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
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- Date Issued: 2022-04-07
Written out, writing in : orature in the South African literary canon
- Authors: Seddon, Deborah Ann
- Date: 2008
- Language: English
- Type: Article
- Identifier: vital:2263 , http://hdl.handle.net/10962/d1004695
- Description: As described by Duncan Brown, South African orature represents "our truly original contribution to world literature" (Brown, Voicing the Text 1). This paper explores how orature might be successfully 'written into' the South African literary canon whilst promoting recognition of its existence as an oral form. My recent experiences of the difficulties, challenges, and benefits of teaching South African orature within the Rhodes University English department, have alerted me to the urgent need for the creation of a student- and teacher-friendly anthology which would collect, re-voice, and adequately contextualise a selection of the seminal works of South African oral poets from the colonial to the post-apartheid periods. Much of this poetry already exists in print-form but, despite an increasing recognition of oral poetry through a number of endeavours such the Poetry Africa Festival, the Lentswe Poetry Project on SABC 2, the Timbila Poetry Project and others, South African orature remains marginal in the country's literary canon. It is largely absent from the curriculum in the literature departments of its universities. The need to redress this situation is crucial, but the process of setting up and teaching an undergraduate course in South African oral poetry, while possible, is complicated. The works of our most important oral poets are scattered in a variety of books, libraries, and collections. The usual process of drawing up a booklist of set texts is undermined by the stark reality that many of the books are out of print. Fully giving voice to these texts is even harder to achieve - CD and video recordings of performances (if they exist at all) are not easily accessed or disseminated.
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- Date Issued: 2008
At play in the master's workshop: the experience of reading in the novels of Henry James
- Authors: Seddon, Deborah Ann
- Date: 1998
- Subjects: James, Henry, 1843-1916 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2278 , http://hdl.handle.net/10962/d1007451 , James, Henry, 1843-1916 -- Criticism and interpretation
- Description: James's belief that "it is art that makes life" is essential to his own literary technique and to the reading experience within and in relation to his novels. The thesis seeks to posit the notion of reading as a fundamental concern in Henry James's fiction. Drawing largely on the phenomenological and anthropological approaches to the reading process of Wolfgang Iser, this thesis examines the Jamesian text as a performative event involving author, reader and character in creative and interpretative narrational struggles. Iser uses "play" as an integral term to describe the dynamic between author-reader-text which produces a literary work of art. In James's fiction the doubling of the author/reader and reader/character role within the text crucially structures a narrative form which is itself an inquiry into the human use of fiction. The Iserian conception of the act of reading as an engagement with the "gaps" within the play-space of the literary text can elucidate James's structural and thematic use of such sites of indeterminacy to foreground the enlivening necessity of an indeterminate "felt life" within human narrative structures. What Maisie Knew highlights the most important rule in the game -- the necessity for the reader to create meaning from the indeterminate aspects of the text. The shared exercise for author-reader-character is the attempt to access the child's unformulated inner reality to ascertain what Maisie knows. In the section on The Portrait of a Lady Iser's notion of reading as an ideational activity aids an inquiry into the human use of mental fictive picturing to compose reality. The Ambassadors demonstrates the "anthropological" need for the particular mode of consciousness brought about by the literary text when we engage in a world as real as but different to our own. Strether is the reader's ambassador in this world and his interpretative activity mirrors the reader's quest. In The Golden Bowl the bewildering multiplicity of readings made possible by the indeterminate aspects of the literary text instigates a contest for narrative forms in which the chosen fictions of the readers/characters must be actively willed into existence.
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- Date Issued: 1998