Makhosana, N. Satyo and M. Jadezweni is acknowledged and commendable. In my view, its ‘omission’ in scholarship does not mean that the genre played a minimal role in educating and enlightening society. In the study I propose that radio drama was more constrained compared to other media genres, even though it was the most accessible. However, its accessibility had both advantages and disadvantages. On the one hand, it informed and entertained audiences, while on the other it could be and was used for propaganda purposes. It is generally this paradox that the study will probe. My premise is that radio was primarily used by the apartheid government to disseminate propaganda. In order to ensure that the audiences were not exposed to what was happening ‘out there’, programmes were created to present a falsehood about the country, thereby depriving audiences of reliable information. It is not surprising, then, that there was some confrontation between the managers and playwrights at the Xhosa language radio station. While the managers tried to influence programmes to propagate government policy, playwrights used the same communicative space to educate as well as to entertain the audience. The audience actively extracted information they needed from the plays. In other words, they played an active role in meaning-making. Throughout the study I will claim that there was a rapport between playwrights and the audience. Among other things, that relationship illustrated the role that the audience played in constituting the plays. Themes such as ‘tradition’ and ‘romance’ were used to connect the plays with the audiences’ everyday lives. These themes were acceptable at the stations even though they could be manipulated to serve different purposes. Some of the plays that I will examine in the study are Buzani Kubawo (1981), Nakuba Intliziyo Ithatha Ibeka: Undoqo Sisibindi (1987), USomagqabi (1986), UHlohlesakhe (1979), UThuthula (1970) and Apho Sikhala Khona Isakhwatsha (1981). These plays will be examined to, among other things, establish the nature of the relationship between the managers and playwrights. The study will contend that there was a contestation between managers and playwrights. I will also claim that some of the plays were based on real political and social issues that plagued the period in question. In this regard plays such as Apho Sikhala Khona Isakhwatsha will be used to demonstrate that some playwrights dealt with political issues. I will also explore how women were represented in the plays. In this regard, I will argue that women were depicted as inferior to men. To illustrate this I will discuss plays such as USomagqabi, Lunjalo ke Uthando and others. I will also deal with the critical issue of the ‘voice’. As a blind medium, radio relies on the voice and as such playwrights had to work hard to make their plays not only relevant but also believable to the audiences. The connection between the voice on radio and the ancestral voice will be examined. Lastly, the study will suggest that radio plays are still relevant in the present dispensation even though they play a different role compared to the apartheid era.
A critical commentary on the Four quartets of T.S. Eliot.
(1989) Hall, Ronald Felix.
This sequential reading of Four Quartets attends closely to form, rhythm, image, idea, syntax, tone, and mood, examining the relations of one to another and of one part of the cycle to another. It draws on earlier studies which are mainly thematic, but it concentrates primarily on analysis of the poetry itself. Such a commentary does not set out to prove a single hypothesis, and therefore does not lend itself to simple summary. But it emphasises, inter alia, these features. 1. The Quartets are rightly read as a unified cycle. The first three, though relatively complete in themselves, are built upon and retrospectively modified by their successors in a complex pattern; and the recurring and developing themes are not fully resolved until the end of little Gidding. On the other hand, the five individual parts that go to make up each Quartet are not self-contained, and cannot properly be read in isolation. (Such readings fail especially to make sense of the Part IV lyrics. ) 2. The poetry is meditative lyric, or lyric meditation, rather than personal confession or philosophic statement. The poet's voice often speaks generically. The whole cycle - like each Quartet itself - begins with individual perception or experience and, through meditation upon it, broadens into universal statement at the end. The point of departure is generally some time - transcending experience; the concluding meditation generally relates the perceptions of the timeless to perceptions about the nature of art and the nature of love, both human and divine. 3. Despite occasional lapses, usually in Part II or Part III, assertions of large scale failure (in The Dry Salvages especially) are not justified by close scrutiny of the poetic texture. Analysis of structural, tonal, metrical and syntactic features vindicates even the alleged prosaically flat passages. 4. The poetry works largely with traditional imagery, plain diction, orthodox syntax and pervasive four-stress rhythm. There are several departures from all these, yet a rjght reading will see them as deliberate variations, for specific purposes, on the given norms. The general aim of the thesis is to demonstrate that the poems are less difficult in thought and peculiar in method than has often been supposed.
A critical study of Olive Schreiner's fiction in a historical and biographical context.
(1985) Wilhelm, Cherry Ann.; Voss, Tony.
Olive Schreiner's fiction is best understood in the context of her colonial situation : she experienced central Victorian spiritual dilemmas and social constrictions, but refracted through a rural colonial culture. A complex position of power and powerlessness, superiority and inferiority, individual assertiveness and self- abnegation, is the crux of her fictional world. Her formative years were spent within a culturally deprived rural environment in a dependent position as servant/governess, yet her reading gave her access to leading Victorian intellectuals who were trying to create a new synthesis out of the conflict between Darwin's revolutionary theory and faith in a God-given and unquestionable order, between science and faith, between a new spirit of 'realistic' enquiry and Christian dogma. The problem for the colonial novelist is similar to that of the provincial novelist : the writer seeking intellectual stimulus and cultural enrichment at the metropolitan centre often has to forego a sense of community, and a youthful emotional bond with a nourishing, indigenous landscape, frequently the original source of a sense of spiritual harmony and an underlying order in the universe itself. The colonial novelist thus expresses a tragic breach between individual and community, and a sense of irreconcilable needs. This process is best exemplified in the careers of women, because the difficulty in finding a suitable partner, and a fulfilling marriage, exemplifies the radical problem of reconciling nature and nurture, instinct and social convention. Solitariness, and death, can become the conditions of integrity. Nevertheless, Schreiner's analysis of social problems becomes more detailed and incisive as she develops, and social reform offers a way out of a doomed conflict. Schreiner's childhood reading of the Bible and her evangelical inheritance were crucial to her life and fiction. In both a spirit of charity and self-sacrifice was central, and contended with a popular Victorian view of Darwinism which saw nature as a struggle for survival, a competition between the 'fittest' in which power would be decisive. Schreiner's visionary optimism about moral and social progress was checked by a sense of natural cruelty, historical repetition and decadence, and the early influence of the doctrine of 'original sin'. Schreiner saw her fiction as having a social mission, but the mission could only be accomplished by a novelist true to her individual vision, and expressing her 'self' by aesthetic means. A novel should grow 'organically' from the artist's individual vision, and thus be analogous to a living and unfolding natural world, developing according to its awn inherent laws. Schreiner understood Art and Nature as complementary orders. Her theory of art is thorough and internally consistent : writing should be simple, sensuous, and passionate, and should reconcile social function and artistic design. The power and directness of colonial art reunited her with the Victorian metropolitan centre, though she experienced Victorian social issues in a particular, intensified form in South Africa. Nevertheless, her reponse to South African landscapes, her sense of its 'will to live' at the same time stimulated her own power of creativity, which would counter the stultifying effects of rural isolation and the social restraints on, and exploitation of uneducated women. Schreiner's spirit of militancy and a reliance on the individual conscience stemmed from her evangelical forebears, though she translated their religious non-conformism into social protest in the South African context. Her family was part of the missionary wing of Imperialism and at the same time part of the current of liberalism and enlightenment which clashed with a conservative slave-owning society in South Africa. Her own fiction expresses the plight of the 'slave' in a sequence of metaphorical transformations. The figures of the child, the young women, the servant, the convict, the slave, the prostitute, the black man and the black women interrelate and modify a simple portrait of victimization. Her fiction also draws on the homiletic tradition of evangelical literature,which used deathbed scenes as the carriers of a moral message. Schreiner's writing displays a characteristically Victorian range of non-fiction and fiction, pamphlets, letters, diaries satires, dream-visions, autobiographical fragments, and ambitious full-Iength novels. Her writing displays the Victorian concern with autobiographical and confessional literature as well as direct political and social intervention in a corrupt society. She shaped her life more and more consciously into a variety of narrative forms, from erotic fantasies and escapist to more outwardly-directed satirical and reformist fiction. Her early experience of homelessness economic and social dependence on strangers, as well as sexual vulnerability to men, was crucial in her formative experience. But here, too, she overcame a tendency toward masochism and narcissistic self-reflection to portray a women whose survival and growth expressed the strong side of Schreiner's vigorous and mature feminism. Schreiner's fictions, from the fragment "Diamond Fields" and the youthful Undine, to the early 'masterpiece' The Story of an African Farm, to the political satire Trooper Peter Halket and the encyclopedic though unfinished From Man to Man, display great narrative fertility, and an ability to modify and develop her own characteristic themes, images, and characters. An early multiplication of female victims gave way to the rich oppositions and multiple different-sex protagonists of African Farm, and the concentration yet divergence of the double-female protagonist situation of From Man to Man. All of her fictions move along a spectrum from protest to vision, realism to dream/allegory, and she inverts - and adapts the proportions in accordance with the aims of each particular work. Her fiction shows variety, creative richness, yet a growing economy of means and artistic control of genre. Her development as a novelist was away from a narcissitic focus on the self as victim towards a commitment to suffering forms of life outside the self. She also displayed a growing commitment to the social analysis of human suffering, and to South Africa as the crucible in which she had been formed, as a landscape which offered her an image of harmony to set against social malfunction, and as the strongest source of her own creativity.
A critique of the representation of women and land in postcolonial Zimbabwe fictional literature.
Hungwe, Elda.; Narismulu, Gayatri Priyadarshini.
This research explores the representation of women and land in postcolonial Zimbabwean fictional literature, through examining the extent to which Zimbabwean literary writers deal with the challenges of women’s access to owning and controlling land. Most Zimbabwean women have many generations of agricultural knowledge, skills and labour, as women have long been the primary agriculturalists who grew crops and raised animals. The research indicates that the colonial invasion, seizure and dispossession of land and oppression of African people prompted women and men to fight for liberation. However, even after independence, Zimbabwean women have continued to struggle to gain access to owning and controlling land. These struggles are well represented in creative works, such as Irene Mahamba’s Woman in Struggle, Freedom Nyamubaya’s On The Road Again, Yvonne Vera’s Without A Name and Nehanda, Chenjerai Hove’s Bones, Valerie Tagwira’s The Uncertainty of Hope, Lawrence Hoba’s ‘The Trek And other Stories’, Julius Chingono’s ‘Minister Without Portfolio’, Lawrence Hoba’s ‘Specialisation’, Daniel Mandishona’s ‘A Dirty Game’ and NoViolet Bulawayo’s We Need New Names. The research, including the analysis of the primary literary texts, shows that patriarchal social customs, as well as the functions and operations of the state and the police continue to limit and deny women opportunities to access, own and control land. The literary texts also show women using strategies and tactics to challenge the gendered limitations to their access to land. African Feminist theory and approaches are used to analyse women’s challenges and responses including the literary representations of land access and to address these in empowered ways.
Culture in the public sphere : recovering a tradition of radical cultural-political debate in South Africa, 1938-1960.
(2005) Sandwith, Corinne.; Daymond, Margaret Joan.
This thesis is concerned with the negotiation of cultural and literary matters in South African public life during the period 1938 to 1960. While I begin with an exploration of the more 'orthodox' or 'academic' traditions of literary-cultural discussion in South Africa, the far more urgent preoccupation has been to explore a hitherto undocumented tradition of cultural-political debate in the South African public sphere, one which arose in the ' counter-public' circles of oppositional South African political groups. What has emerged is a rich and heterogeneous public debate about literature and culture in South Africa which has so far gone unrecorded and unrecognised. What sets this 'minority' discussion apart from more mainstream cultural discourses, I argue, is its overt engagement with contemporary socio-political issues. Articulated mainly by 'subaltern' writer-intellectuals - who occupied a precarious position in the social order either by virtue of their racial classification, class position or political affiliation - this is a cultural debate which offers a forthright critique of existing race and class norms. In these traditions, literary-cultural discussion becomes a vehicle for the articulation of radical political views and a means whereby marginalised individuals and groups can engage in oppositional public debate. In this regard, I argue, literary-cultural debate becomes a means of engaging in the kind of public political participation which is not available in the ' legitimate' public sphere. Focusing in the first instance on literary criticism 'proper', this thesis considers the distinctive reading strategies, hermeneutic practices, and evaluative frameworks which mark these alternative South African discursive traditions . Here I argue that the political, content-oriented, historical and ideological emphases of an alternative South African tradition are in marked contrast to the formalist, abstracted and moralising tendencies of more normative approaches. What the thesis points to is not only the existence of a substantial body of anti-colonial criticism and response in South Africa from the mid-1930s onwards, but also to a vigorous tradition of Marxist literary criticism in South Africa, one which predates the arrival of Marxist approaches in South African universities by some thirty years. Aside from the more traditional critical arena of literary consumption and evaluation, the thesis also considers a more general public discussion, one in which questions such as the place of politics in art, the social function of literature/culture, and the complex 'postcolonial' questions of cultural allegiance, identity and exclusion are debated at length. In this regard, culture becomes one of the primary sites of a much broader contestation of ruling class power. Regarded by many in these traditions as intrinsic to the operations of class and colonial oppression, culture also figures as one ofthe primary nodes of resistance. In seeking out these marginal South African 'subaltern counterpublics', the project has sought to retrieve a history of radical cultural-political debate in South Africa which is not available as part of the existing literary-cultural archive. In this regard, I hope not only to keep these ideas ' afloat' as a way of complicating and interrogating the present, but also seek to provide a more accurate and inclusive sense of the South African public sphere during the period under review. In particular, I offer a sense of the many competing intellectual discourses which formed the broader intellectual context out of which the dominant English Studies model was eventually constellated. I also give attention to the complex social processes by means of which certain intellectual discourses are granted legitimacy and permanence while others are discarded: what emerges in this regard, as I suggest, is gradual 'outlawing' of politics from South African cultural debates which coincides with the rise of the apartheid state.
The English language television single play in South Africa : a threatened genre, 1976-1991.
(1993) Herrington, Neville John.
The thesis takes the form of an investigation into the various causes leading to the demise of the English language television single play in South Africa. It does not position the genre within any particular theoretical framework, but argues within the context of a liberal/critical discourse that the single play owes its development and significance to the contribution of its many writers, as well as to the creative input of the various producers, directors, from within and outside the SABC. Furthermore, it evaluates the genre within the bureaucracy of the SABC and the input of the various drama managers, among others, whose decisions have affected the position of the single play. The single play is seen as a development of drama having evolved from the stage play, though moving progressively towards the production values of film. Research will show that in the South African context, the creative practitioners of the single play and technology have intersected with style, reflecting the dominant form of naturalism, mainly evidenced during the early period when many single plays were produced in the studios of Auckland Park. Within a wider sociopolitical context, the single play has been evaluated as a negotiation among writers, censorship, technology, naturalism and bureaucracy. The investigation will show that the major cause for its demise was the SABC's increasing commercialisation of TV -1, with the result that programmes on this channel were evaluated in terms of their ability to deliver large audiences to the advertisers. This placed the single play in competition for transmission space with the more popular drama series and serials. Furthermore, the business principle of cost-effectiveness applied to the single play made it more expensive to produce than series and serials. The author's own practical involvement in the production of video and television programmes, including drama, together with primary source information gleaned from some forty interviews with practitioners and those whose decisions impacted on the genre, have been added to the body of the research.
Explorations in drama, theatre and education : a critique of theatre studies in South Africa.
(1987) Dalrymple, Lynn I.; Tomaselli, Keyan Gray.; Preston-Whyte, Eleanor.
This dissertation explores the potential of theatre studies to develop a pragmatic and relevant pedagogy for South African students and adults. The contention is that the dominant paradigm as conceptualized in the discipline ‘Speech and Drama’ is outdated. Section One offers a critique of this paradigm and an analysis of the premises that supported its foundation and consolidation in English-language South African Universities. Following this a search is instituted for a methodology of theatre studies which is both appropriate to present circumstances and which could encompass all South Africans. In Section Two, a survey of theories of performance is undertaken because a methodology of theatre studies is, of necessity, linked to performance theory. The pioneering contributions of some South African scholars are explained and evaluated as part of a larger body of theoretical analysis in both the humanities and the social sciences. In Section Three, the search for a methodology is approached from a different angle. The researcher offers a detailed descriptive analysis of her own work in the Department of Speech and Drama at the University of Zululand both among students and in a nearby rural community. This serves to explore the kinds of learning that occur through practical involvement in drama, theatre and specifically playmaking. These learning processes are related to the distinctive functions in drama and theatre, namely the heuristic, communicative and interpretative functions. The work is connected to progressivist trends in education and participatory research in the field of adult education. One of the intentions behind the work was, indeed, to challenge commonsense perceptions and discover the extent to which individuals are ‘victims of their own biography’. This challenge is specifically related to anti-feminist, racist and class perceptions. The dissertation concludes with recommendations for a learner-centred approach to theatre studies that is rooted in personal experience and consciously mediated through refined and extended conceptual categories. The tension between the development of students’ analytical powers and communicative skills is explored and a semiotic approach to analysis is posited. The importance of extending university work into the wider community is discussed and related to a rural development project involving playmaking, undertaken to research the potential of learning through drama for adults.
Forms of community service : Guy Butler's literary contributions.
(2003) Akal, Anthony Vincent George.; Chapman, Michael James Faulds.
Guy Butler (1918-2001) was one of South Africa's most prolific English writers. His work extended across several genres. He has hitherto been seen by his critics in terms of neat binaries: Marxists versus liberals, Negritudinists versus 'colonials'. In this study it is argued that a modification of these polarised positions is necessary. Butler's own position is simultaneously one of Oxford scholar and Karoo son, engaged with both the challenges and difficulties of 'local habitation'. By testing these oppositions against the concepts of 'past significance' and 'present praxis' I suggest that Butler is neither simply transcendental nor socially committed, neither simply international nor local. In taking advantage of a 'freer' perspective succeeding the 'struggle' decades in South Africa, I suggest a more inclusive reevaluation of Butler as both artist and public figure serving an inclusive 'imagined community'. Chapter One focuses on Butler's plays, both those published and - for the first time - those unpublished, and examines the texts in the context, locally, of a repressive apartheid regime and, internationally, against the background of the Cold War. What emerges is a writer whose views were neither exclusive nor sectarian, and who was an outspoken critic of injustice, wherever this occurred. Butler's hitherto undervalued contribution to the development of serious drama as an art form in South Africa is given prominence. Chapter Two deals with Butler's poetry. For all his intervention in public debate, it is his poetic expression that reveals his most profound insights. His attempts to "take root" in a local habitation are scrutinised, and it is argued that the poetry has been misunderstood by many of his critics, especially those on the Left. Besides his "compulsion to belong", the study explores the twin search of Butler for an African synthesis through his utilisation of the Apollo-Dionysus paradigm, and his 'eschatological imperative'. While attempting to adapt European forms and sensibilities to African experience his poetry - it is argued - also seeks to heal the divisions of a fragmented South African society. In Chapter Three Butler's cultural projects are examined. It is argued that his cultural narrative is not one of separation but of integration premised (in his own words) on a "common humanity". Several projects are scrutinised in the context of post-1960 Republican South Africa, where National Party policies attempted to impose crushing political and social hegemonies on the English community as well as on all communities of colour. While Butler's immediate aims were to ensure the survival of the English language and English cultural identity, the scope of his cultural projects reveals that his 'imagined community' extended to all South Africans: his vision was not one of elite cultural separation, but of egalitarian integration. Butler's achievements in his many and varied forms of service are considered as having contributed to the formation of a new, democratic society in South Africa.
"From Jo'burg to Jozi" : a study of the writings and images of Johannesburg from 1980-2003.
(2007) Manase, Irikidzayi.
The thesis examines some of the short and long fiction set in Johannesburg, which is published between approximately 1980 and 2003. The thesis examines how the residents viewed themselves, and evaluates the various social and political struggles and strategies that were employed in an attempt to belong, imagine the city differently and establish strategic identities that would enable them to live a better life during the focused quarter of a century of experiences in an ever-changing fictive Johannesburg.
Humour as "cultural reconciliation" in South African situation comedy : an ethnographic study of multicultural female viewers.
(1998) Roome, Dorothy M.; Teer-Tomaselli, Ruth Elizabeth.
South African women of different ethnicity and background, having lived under apartheid, are now challenged by the freedoms expressed in the Bill of Rights and the new Constitution. This study, identifying the connections between gender, race, class and social relations, incorporates an ethnographic methodology and a cultural studies perspective in the reception analysis of thirteen multicultural focus groups. In the analysis of their response to two locally produced situation comedies, Suburban Bliss and Going Up III, the effort to determine existing cultural barriers is made, examining laughter as a benchmark for the comprehension by women from different backgrounds. The theoretical framework for the research evaluates the extent to which the writers, producers and directors created a text which connects with the multicultural women viewers' reality. Changes affecting the South African Broadcasting Corporation (SABC) in terms of broadcasting policy, are traced, and a brief history of the organization since the inception of broadcasting in South Africa is incorporated. Language policy had ret1ected the overt political ideology of Afrikaner nationalism, consequently the political changes resulting from the 1994 democratic election led to major transformations in language and style of programming to incorporate local content for multicultural audiences. This caused economic hardship for the SABC, as advertising revenue was drastically curtailed. Textual analysis of both Suburban Bliss and Going Up III employed a mix of structural, semiotics, and ideological analysis. Through interviews with the production team it became apparent that SB was based on American sitcom genre, while GU III is a hybrid combination, conceived to meet the perceived needs of the local multilingual multicultural audience. The extent to which the programmes mediate the producer/audience relationship, contributing to the hegemonic process is investigated, as the interpretation of the text can be different in the decoding from that originally intended by the producer or encoder when creating the programme. The situation comedies by depicting in a humorous vein the realities of affirmative action, adult access to pornography, the aspirations of the new black elite, feminine participation in the democratic process, and the rejection of authoritarian censorship from the state or the home indicates the ideological position of the production teams. The responses of the focus groups were examined in terms of their own identity as well as where an historic individuality expands into the collective communities of nations, gender, classes, generations, race and ethnic groups. Identity was perceived as connected but distinct and separate, as any event can affect both individuals and society. The thesis explores the proposition that humour as 'cultural reconcilation' can be effective if people are prepared to alter negative patterns of thinking and social practices.
The immanent voice: an aspect of unreliable homodiegetic narration.
(1988) De Reuck, Jennifer Anne.
Unreliable homodiegetic narration presents a unique mode of narrative transmission which demands the encoding within the text of 'translational indices', that is, signifiers of several kinds which justify the reader/receiver in over-riding the sincere first person avowals of the apparent mediator of the discourse. The argument establishes the presence of an epistemologically primary 'immanent' narrative situation within an ostensibly unitary narrative situation. Such a stereoscopic perspective upon the presented world of the literary 'work provides the reader/receiver with a warrant for a rejection of the epistemological validity of the homodiegetic narrator's discourse. Moreover, the thesis advances a typology of such translational indices as they occur in the dense ontology of the literary work of art. The narratological theory of unreliable homodiegetic narration developed in the first half of the dissertation is applied in the second half to selected exemplars of such narrative transmissions, demonstrating thereby the theoretical fecundity of the model for the discipline of narratology.

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