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dc.contributor.advisorBotha, Teunis
dc.contributor.authorCombrink, Salome
dc.date.accessioned2022-05-13T05:56:55Z
dc.date.available2022-05-13T05:56:55Z
dc.date.issued1978
dc.identifier.urihttp://hdl.handle.net/10394/39093
dc.descriptionMA, North-West University, Potchefstroom Campusen_US
dc.description.abstractThe purpose of this scrutiny is to investigate different facets of hope in a few dramas. The presence of hope in a drama, albeit implicitly, can be regarded as much a matter of course as the presence of a particular philosophy inherent among people in everyday life, Hope , or the lack thereof in man or in drama, inables one to diagnose the philosophy, whereas an assessment of the quality of hope enables one to determine in which he believes. In this thesis I discuss four aspects of hope and faith, illuminated by examples of various plays. (1) Relativism: wherein hope is placed on anything as the ultimate truth, illustrated by Six characters in search of an author, as well as two dramas by Shaffer: Equus and The royal hunt of the sun. (2) Existentialism: man placing hope in himself and living each moment to the full . There is no hope in the future or outside man, in God or his Commandments; only an existential experience is possible. As examples the following three dramas by Sartre have been analysed: The condemned of Altona, No exit and~ devil and the good Lord. (3) Nihilism: deal of hope with a belief only in the absurdity of life; illustrated by three dramas by Beckett : Waiting for Godot; Happy days and Not I. (4) Biblical hope : Christian hope which reaches out to fulfilment in Christ, illustrated by three dramas by Eliot: Murder in the cathedral, The family reunion and The cocktail party . I also investigate hope in various South African dramas , with particular reference to modern Afrikaans dramas. It is most interesting to make a study of the theme of hope in drama, because in this way the dramatist's view of reality and his philosophy is revealed, A correct view or reality is important in finding out whether a true, acceptable and balanced picture is present in drama. The inherent hope or expectation in a drama exposes its faith and view of reality. The first three philosophies analysed in this thesis, prove to contain a false hope and faith, whereas the Christian outlook alone can present a balanced and true interpretation of reality . It is a great responsibility for the Christian dramatist and critic, to be true to the call for obedience and ultimate dedication in life . In these exciting times of rapid changes and radical non-Christian ideas, it is the responsibility of the true Christian to act as salt and yeast in drama as well as everywhere else . As Christians we must admit that everything comes from God and moves towards God. Thereupon we can have a meaningful hope in the future, a hope which is true - and it should be apparent in our dramas and criticism too . Hope is a most important element of the philosophy of a drama . If it is a Christian hope , then it is clear that it has been written from a Christian point of view. By means of this thesis, an appeal is made to Christian dramatists and critics to place themselves under the guidance of God and the illumination of his Word; and to seek all light from God, who is the Light of this world.en_US
dc.language.isootheren_US
dc.publisherNorth-West University (South Africa)en_US
dc.titleVerskillende fasette van hoop in enkele moderne dramasen_US
dc.typeThesisen_US
dc.description.thesistypeMastersen_US
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