& salt the earth behind you
- Authors: Naidoo, Prenesa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African fiction (English) -- 21st century , South African poetry (English) -- 21st century , Short stories, South African (English) -- 21st century , Diaries -- Authorship , Korean fiction -- 21st century -- History and criticism , Short stories, Argentine -- 21st century -- History and criticism , Arabic fiction -- Palestine 21st century -- History and criticism , Argentine fiction -- 21st century -- History and criticism
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178212 , vital:42921
- Description: My thesis is a collection of prose pieces in the form of short stories, flash fiction and prose poetry drawing on memory and lived experiences to explore the trauma of death, grief and displacement, solace and the paroxysms of home. As a young woman from an Indian South Africa community, Hindu superstitions and folktales are my second skin, and shape both my worldview and my writing. I am inspired by Lidia Yuknavitch’s observation that, “all artists see things that are not there”, and by Dambudzo Marechera’s belief that, “Beneath reality, there is always fantasy: the writer’s task is to reveal it, to open it out, to feel it, to experience it.” In my stories about trauma and grief, I often distort the line between seen and unseen worlds, where, for example, hauntings are taken seriously as lived experiences. I have also been influenced by Han Kang’s The White Book, Kali Fajardo-Anstine’s Sabrina & Corina, and Sandra Cisneros’ The House on Mango Street. Read together, Kang’s stand-alone short stories form part of a greater collective ‘memory’ or ‘life’; Fajardo-Anstine’s collection illustrates how to write about a specific female Latina community while still telling individual stories; and Cisneros’ fragments of memories tell the story of a person’s life in narratives which are as long or short as they need to be. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Naidoo, Prenesa
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , South African fiction (English) -- 21st century , South African poetry (English) -- 21st century , Short stories, South African (English) -- 21st century , Diaries -- Authorship , Korean fiction -- 21st century -- History and criticism , Short stories, Argentine -- 21st century -- History and criticism , Arabic fiction -- Palestine 21st century -- History and criticism , Argentine fiction -- 21st century -- History and criticism
- Language: English
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178212 , vital:42921
- Description: My thesis is a collection of prose pieces in the form of short stories, flash fiction and prose poetry drawing on memory and lived experiences to explore the trauma of death, grief and displacement, solace and the paroxysms of home. As a young woman from an Indian South Africa community, Hindu superstitions and folktales are my second skin, and shape both my worldview and my writing. I am inspired by Lidia Yuknavitch’s observation that, “all artists see things that are not there”, and by Dambudzo Marechera’s belief that, “Beneath reality, there is always fantasy: the writer’s task is to reveal it, to open it out, to feel it, to experience it.” In my stories about trauma and grief, I often distort the line between seen and unseen worlds, where, for example, hauntings are taken seriously as lived experiences. I have also been influenced by Han Kang’s The White Book, Kali Fajardo-Anstine’s Sabrina & Corina, and Sandra Cisneros’ The House on Mango Street. Read together, Kang’s stand-alone short stories form part of a greater collective ‘memory’ or ‘life’; Fajardo-Anstine’s collection illustrates how to write about a specific female Latina community while still telling individual stories; and Cisneros’ fragments of memories tell the story of a person’s life in narratives which are as long or short as they need to be. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
A sea is brewing
- Authors: Mama, Sibongakonke
- Date: 2022-10-14
- Subjects: Creative writing (Higher education) South Africa , Xhosa poetry 21st century , South African poetry (English) 21st century , Psychic trauma in literature , Women in literature , Diaries -- Authorship , Books Reviews
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406281 , vital:70255
- Description: My thesis is a collection of poems that draws on the complexity of not belonging in places, with people, or within families. I engage my own alienation as well as that of my parents, black people generally, and women in particular. I take inspiration from Uruguayan poet Fabián Severo’s autobiographical long poem, Night in the North, which chronicles the poet’s experience of growing up in linguistic and cultural borderlands. I am also influenced by Chilean poet Carmen García’s ability to move between the concrete and the abstract in translations of her poems from the collection Gotas sobre loza fría. As much as my poems traverse a metaphysical space, they are also set in concrete places – Tutura, Gcuwa, Johannesburg, and Cape Town. Like Chilean artist Cecilia Vicuña’s Spit Temple, I move between the physical and spiritual realms for a better understanding of my estrangement. I also draw on South African poet Mangaliso Buzani’s book, a naked bone, for its fluid combination of line and prose poetry. I write in isiXhosa and English as a reflection of my mixed cultural and linguistic existence. I seek to harness rhythm and harmony, as well as the quiet, between words. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Mama, Sibongakonke
- Date: 2022-10-14
- Subjects: Creative writing (Higher education) South Africa , Xhosa poetry 21st century , South African poetry (English) 21st century , Psychic trauma in literature , Women in literature , Diaries -- Authorship , Books Reviews
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406281 , vital:70255
- Description: My thesis is a collection of poems that draws on the complexity of not belonging in places, with people, or within families. I engage my own alienation as well as that of my parents, black people generally, and women in particular. I take inspiration from Uruguayan poet Fabián Severo’s autobiographical long poem, Night in the North, which chronicles the poet’s experience of growing up in linguistic and cultural borderlands. I am also influenced by Chilean poet Carmen García’s ability to move between the concrete and the abstract in translations of her poems from the collection Gotas sobre loza fría. As much as my poems traverse a metaphysical space, they are also set in concrete places – Tutura, Gcuwa, Johannesburg, and Cape Town. Like Chilean artist Cecilia Vicuña’s Spit Temple, I move between the physical and spiritual realms for a better understanding of my estrangement. I also draw on South African poet Mangaliso Buzani’s book, a naked bone, for its fluid combination of line and prose poetry. I write in isiXhosa and English as a reflection of my mixed cultural and linguistic existence. I seek to harness rhythm and harmony, as well as the quiet, between words. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
A skin that took them through
- Authors: Kgame, Mbali
- Date: 2020
- Subjects: South African fiction (English) -- 21st century , African fiction (English) -- History and criticism , Short stories, South African (English) -- 21st century , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/147638 , vital:38656
- Description: This project comprises of interlinked fictional short stories capturing experiences of the “invisibilised’’ young people- the street kids, drug addicts, cashiers, childminders, the sick, first graduates etc. These stories are a way to interrogate the fallacy of a “free and fair” South Africa by noting events taking place within homes, communities and countrywide. Told in a playful, innocent, curious, childlike voice and reasoning, my work draws inspiration from Werewere Likings ‘The Amputated Memory,’ for its ability to narrate the current without divorcing the past. I draw inspiration from Liking’s way of writing family connectivity and employing an emerging voice of the narrator starting from being a child scribbling to later becoming an elder. Nana Kwame Adjei-Brenyah’s ‘Black Friday’ for scanning into young black people’s experiences in a society where their bodies move as misfits. My work also draws from Lesley Nneka Arimah’s ‘What It Means When a Man Falls from the Sky’ for the interlinked stories. Lastly the stories in this project take from Sindiwe Magona’s Mother to Mother for humanising bodies that have been reduced to frames.
- Full Text:
- Date Issued: 2020
- Authors: Kgame, Mbali
- Date: 2020
- Subjects: South African fiction (English) -- 21st century , African fiction (English) -- History and criticism , Short stories, South African (English) -- 21st century , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/147638 , vital:38656
- Description: This project comprises of interlinked fictional short stories capturing experiences of the “invisibilised’’ young people- the street kids, drug addicts, cashiers, childminders, the sick, first graduates etc. These stories are a way to interrogate the fallacy of a “free and fair” South Africa by noting events taking place within homes, communities and countrywide. Told in a playful, innocent, curious, childlike voice and reasoning, my work draws inspiration from Werewere Likings ‘The Amputated Memory,’ for its ability to narrate the current without divorcing the past. I draw inspiration from Liking’s way of writing family connectivity and employing an emerging voice of the narrator starting from being a child scribbling to later becoming an elder. Nana Kwame Adjei-Brenyah’s ‘Black Friday’ for scanning into young black people’s experiences in a society where their bodies move as misfits. My work also draws from Lesley Nneka Arimah’s ‘What It Means When a Man Falls from the Sky’ for the interlinked stories. Lastly the stories in this project take from Sindiwe Magona’s Mother to Mother for humanising bodies that have been reduced to frames.
- Full Text:
- Date Issued: 2020
A Smaller Circle
- Authors: Bhikha, Nasira
- Date: 2022-04
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century , Diaries -- Authorship , Autobiography , Short stories, English History and criticism , American fiction History and criticism , Mexican fiction History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232427 , vital:49991
- Description: My thesis is a collection of prose forms weaving my identity as a South African woman of colour, my observations of life through personal, cultural and sociological lenses, where traditions are constantly challenged and evolving. The collection focuses on the untold and unresolved, using fiction as a tool of pushback and psychological reflection. I am motivated by writers who use what I would term reflective expressionism to evoke empathy by tapping into innate, universal emotions. In particular Tiff Holland’s vivid telling of family in the novella Betty Superman where she navigates complex relationships, and bell hooks’ memoirs Bone Black: Memories of Girlhood written as poetic vignettes in fluctuating points of view to draw attention to the intricacies of social structures. Joanna Walsh’s Vertigo has strongly influenced my approach to writing through her compelling imagery and use of motif in fragmented prose that delves into the psyche of her characters. I am also inspired by Lidia Yuknavitch’s visceral use of language, identifying with her invitation: “You deserve to sit at the table. The radiance falls on all of us.” , Thesis (MACW) -- Faculty of Humanities, School of Languages, 2022
- Full Text:
- Date Issued: 2022-04
- Authors: Bhikha, Nasira
- Date: 2022-04
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century , Diaries -- Authorship , Autobiography , Short stories, English History and criticism , American fiction History and criticism , Mexican fiction History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232427 , vital:49991
- Description: My thesis is a collection of prose forms weaving my identity as a South African woman of colour, my observations of life through personal, cultural and sociological lenses, where traditions are constantly challenged and evolving. The collection focuses on the untold and unresolved, using fiction as a tool of pushback and psychological reflection. I am motivated by writers who use what I would term reflective expressionism to evoke empathy by tapping into innate, universal emotions. In particular Tiff Holland’s vivid telling of family in the novella Betty Superman where she navigates complex relationships, and bell hooks’ memoirs Bone Black: Memories of Girlhood written as poetic vignettes in fluctuating points of view to draw attention to the intricacies of social structures. Joanna Walsh’s Vertigo has strongly influenced my approach to writing through her compelling imagery and use of motif in fragmented prose that delves into the psyche of her characters. I am also inspired by Lidia Yuknavitch’s visceral use of language, identifying with her invitation: “You deserve to sit at the table. The radiance falls on all of us.” , Thesis (MACW) -- Faculty of Humanities, School of Languages, 2022
- Full Text:
- Date Issued: 2022-04
A tribute to you
- Ndlebe-September, Thobeka Veronica
- Authors: Ndlebe-September, Thobeka Veronica
- Date: 2020
- Subjects: South African fiction (English) -- 21st century , South African fiction (English) -- History and criticism , Short stories, South African (English) -- 21st century , Xhosa fiction -- 21st century , Xhosa fiction -- History and criticism , Short stories, Xhosa -- 21st century , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/144989 , vital:38398
- Description: My collection of short stories reflects my interest in narrative biblical fiction, allegorical stories about people and nature that resonate with our daily lives. I have been greatly influenced by writers such as Joel Matlou, Flannery O’Connor, Barry Gifford, Miriam Tladi and Leah Harris amongst others. I have also been captivated by fairy tales and folk tales, and also the work of isiXhosa writers such as S. E. K. Mqhayi, Madiponi Masenya, and Hulisani Ramantswana. I have discovered that I can borrow certain styles and forms of writing to enhance my own stories which are situated within ‘local’ contexts such as education, poverty, employment, the body, life and death.
- Full Text:
- Date Issued: 2020
- Authors: Ndlebe-September, Thobeka Veronica
- Date: 2020
- Subjects: South African fiction (English) -- 21st century , South African fiction (English) -- History and criticism , Short stories, South African (English) -- 21st century , Xhosa fiction -- 21st century , Xhosa fiction -- History and criticism , Short stories, Xhosa -- 21st century , Diaries -- Authorship
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/144989 , vital:38398
- Description: My collection of short stories reflects my interest in narrative biblical fiction, allegorical stories about people and nature that resonate with our daily lives. I have been greatly influenced by writers such as Joel Matlou, Flannery O’Connor, Barry Gifford, Miriam Tladi and Leah Harris amongst others. I have also been captivated by fairy tales and folk tales, and also the work of isiXhosa writers such as S. E. K. Mqhayi, Madiponi Masenya, and Hulisani Ramantswana. I have discovered that I can borrow certain styles and forms of writing to enhance my own stories which are situated within ‘local’ contexts such as education, poverty, employment, the body, life and death.
- Full Text:
- Date Issued: 2020
Alien crosstalk
- Stuart-Watson, Andrew Joseph
- Authors: Stuart-Watson, Andrew Joseph
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Short stories, South African (English) 21st century , South African essays (English) 21st century , American fiction History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/294515 , vital:57228
- Description: Alien Crosstalk , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
- Authors: Stuart-Watson, Andrew Joseph
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Short stories, South African (English) 21st century , South African essays (English) 21st century , American fiction History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/294515 , vital:57228
- Description: Alien Crosstalk , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
Chaos!
- Ngwenya, Thembalethu Sabrina
- Authors: Ngwenya, Thembalethu Sabrina
- Date: 2022-10-14
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Books Reviews , South African prose literature (English) 21st century , South African fiction (English) 21st century
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406298 , vital:70256
- Description: Chaos! is a combination of short prose forms in fragments that tackles difficult topics such as troubled marriages, child molestation, rape, infidelity and abuse in every way, whether it is mental, emotional or physical. The stories contain a lot of horrific and violent acts that, often times in this day and age, happen behind closed doors or sometimes even openly, yet not a lot of people are ready to talk about these topics. In my thesis, I go into the minds of those that are abusive and those that are on the receiving end of abuse. In doing so, I aim to explore all the dynamics of abuse. Abusers, as I have portrayed in my thesis, tend to have a deranged sense of reasoning in performing abusive acts and one thing that is important to note is that, more than likely, in their own heads and according to their own reasoning, the behaviour that they act on is very much rational and reasonable. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Ngwenya, Thembalethu Sabrina
- Date: 2022-10-14
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Books Reviews , South African prose literature (English) 21st century , South African fiction (English) 21st century
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406298 , vital:70256
- Description: Chaos! is a combination of short prose forms in fragments that tackles difficult topics such as troubled marriages, child molestation, rape, infidelity and abuse in every way, whether it is mental, emotional or physical. The stories contain a lot of horrific and violent acts that, often times in this day and age, happen behind closed doors or sometimes even openly, yet not a lot of people are ready to talk about these topics. In my thesis, I go into the minds of those that are abusive and those that are on the receiving end of abuse. In doing so, I aim to explore all the dynamics of abuse. Abusers, as I have portrayed in my thesis, tend to have a deranged sense of reasoning in performing abusive acts and one thing that is important to note is that, more than likely, in their own heads and according to their own reasoning, the behaviour that they act on is very much rational and reasonable. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
Diski 9 Nine and Other Stories (and Things)
- Authors: Mahlabe, Stoffel Seshia
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African essays (English) 21st century , Short stories, South African (English) 21st century , Portuguese fiction History and criticism , African literature (English) History and criticism , Ghanaian fiction (English) History and criticism , South African fiction (English) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232283 , vital:49978
- Description: My thesis is a collection of short stories that reflects the everyday lives of ordinary people. They touch on issues of morality within the current context, in such a way as to both entertain and educate. As a child I learned to imitate the wildly comical, sometimes dark dinoonwane and dithamalakwane stories I heard from elders. In my thesis, I draw on Amos Tutuola’s exuberant style of retelling Yoruba folktales and balance this with the languid candour of Jose Saramago’s Blindness. Stories such as Bessora’s The Milka Cow, and Micah Dean Hicks’s Crawfish Noon have impressed me deeply for their incredible, wild narrative strategies that still, however, emulate realism. Dambudzo Marechera and Can Themba are also present influences. Both have sprinklings of erudition in their writing, but in an earthy kind of way. Their writing contains transliterations that have a ring of the vernacular languages, an idiom that Africanises the English language. , Thesis (MA) -- Faculty of Humanities, School of Languages, 2022
- Full Text:
- Date Issued: 2022-04-07
- Authors: Mahlabe, Stoffel Seshia
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African essays (English) 21st century , Short stories, South African (English) 21st century , Portuguese fiction History and criticism , African literature (English) History and criticism , Ghanaian fiction (English) History and criticism , South African fiction (English) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232283 , vital:49978
- Description: My thesis is a collection of short stories that reflects the everyday lives of ordinary people. They touch on issues of morality within the current context, in such a way as to both entertain and educate. As a child I learned to imitate the wildly comical, sometimes dark dinoonwane and dithamalakwane stories I heard from elders. In my thesis, I draw on Amos Tutuola’s exuberant style of retelling Yoruba folktales and balance this with the languid candour of Jose Saramago’s Blindness. Stories such as Bessora’s The Milka Cow, and Micah Dean Hicks’s Crawfish Noon have impressed me deeply for their incredible, wild narrative strategies that still, however, emulate realism. Dambudzo Marechera and Can Themba are also present influences. Both have sprinklings of erudition in their writing, but in an earthy kind of way. Their writing contains transliterations that have a ring of the vernacular languages, an idiom that Africanises the English language. , Thesis (MA) -- Faculty of Humanities, School of Languages, 2022
- Full Text:
- Date Issued: 2022-04-07
Fractured flowers
- Authors: Cunningham, Cornelia
- Date: 2022-10-14
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African essays (English) 21st century , Books Reviews , South African fiction (English) 21st century
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406226 , vital:70250
- Description: This portfolio contains extracts of my reflective journals that I wrote throughout the course of the year. My poetics essay, four book reviews, community engagement report and my reflection regarding the reader report is also attached. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Cunningham, Cornelia
- Date: 2022-10-14
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African essays (English) 21st century , Books Reviews , South African fiction (English) 21st century
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406226 , vital:70250
- Description: This portfolio contains extracts of my reflective journals that I wrote throughout the course of the year. My poetics essay, four book reviews, community engagement report and my reflection regarding the reader report is also attached. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
Gray
- Authors: Fouché, James De Clerque
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Detective and mystery stories, South African (English) 21st century , South African fiction (English) 21st century , South African essays (English) 21st century , English fiction 20th century History and criticism , American fiction African American authors History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292715 , vital:57009
- Description: My thesis is a crime fiction novella. I’m moved by the idea of developing feasible, relatable characters with flaws – a staple of the crime fiction genre. I also appreciate how crime serves as a platform from which to launch into human drama, the way James Ellroy does in The Black Dahlia. While my protagonist endures trials on a near Jobian scale, the narrative meditates on the consequences of crime and conflict in a satirical way. Writers like Ross Macdonald, Raymond Chandler, Flannery O’Connor, China Miéville and Derek Raymond have inspired me with their sharp imagery and unconventional characterization techniques. These techniques accelerate the ease with which a reader can step into the shoes of any given narrator. Their writing is crisp, uncluttered and uncomplicated. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
- Authors: Fouché, James De Clerque
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , Detective and mystery stories, South African (English) 21st century , South African fiction (English) 21st century , South African essays (English) 21st century , English fiction 20th century History and criticism , American fiction African American authors History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292715 , vital:57009
- Description: My thesis is a crime fiction novella. I’m moved by the idea of developing feasible, relatable characters with flaws – a staple of the crime fiction genre. I also appreciate how crime serves as a platform from which to launch into human drama, the way James Ellroy does in The Black Dahlia. While my protagonist endures trials on a near Jobian scale, the narrative meditates on the consequences of crime and conflict in a satirical way. Writers like Ross Macdonald, Raymond Chandler, Flannery O’Connor, China Miéville and Derek Raymond have inspired me with their sharp imagery and unconventional characterization techniques. These techniques accelerate the ease with which a reader can step into the shoes of any given narrator. Their writing is crisp, uncluttered and uncomplicated. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
Hiding no scars
- Authors: Mhlongo, Sanele
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , South African poetry (English) 21st century , Interpersonal relations in literature , Diaries -- Authorship , South African essays (English) 21st century , Russian poetry 20th century History and criticism , South African fiction (English) 21st century History and criticism , Greek poetry History and criticism , German poetry 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/294311 , vital:57190
- Description: My thesis is a collection of free-verse narrative and prose poetry focusing on rural life and people, as well as my personal relationships. Poetry through its play with language has the ability to say things with immediacy and allows unnoticed things to acquire relevance. It gives me a framework within which to express difficult themes such as family relationships, death, solitude, and poverty. In writing these poems I have drawn on the work of Constantine P. Cavafy, particularly the poems ‘Ithaka’, ‘The City’ and ‘As Much As You Can’ which showcase his consistently simple narrative style that covers profound subjects. I have also been influenced by Paul Celan’s poetry in his collection Breathturn Into Timestead where poems such as ‘Corona’, ‘In praise of remoteness’ and ‘Twelve Years’ demonstrate how poetry can have pace through tightly controlled yet experimental structure. I have also drawn on Anna Akhmatova’s symbolic poetry, specifically the poems ‘Now the pillow’s’, ‘He loved three things, alive’ and ‘Prologue’ from the selection Anna Akhmatova: Selected Poems which has its intention the re-creation of the past in the present. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
- Authors: Mhlongo, Sanele
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , South African poetry (English) 21st century , Interpersonal relations in literature , Diaries -- Authorship , South African essays (English) 21st century , Russian poetry 20th century History and criticism , South African fiction (English) 21st century History and criticism , Greek poetry History and criticism , German poetry 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/294311 , vital:57190
- Description: My thesis is a collection of free-verse narrative and prose poetry focusing on rural life and people, as well as my personal relationships. Poetry through its play with language has the ability to say things with immediacy and allows unnoticed things to acquire relevance. It gives me a framework within which to express difficult themes such as family relationships, death, solitude, and poverty. In writing these poems I have drawn on the work of Constantine P. Cavafy, particularly the poems ‘Ithaka’, ‘The City’ and ‘As Much As You Can’ which showcase his consistently simple narrative style that covers profound subjects. I have also been influenced by Paul Celan’s poetry in his collection Breathturn Into Timestead where poems such as ‘Corona’, ‘In praise of remoteness’ and ‘Twelve Years’ demonstrate how poetry can have pace through tightly controlled yet experimental structure. I have also drawn on Anna Akhmatova’s symbolic poetry, specifically the poems ‘Now the pillow’s’, ‘He loved three things, alive’ and ‘Prologue’ from the selection Anna Akhmatova: Selected Poems which has its intention the re-creation of the past in the present. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
Hierdie keer gaan nie maklik wees nie
- Authors: Visser, Deon Claudius
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Short stories, Afrikaans -- 21st century , Afrikaans fiction -- 21st century , Afrikaans fiction -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178317 , vital:42929
- Description: My tesis bestaan uit twee versamelings van prosa wat verwant en in noue verband met mekaar tree. Die prosa is fragmentaries en kort maar verbind met ‟n oorkoepelende storie wat in beide Afrikaans en Engels voorgelê word. Die Afrikaanse deel van my tesis ondersoek die verlede, en die Engels die toekoms. My algemene bron van inspirasie vir die struktuur en voorlegging van die tesis word verkry vanaf die klassieke raamverteller konvensie soos gebruik in One Thousand and One Nights, hierdie konvensie maak gebruik van raamfragmente wat binne ‟n groter geheel gevind kan word. Dit is juis hierdie komplekse struktuur wat dit moontlik maak om tyd, hede en verlede asook die toekoms, te kan ondersoek en uit te beeld. Verder maak dit dit ook moontlik om gekoppelde herinneringe, gedagteneigings, en fantasieverhale te kan gebruik as die dryfkrag van die oorkoepelende storie. Met betrekking tot kontemporêre fiksie vind ek die meeste aanklank en invloed by Sandra Cisneros se boek House on Mango Street. Ek het by hierdie verhaal geleer hoe om vignette en kortverhale onafhanklik maar met ‟n motief-verbinding aan mekaar te koppel. Tematies gesproke handel my tesis oor herinneringe, nostalgie, familieverhoudings, die dood asook afsluiting en aanbeweging. In terme van hierdie temas vind ek dat Nathan Trantraal se Chokers en Survivors, en Noudat Slapende Honde deur Ronelda S. Kamfer my die meeste insae gee oor die verhouding tussen Afrikaans en Engels in die literatuur. Verder is Loftus Marais se taalgebruik en die vermenging van taal in Staan in die Algemeen Nader aan Vensters ook insiggewend. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Visser, Deon Claudius
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Short stories, Afrikaans -- 21st century , Afrikaans fiction -- 21st century , Afrikaans fiction -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178317 , vital:42929
- Description: My tesis bestaan uit twee versamelings van prosa wat verwant en in noue verband met mekaar tree. Die prosa is fragmentaries en kort maar verbind met ‟n oorkoepelende storie wat in beide Afrikaans en Engels voorgelê word. Die Afrikaanse deel van my tesis ondersoek die verlede, en die Engels die toekoms. My algemene bron van inspirasie vir die struktuur en voorlegging van die tesis word verkry vanaf die klassieke raamverteller konvensie soos gebruik in One Thousand and One Nights, hierdie konvensie maak gebruik van raamfragmente wat binne ‟n groter geheel gevind kan word. Dit is juis hierdie komplekse struktuur wat dit moontlik maak om tyd, hede en verlede asook die toekoms, te kan ondersoek en uit te beeld. Verder maak dit dit ook moontlik om gekoppelde herinneringe, gedagteneigings, en fantasieverhale te kan gebruik as die dryfkrag van die oorkoepelende storie. Met betrekking tot kontemporêre fiksie vind ek die meeste aanklank en invloed by Sandra Cisneros se boek House on Mango Street. Ek het by hierdie verhaal geleer hoe om vignette en kortverhale onafhanklik maar met ‟n motief-verbinding aan mekaar te koppel. Tematies gesproke handel my tesis oor herinneringe, nostalgie, familieverhoudings, die dood asook afsluiting en aanbeweging. In terme van hierdie temas vind ek dat Nathan Trantraal se Chokers en Survivors, en Noudat Slapende Honde deur Ronelda S. Kamfer my die meeste insae gee oor die verhouding tussen Afrikaans en Engels in die literatuur. Verder is Loftus Marais se taalgebruik en die vermenging van taal in Staan in die Algemeen Nader aan Vensters ook insiggewend. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
Kwelo lizwe leentsomi : iintsomi zesiXhosa
- Authors: Sigcau, Bulelwa Monica
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Xhosa fiction -- 21st century , Diaries -- Authorship , Short stories, Xhosa -- 21st century , African fiction -- History and criticism , English fiction -- History and criticism
- Language: Xhosa
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178270 , vital:42926
- Description: Ukuphosa kuvimba wolwazi ngeentsomi zesiXhosa, le thisisi iqulathe iintsomi-mabali eziqanjwe zabaliswa kusetyenziswa ulwimi, umxholo nemixholo engenelelayo engeziganeko zemihla ngemihla, abalinganiswa, isakhiwo sentsomi nesimo sentlalo zala maxesha siphila kuwo. Ezi ntsomi zixhaswa kakhulu yimifanekiso ephilayo, ukusetyenziswa kwemigca emifutshane ezoba isimo sentlalo nevakala ingathi yimibongo ngenxa yokuqupha kwayo. Umsebenzi kaR.F. Mcimeli, kwincwadi ethi, Ingqaka kaMaqhudeni iqulethe iintsomi ezisondeleyo kwezi ziqanjwe kulo msebenzi, ngakumbi iintsomi ezizezi, uNomvula noNomvulazana, uDumisani nesigebenga esingabonwayo, uNomaciko noCikokazi, nezinye. Umsebenzi kaNongenile Masithathu Zenani (2006) oqokelelwe nguHarold Scheub kwincwadi ethi South African voices: A long time passed ube negaleloo elikhulu ukubonisa indima esele idlaliwe kwiintsomi zesiXhosa. UKholeka Sigenu (2002) kwincwandi ethi Ezakowethu naye ube nefuthe kwindlela ezi ntsomi eziqanjwe ngayo nokuqinisekisa ukuba ngenene zongeza ulwazi olutsha. Ezi ntsomi-mabali zibhentsise okulungileyo nokuhenxayo ngaphandle kokushumayela nokuveza abalinganiswa njengeengilosi. Ndiluthande kakhulu nohlobo lukaAmos Tutuola lokubhala, ndizame ukusondeza uhlobo lwam lokubhala kolu hlobo lukaAmos Tutuola. Ndilandele ifuthe lohlobo lokubhala olubizwa ngeflash fiction. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Sigcau, Bulelwa Monica
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Xhosa fiction -- 21st century , Diaries -- Authorship , Short stories, Xhosa -- 21st century , African fiction -- History and criticism , English fiction -- History and criticism
- Language: Xhosa
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178270 , vital:42926
- Description: Ukuphosa kuvimba wolwazi ngeentsomi zesiXhosa, le thisisi iqulathe iintsomi-mabali eziqanjwe zabaliswa kusetyenziswa ulwimi, umxholo nemixholo engenelelayo engeziganeko zemihla ngemihla, abalinganiswa, isakhiwo sentsomi nesimo sentlalo zala maxesha siphila kuwo. Ezi ntsomi zixhaswa kakhulu yimifanekiso ephilayo, ukusetyenziswa kwemigca emifutshane ezoba isimo sentlalo nevakala ingathi yimibongo ngenxa yokuqupha kwayo. Umsebenzi kaR.F. Mcimeli, kwincwadi ethi, Ingqaka kaMaqhudeni iqulethe iintsomi ezisondeleyo kwezi ziqanjwe kulo msebenzi, ngakumbi iintsomi ezizezi, uNomvula noNomvulazana, uDumisani nesigebenga esingabonwayo, uNomaciko noCikokazi, nezinye. Umsebenzi kaNongenile Masithathu Zenani (2006) oqokelelwe nguHarold Scheub kwincwadi ethi South African voices: A long time passed ube negaleloo elikhulu ukubonisa indima esele idlaliwe kwiintsomi zesiXhosa. UKholeka Sigenu (2002) kwincwandi ethi Ezakowethu naye ube nefuthe kwindlela ezi ntsomi eziqanjwe ngayo nokuqinisekisa ukuba ngenene zongeza ulwazi olutsha. Ezi ntsomi-mabali zibhentsise okulungileyo nokuhenxayo ngaphandle kokushumayela nokuveza abalinganiswa njengeengilosi. Ndiluthande kakhulu nohlobo lukaAmos Tutuola lokubhala, ndizame ukusondeza uhlobo lwam lokubhala kolu hlobo lukaAmos Tutuola. Ndilandele ifuthe lohlobo lokubhala olubizwa ngeflash fiction. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
Magnitude
- Authors: Seddon, Deborah Ann
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Zimbabwean poetry (English) 21st century , Diaries -- Authorship , Polish literature 21st century History and criticism , English poetry 20th century History and criticism , English literature Irish authors History and criticism , American poetry 21st century History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/234400 , vital:50192
- Description: My thesis is a collection of lyric, narrative, and prose poetry directed towards two forms of death – physical death and the disavowal of the self. Many poems focus on the death of my mother, and the work required after loss to sort through a family’s life in my Harare childhood home. This associative exploration draws together childhood memories, encounters with physical objects, letters, and songs, as well as with the city and its people. Tadeusz Rózewicz’s Mother Departs has influenced my approach to writing of my mother’s death, particularly how to grant her a voice in the telling. I also draw on the poetry of Harmony Holiday and Pascal Petite, in their attention to the complexities and emotional dangers of the mother-daughter bond. Other poems draw on the work of Adrienne Rich, Audre Lorde, Judy Grahn, Ocean Vuong, and Saeed Jones, in terms of imagining queer life into poetry, the use of the erotic as a means of empowerment, and developing a queer political identity, to examine various aspects of queer love, including the heartaches associated with self-denial. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
- Authors: Seddon, Deborah Ann
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Zimbabwean poetry (English) 21st century , Diaries -- Authorship , Polish literature 21st century History and criticism , English poetry 20th century History and criticism , English literature Irish authors History and criticism , American poetry 21st century History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/234400 , vital:50192
- Description: My thesis is a collection of lyric, narrative, and prose poetry directed towards two forms of death – physical death and the disavowal of the self. Many poems focus on the death of my mother, and the work required after loss to sort through a family’s life in my Harare childhood home. This associative exploration draws together childhood memories, encounters with physical objects, letters, and songs, as well as with the city and its people. Tadeusz Rózewicz’s Mother Departs has influenced my approach to writing of my mother’s death, particularly how to grant her a voice in the telling. I also draw on the poetry of Harmony Holiday and Pascal Petite, in their attention to the complexities and emotional dangers of the mother-daughter bond. Other poems draw on the work of Adrienne Rich, Audre Lorde, Judy Grahn, Ocean Vuong, and Saeed Jones, in terms of imagining queer life into poetry, the use of the erotic as a means of empowerment, and developing a queer political identity, to examine various aspects of queer love, including the heartaches associated with self-denial. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
Ndiyazi ukuba ndiza kufa njani : ingqokelela yemibongo
- Authors: Mdliva, Mqhubi Given
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Xhosa poetry -- 21st century , Xhosa poetry -- History and criticism , Diaries -- Authorship , Xhosa fiction -- 21st century
- Language: Xhosa
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178295 , vital:42928
- Description: Le mibongo inyathela kwizinto ezitsarhayo; ukufa, ukukhula kweziganeko ezingobundlobongela obuphathelele kwezesondo nesini, kubulawa abantwana namanina ngamadoda norhwaphilizo olugqugqisayo. Lo msebenzi uphonononga ukwavavanya ukusetyenziswa kweempawu zokubhala kungalandelwa miqathango yokubhala koko kusetyenziswa ezi mpawu njengezixhobo zokuphuhlisa iimvakalelo zembongi. Ezi mpawu ziquka iidesh, iikholoni, iisemikholoni ukuqelelaniswa kwamagama kukwashiywa nezikhewu phakathi kwamagama kukhokelwa ngumoya wemibongo. Oku kubangele ukuba le mibongo ibe nezakhiwo ezahlukileyo nezingaqhelekanga kubhalo lwesiXhosa. Oko kukuthi, lo msebenzi utyebisa uncwadi lwesiXhosa ngokukwandisa kule ndlela ingaqhelekanga yokubhala. Umsebenzi kaSt E.P. Yako ube nefuthe kakhulu kulo msebenzi, ngakumbi indlela alusebenzise ngayo ulwimi oluteketeke zizafobe nemifanekiso ukubhala imibongo njengoko enzile kumbongo othi, Izibongo zikaMhlekazi uArchie Sandile. Kumbhali uMarina Tsvetaete kubolekwe indlela ayisebenzise ngayo imifanekiso kumbongo osihloko sithi, Poems for Block kuba udubula ngegama uthi thaa umfanekiso kwingqondo yomfundi. Isimbo sokuyila isakhiwo sombongo sikaSimphiwe Nolutshungu naso sibe nefuthe kule mibongo, kwaye le thisisi yandisa apho lo kaNolutshungu aphele khona ngakumbi kwindlela asebenzise ngayo iimpawu zokubhala. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Mdliva, Mqhubi Given
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Xhosa poetry -- 21st century , Xhosa poetry -- History and criticism , Diaries -- Authorship , Xhosa fiction -- 21st century
- Language: Xhosa
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178295 , vital:42928
- Description: Le mibongo inyathela kwizinto ezitsarhayo; ukufa, ukukhula kweziganeko ezingobundlobongela obuphathelele kwezesondo nesini, kubulawa abantwana namanina ngamadoda norhwaphilizo olugqugqisayo. Lo msebenzi uphonononga ukwavavanya ukusetyenziswa kweempawu zokubhala kungalandelwa miqathango yokubhala koko kusetyenziswa ezi mpawu njengezixhobo zokuphuhlisa iimvakalelo zembongi. Ezi mpawu ziquka iidesh, iikholoni, iisemikholoni ukuqelelaniswa kwamagama kukwashiywa nezikhewu phakathi kwamagama kukhokelwa ngumoya wemibongo. Oku kubangele ukuba le mibongo ibe nezakhiwo ezahlukileyo nezingaqhelekanga kubhalo lwesiXhosa. Oko kukuthi, lo msebenzi utyebisa uncwadi lwesiXhosa ngokukwandisa kule ndlela ingaqhelekanga yokubhala. Umsebenzi kaSt E.P. Yako ube nefuthe kakhulu kulo msebenzi, ngakumbi indlela alusebenzise ngayo ulwimi oluteketeke zizafobe nemifanekiso ukubhala imibongo njengoko enzile kumbongo othi, Izibongo zikaMhlekazi uArchie Sandile. Kumbhali uMarina Tsvetaete kubolekwe indlela ayisebenzise ngayo imifanekiso kumbongo osihloko sithi, Poems for Block kuba udubula ngegama uthi thaa umfanekiso kwingqondo yomfundi. Isimbo sokuyila isakhiwo sombongo sikaSimphiwe Nolutshungu naso sibe nefuthe kule mibongo, kwaye le thisisi yandisa apho lo kaNolutshungu aphele khona ngakumbi kwindlela asebenzise ngayo iimpawu zokubhala. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
Pathi’s sister is still troubling
- Authors: Naidoo, Savani
- Date: 2023-03-30
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century , Diaries -- Authorship , Books Reviews
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/408942 , vital:70539
- Description: My thesis is a collection of micro fiction, flash fiction, fairy tales, vignettes and short stories which explore the tension of being both an insider and an outsider. I have access to different cultures without belonging to any of them: as a child, my family moved from a South African Indian community to a formerly whites-only suburb; as an adult I have lived in South Korea, the United Arab Emirates and Sudan. My prose draws on my life experiences, family legends, neighbourhood gossip, news reports and historical events to question norms and ideas that I may have taken for granted had I been fully inside a single culture. In my thesis I frequently spell words phonetically to mimic how I hear or remember them. I also borrow words from languages I don’t speak. I want the languages I use and mix to corrupt each other, as Raymond Federman put it, in order to better express the voices and contexts of the communities I draw inspiration from. Kuzhali Manickavel’s Things We Found During the Autopsy showed me that culturally rich imagery can be used without interrupting narrative flow with explanations. I am also influenced by the poetic sense of rhythm and melody of Lydia Davis’s minimalist prose, and by Sandra Cisneros’s The House on Mango Street, where each concise short story stands alone but together creates a broad understanding of people and place. Anthologies such as PP/FF, edited by Peter Conners, and My Mother She Killed Me, My Father He Ate Me, edited by Kate Bernheimer, have inspired me to be bold in finding the form that best allows each narrative to be told. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2023
- Full Text:
- Date Issued: 2023-03-30
- Authors: Naidoo, Savani
- Date: 2023-03-30
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century , Diaries -- Authorship , Books Reviews
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/408942 , vital:70539
- Description: My thesis is a collection of micro fiction, flash fiction, fairy tales, vignettes and short stories which explore the tension of being both an insider and an outsider. I have access to different cultures without belonging to any of them: as a child, my family moved from a South African Indian community to a formerly whites-only suburb; as an adult I have lived in South Korea, the United Arab Emirates and Sudan. My prose draws on my life experiences, family legends, neighbourhood gossip, news reports and historical events to question norms and ideas that I may have taken for granted had I been fully inside a single culture. In my thesis I frequently spell words phonetically to mimic how I hear or remember them. I also borrow words from languages I don’t speak. I want the languages I use and mix to corrupt each other, as Raymond Federman put it, in order to better express the voices and contexts of the communities I draw inspiration from. Kuzhali Manickavel’s Things We Found During the Autopsy showed me that culturally rich imagery can be used without interrupting narrative flow with explanations. I am also influenced by the poetic sense of rhythm and melody of Lydia Davis’s minimalist prose, and by Sandra Cisneros’s The House on Mango Street, where each concise short story stands alone but together creates a broad understanding of people and place. Anthologies such as PP/FF, edited by Peter Conners, and My Mother She Killed Me, My Father He Ate Me, edited by Kate Bernheimer, have inspired me to be bold in finding the form that best allows each narrative to be told. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2023
- Full Text:
- Date Issued: 2023-03-30
Pink Concrete
- Authors: Curr, Jill Alexandra
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , English fiction History and criticism , Nigerian fiction (English) History and criticism , Argentine fiction History and criticism , Angolan fiction (Portuguese) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232388 , vital:49987
- Description: (From Reader Report Reflection) - I started this course believing I was not a writer. I knew that I loved to write, I knew that it was innate to how I perceived the world. I had written a novel previously, it was an outpouring, uncontrollable imagination spew. I was often scared and doubted myself throughout writing it, but I took comfort in my reading. I picked up all the classics, modern and old, rewriting the words into notebooks alongside my own, retracing the sounds, the rhythms, the symbols and their little links, the pauses. I collected pieces rereading them with reverence, my fingers curling over the lines sunken into the page. I didn’t understand what I was doing, it felt natural to hide in the skirts of other writers peering behind the curtain to see how they built the illusion. And yet, even after finishing my novel I still didn’t think I was a writer; it was a hobby, it was something extra to me, a backpack I could take off and on. I denied what was innate, and said it was not that important to me. I applied for this Master’s in Creative Writing (MACW)7 course because I wanted external validation on my first novel and an application was probably the only way, I was going to get someone to read it. It is sad and stunted that I needed this external validation to believe I could try, to believe that I could learn to control this compulsion, to believe that I could become a writer. In our first course contact week,8 lecturers and supervisors kept saying again again that we were already writers, that this is what we are. I was scared of this, that they would find out I was not really meant to be here. Writing, taking those solitary thoughts that are too much for my skull and making them real, something tangible; this is how I move through my existence. I take pieces of myself and paste them to the page, otherwise the thoughts build up like snow around a car until you are suffocating in an icebox. And by removing this part of myself to just a hobby, a silly backpack that I can pick up and put down, was just me running away. This MACW course gave me the tools to tap into what I am, that I have a why that I must write to and that I have an audience for this why. By sharing pieces of myself, I make them real again, something I can study, tracing their edges, their dark underbelly, the light hillocks. I sat with my fear for two years slowly, piece by piece, cracking it open. I learnt to love my voice and believe in it without needing external validation, without needing the gold star of acceptance, because I accept and love what I am trying to build with my writing. , Thesis (MACW) -- Faculty of Arts, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
- Authors: Curr, Jill Alexandra
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , English fiction History and criticism , Nigerian fiction (English) History and criticism , Argentine fiction History and criticism , Angolan fiction (Portuguese) History and criticism
- Language: English
- Type: Master's thesis , text
- Identifier: http://hdl.handle.net/10962/232388 , vital:49987
- Description: (From Reader Report Reflection) - I started this course believing I was not a writer. I knew that I loved to write, I knew that it was innate to how I perceived the world. I had written a novel previously, it was an outpouring, uncontrollable imagination spew. I was often scared and doubted myself throughout writing it, but I took comfort in my reading. I picked up all the classics, modern and old, rewriting the words into notebooks alongside my own, retracing the sounds, the rhythms, the symbols and their little links, the pauses. I collected pieces rereading them with reverence, my fingers curling over the lines sunken into the page. I didn’t understand what I was doing, it felt natural to hide in the skirts of other writers peering behind the curtain to see how they built the illusion. And yet, even after finishing my novel I still didn’t think I was a writer; it was a hobby, it was something extra to me, a backpack I could take off and on. I denied what was innate, and said it was not that important to me. I applied for this Master’s in Creative Writing (MACW)7 course because I wanted external validation on my first novel and an application was probably the only way, I was going to get someone to read it. It is sad and stunted that I needed this external validation to believe I could try, to believe that I could learn to control this compulsion, to believe that I could become a writer. In our first course contact week,8 lecturers and supervisors kept saying again again that we were already writers, that this is what we are. I was scared of this, that they would find out I was not really meant to be here. Writing, taking those solitary thoughts that are too much for my skull and making them real, something tangible; this is how I move through my existence. I take pieces of myself and paste them to the page, otherwise the thoughts build up like snow around a car until you are suffocating in an icebox. And by removing this part of myself to just a hobby, a silly backpack that I can pick up and put down, was just me running away. This MACW course gave me the tools to tap into what I am, that I have a why that I must write to and that I have an audience for this why. By sharing pieces of myself, I make them real again, something I can study, tracing their edges, their dark underbelly, the light hillocks. I sat with my fear for two years slowly, piece by piece, cracking it open. I learnt to love my voice and believe in it without needing external validation, without needing the gold star of acceptance, because I accept and love what I am trying to build with my writing. , Thesis (MACW) -- Faculty of Arts, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
Poppehysie
- Authors: Arendse, Ashwin Albert
- Date: 2021-04
- Subjects: Kaaps , Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Afrikaans poetry -- 21st century , African literature -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178259 , vital:42925
- Description: My thesis, is geskryf in Swartlandse Kaaps, ’n streeksvariant van Kaaps. Die poems is free verses wat afspeel tien ie backdrop van Malmesbury en Stellenbosch se “Coloured areas” mette analysis van dialect en ideolect wat eie is annie mense wat ampe altyd feature innie stories wat ek vertel. Die thesis explore die liefde asse konsep. Dit kyk na hoe die desperate need vi absent liefde ’n toxic relationship feed tussen ’n jong couple ennie destructive impact van liefde oppe pesoon wie nooit geleer was hoe om lief te wies vi annes ie. Dan kyk ek oek na hoe die previous generations, dit van my ma en pa liefde reject et asse unaffordable excess inne community wat brutal en harsh is. Antonio Gramsci se konsep vannie organic intellectual, dien asse philosophical underpinning virrie thesis d.w.s die hoofkarakter dien asse orator virrie intellectual en cultural insights wattie everyman in sy community nie self kan express ie. Die organic intellectual express díe thoughts innie cultural taal van sy social class. Die thesis explore stories soes it vetel wôd dee mense soes my oupa en mense wattie altyd aware is dat hulle stories in hulle in hettie. In dai way val it tot some degree binne die terrain van oral traditions. Die thesis wil dip into die collective conscious vanne social group wat die worst aspects van liewe in Syd-Afrika experience et. Ek voel free verse is ie ideal form van expression vi my in regards tot die skryf van die thesis, omdat ek daamee die line successfully kan blur tussen ie ‘language of the people’ en my eie individual leaning toward poetic language en forms. In terms van style draw ek op vorige digbundels in Kaaps, most notably op Nathan Trantraal se baie controlled, free verse digbundel, ‘Alles het niet kom wôd,’en Ronelda S. Kamfer se technique van ‘oorvertel’, in haa digbundel ‘grond/Santekraam’. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Arendse, Ashwin Albert
- Date: 2021-04
- Subjects: Kaaps , Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Afrikaans poetry -- 21st century , African literature -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178259 , vital:42925
- Description: My thesis, is geskryf in Swartlandse Kaaps, ’n streeksvariant van Kaaps. Die poems is free verses wat afspeel tien ie backdrop van Malmesbury en Stellenbosch se “Coloured areas” mette analysis van dialect en ideolect wat eie is annie mense wat ampe altyd feature innie stories wat ek vertel. Die thesis explore die liefde asse konsep. Dit kyk na hoe die desperate need vi absent liefde ’n toxic relationship feed tussen ’n jong couple ennie destructive impact van liefde oppe pesoon wie nooit geleer was hoe om lief te wies vi annes ie. Dan kyk ek oek na hoe die previous generations, dit van my ma en pa liefde reject et asse unaffordable excess inne community wat brutal en harsh is. Antonio Gramsci se konsep vannie organic intellectual, dien asse philosophical underpinning virrie thesis d.w.s die hoofkarakter dien asse orator virrie intellectual en cultural insights wattie everyman in sy community nie self kan express ie. Die organic intellectual express díe thoughts innie cultural taal van sy social class. Die thesis explore stories soes it vetel wôd dee mense soes my oupa en mense wattie altyd aware is dat hulle stories in hulle in hettie. In dai way val it tot some degree binne die terrain van oral traditions. Die thesis wil dip into die collective conscious vanne social group wat die worst aspects van liewe in Syd-Afrika experience et. Ek voel free verse is ie ideal form van expression vi my in regards tot die skryf van die thesis, omdat ek daamee die line successfully kan blur tussen ie ‘language of the people’ en my eie individual leaning toward poetic language en forms. In terms van style draw ek op vorige digbundels in Kaaps, most notably op Nathan Trantraal se baie controlled, free verse digbundel, ‘Alles het niet kom wôd,’en Ronelda S. Kamfer se technique van ‘oorvertel’, in haa digbundel ‘grond/Santekraam’. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
Portraits
- Authors: Fredericks, Gaireyah
- Date: 2022-10-14
- Subjects: Kaaps , Creative writing (Higher education) South Africa , Diaries -- Authorship , Books Reviews , Afrikaans essays 21st century , Short stories, Afrikaans 21st century
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406238 , vital:70251
- Description: Die portfolio bestaan yt reflections op my writing process during die course, my reading, my poetics essay en vier boek resensies. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Fredericks, Gaireyah
- Date: 2022-10-14
- Subjects: Kaaps , Creative writing (Higher education) South Africa , Diaries -- Authorship , Books Reviews , Afrikaans essays 21st century , Short stories, Afrikaans 21st century
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406238 , vital:70251
- Description: Die portfolio bestaan yt reflections op my writing process during die course, my reading, my poetics essay en vier boek resensies. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-10-14
Praying mantis
- Authors: Kenene, Thobeka
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , South African essays (English) 21st century , Portuguese fiction 20th century History and criticism , Russian fiction 20th century History and criticism , Zimbabwean fiction (English) 20th century History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292726 , vital:57010
- Description: (Prologue) I could only see in black and white as if I had travelled through time. I was the star of the medieval people who waited on me. The city was Johannesburg where strange faces called me a traitor because I was an educated black person. I hid between the skyscrapers and ran into a mirror image of myself as a man. “I write this book,” he said to his readers, “To invoke a yearning in our youth to awaken from slumber. To set examples for them to desist from characters like Velesazi and Nongendi, and imitate Nomsa and Themba. And also, to contribute to Xhosa literature.” He signed off by calling himself our servant. These are the words from the note my great-grandfather left me. We walked together across a barren field and past a graveyard. I was feeling tired and lost; I wanted to get home as fast as possible. We quickened our step and entered a church site. Inside the church were all my close relatives. I saw myself on stage looking down at them, and when I opened my mouth to sing, they began laughing at me. I imagined him in his 1917 suit, as a writer, penning down his first novel that is dedicated to his mother. His round cheeks enveloped in a haze of candle light. He visited my dream in 2012 and in the dream he asked me, “Do you see?” I said, “Yes, I see.” My great-grandfather hummed a song from his belly. I inhaled deeply into my belly and then exhaled a sound. Together we hummed this song that made everyone fall silent and listen. In the dream I could feel my lungs expanding and deflating along to the rhythm of the song. As my great-grandfather and I sang it, the night lamps shone brighter. I had become my great-grandfather, wearing his suit and black leather shoes. His friends were my friends. They turned and asked me what my clan name was. When I told them, they whispered something among themselves. One of them said to me, “Unogcwabevu.” I saw a white unknown woman who was afraid of me. I told her it is going to be okay, and that I would not harm her. But the colour of my skin frightened her. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07
- Authors: Kenene, Thobeka
- Date: 2022-04-07
- Subjects: Creative writing (Higher education) South Africa , Diaries -- Authorship , South African fiction (English) 21st century , South African essays (English) 21st century , Portuguese fiction 20th century History and criticism , Russian fiction 20th century History and criticism , Zimbabwean fiction (English) 20th century History and criticism , American fiction 20th century History and criticism
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/292726 , vital:57010
- Description: (Prologue) I could only see in black and white as if I had travelled through time. I was the star of the medieval people who waited on me. The city was Johannesburg where strange faces called me a traitor because I was an educated black person. I hid between the skyscrapers and ran into a mirror image of myself as a man. “I write this book,” he said to his readers, “To invoke a yearning in our youth to awaken from slumber. To set examples for them to desist from characters like Velesazi and Nongendi, and imitate Nomsa and Themba. And also, to contribute to Xhosa literature.” He signed off by calling himself our servant. These are the words from the note my great-grandfather left me. We walked together across a barren field and past a graveyard. I was feeling tired and lost; I wanted to get home as fast as possible. We quickened our step and entered a church site. Inside the church were all my close relatives. I saw myself on stage looking down at them, and when I opened my mouth to sing, they began laughing at me. I imagined him in his 1917 suit, as a writer, penning down his first novel that is dedicated to his mother. His round cheeks enveloped in a haze of candle light. He visited my dream in 2012 and in the dream he asked me, “Do you see?” I said, “Yes, I see.” My great-grandfather hummed a song from his belly. I inhaled deeply into my belly and then exhaled a sound. Together we hummed this song that made everyone fall silent and listen. In the dream I could feel my lungs expanding and deflating along to the rhythm of the song. As my great-grandfather and I sang it, the night lamps shone brighter. I had become my great-grandfather, wearing his suit and black leather shoes. His friends were my friends. They turned and asked me what my clan name was. When I told them, they whispered something among themselves. One of them said to me, “Unogcwabevu.” I saw a white unknown woman who was afraid of me. I told her it is going to be okay, and that I would not harm her. But the colour of my skin frightened her. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2022
- Full Text:
- Date Issued: 2022-04-07