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Engelbrecht, Gertruida Cornelia. "Bybelse intertekste in resente Afrikaanse gedigte en lirieke, met spesifieke verwysing na identiteitsformasies in die (post)-postmoderniteit." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71667.
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Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: The 11 September 2001 terror attacks on America are regarded by many as the end of the postmodern era and as a landmark event that irrevocably changed the world. Similarly, the 1994 South African political revolution and transition to democracy was a milestone that had far-reaching effects on all population groups in the country. This study examines evolving identity formation among Afrikaans-speaking South Africans in a new political dispensation and (post-) postmodern era – and specifically the ways in which religion still finds expression in Afrikaans-speakers‟ identity. With theoretical grounding from, among others, Stuart Hall and Zygmunt Bauman, a variety of recent poems and lyrics – representative of various generations and backgrounds – are studied. The conclusion drawn is that religion still forms part of Afrikaans-speakers‟ identity in various ways, but this does not necessarily equate to affiliation with any church. In some instances church and religion are seen as part of the rejected apartheid establishment, but in many cases Afrikaans-speakers‟ religious affiliations are in line with Jacques Derrida‟s “religion without Religion” school of thought, and panentheism is increasingly gaining ground.
AFRIKAANSE OPSOMMING: Die terreuraanval op Amerika op 11 September 2001 word uit verskeie oorde bestempel as die einde van die postmodernisme en as ‟n mylpaalgebeurtenis wat die wêreld onherroeplik verander het. In Suid-Afrika was die politieke om-wenteling met die oorgang na ‟n demokrasie in 1994 eweneens ‟n mylpaal wat alle bevolkingsgroepe in die land ingrypend geraak het. In hierdie studie word ondersoek ingestel na Afrikaanssprekendes se identiteitsformasies in ‟n nuwe politieke bestel en in die (post)-postmoderniteit, en spesifiek na die wyse waarop die religie steeds beslag kry in die Afrikaanssprekende se identi-teit. Met bydraes deur onder andere Stuart Hall en Zygmunt Bauman as teo-retiese begronding, word ‟n verskeidenheid resente gedigte en lirieke van 1994-2012, wat verteenwoordigend is van verskeie generasies en agter-gronde, ondersoek. Die gevolgtrekking is dat religie steeds op verskillende wyses deel van Afrikaanssprekendes se identiteitsformasies is, maar dat dit nie noodwendig met kerkverbondenheid gepaard gaan nie. In sommige gevalle word die kerk en die religie beskou as deel van die establishment wat ná apartheid verwerp word, maar in baie gevalle hou Afrikaanssprekendes se religieuse betrokkenheid nou verband met Jacques Derrida se sogenaamde religie sonder Religie, en wen die panenteïsme toenemend veld.
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Barendse, Joan-Mari. "Distopiese toekomsromans in die Afrikaanse literatuur na 1999." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79916.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This dissertation investigates the increase in Afrikaans novels set in the future at the time of publication in the period after 1999. The following seven Afrikaans futuristic novels were published in this time: Oemkontoe van die nasie (2001) by P.J. Haasbroek, Hotel Atlantis (2002) and Raka die roman (2005) by Koos Kombuis, Miskruier (2005) by Jaco Botha, Die nege kerse van Magriet (2006) by Barend P.J. Erasmus, Horrelpoot (2006) by Eben Venter and Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009) by Louis Krüger. These novels are discussed within the framework of dystopian literature since they all portray a future South Africa that is worse off than it was at the time of the novels’ publication. It is discussed whether the socio-political climate in South Africa after 1999 contributed to the increasing popularity of the dystopian genre in Afrikaans in this time. Dystopian literature in general comments on the present rather than the future. The social commentary in these novels is therefore also discussed. The following aspects of dystopian literature, as identified by critics such as Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent and Brian Stableford, is focused on in the analysis of the seven novels: the typical narrative in dystopian works; the distinction between the classical dystopia, critical dystopia and pseudo-dystopia; the connection between dystopian literature and apocalyptic literature, and common themes within dystopian literature (for example the control of language and the media, history and ecological issues). This dissertation highlights the similarities to as well as differences between the seven Afrikaans dystopian novels and typical dystopian works. It is also discussed how the context of a postcolonial and post-apartheid South Africa makes these novels unique.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die toename van Afrikaanse romans in die tydperk ná 1999 wat ten tyde van publikasie in ʼn toekomstige Suid-Afrika afspeel. Die volgende toekomsromans verskyn in hierdie tyd: P.J. Haasbroek se Oemkontoe van die nasie (2001), Hotel Atlantis (2002) en Raka die roman (2005) deur Koos Kombuis, Miskruier (2005) deur Jaco Botha, Eben Venter se Horrelpoot (2006), Die nege kerse van Magriet (2006) deur Barend P.J. Erasmus en Louis Krüger se Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009). Dié sewe romans word binne die raamwerk van distopiese literatuur bespreek omdat hulle voldoen aan Lyman Tower Sargent se definisie van ʼn literêre distopie: hulle beeld almal ʼn toekomstige Suid-Afrika uit waarin dit slegter gaan as die tyd waarin die romans gepubliseer is. Daar word ondersoek of die sosio-politiese konteks waarin die toekomsromans van ná 1999 verskyn, moontlik ʼn bydrae gelewer het tot die toename van hierdie tipe roman in die tydperk. Toekomsvoorstellings binne distopiese literatuur lewer dikwels eerder kommentaar op die tyd waarin die werke verskyn as op die toekoms. Daar word ondersoek of dit ook die geval is met die Afrikaanse distopiese toekomsromans van ná 1999. Na aanleiding van teorieë rondom distopiese literatuur deur kritici soos Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent en Brian Stableford word daar op die volgende aspekte van distopiese literatuur gefokus in die analise van die sewe romans: die handeling in tipiese distopiese werke; die onderskeid tussen die klassieke distopie, kritiese distopie en pseudo-distopie; die verband tussen apokaliptiese en distopiese literatuur en algemene temas binne distopiese literatuur (byvoorbeeld die beheer van die taal en media, die geskiedenis en ekologiese vraagstukke). In die bespreking word daar gewys op die ooreenkomste, maar ook die verskille, tussen die sewe Afrikaanse distopiese romans en tipiese distopiese werke. Daar word ook bespreek hoe die konteks van ʼn postkoloniale en postapartheid Suid-Afrika ʼn uniekheid verleen aan dié werke.
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Vosloo, Jan 1934. "Die manifestering van humor in geselekteerde Afrikaanse kortverhaaltekste." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53382.
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Thesis (PhD)--Stellenbosch University, 2003.ENGLISH ABSTRACT: At the start of the twentieth century Afrikaans humour was researched quite intensively. Since then, however, such research has been relatively sporadic and has concentrated on related sub-genres of humour, such as satire, irony and wit. This dissertation investigates anew the phenomenon of humour as manifested in Afrikaans short story texts, from the dual starting points of a current context and of the extensive theoretical studies done by other researchers worldwide. In the process, humour is viewed as a communicative strategy, a combination of codes which writers utilize within a specific socio-political context in order to create humorous effects and elicit resultant reactions from readers. One of the primary aims of this investigation into the codes and strategies employed by Afrikaans writers in the humorous short story genre, is to determine whether they coincide with universal tendencies or whether they have certain unique features. After a broad exposition of the historical background and of the evolution of the continually changing concept humour, attention is paid to theories regarding its nature and effect. The creative interaction between related modi, like comedy, satire, irony, wit, burlesque, travesty, parody, caricature, grotesque, absurd and black humour and their contribution to one's experience of humour are all researched. Initially, the Afrikaans humour-tradition is set against its historical background. Following this, a more detailed investigation considers strategies of humour selected from Afrikaans short story texts from 1884 to 2001. These are selected for their variety of types of humour and according to criteria relating to structure, style and convention. The major emphasis is placed on short stories of the past two decades, in an attempt to measure the era-relatedness of humour and the interaction with the prevailing socio-political context. These various stylistic strategies are contextualized in writers' deliberate attempts to create a humorous outcome. Along with generally universal characteristics - like the interaction of humorous and non-humorous texts, with time-bound trends (in common with other literatures) - it is concluded that the Afrikaans humorous short story is strongly ancho.ed both in relevance and contextuality. Humour remains a vibrant aspect of the Afrikaans short story and, by keeping this tradition alive, it also remains popular with the reading public.
AFRIKAANSE OPSOMMING: Nadat daar aan die begin van die twintigste eeu betreklik intensiewe navorsing oor humor in Afrikaans gepubliseer is, het sedertdien slegs sporadiese studies verskyn oor verwante humormodi soos satire, ironie en geestigheid. Hierdie proefskrif wil gevolglik vanuit 'n huidige konteks, en na aanleiding van die uitgebreide teoretisering en navorsing elders ter wêreld, die verskynsel humor opnuut ondersoek, soos gemanifesteer in Afrikaanse kortverhaaltekste. Humor word in die proses benader as 'n kommunikatiewe strategie, 'n versameling kodes wat skrywers binne 'n bepaalde sosio-politieke konteks aanwend, met die oogmerk om humoristiese effekte te bewerkstellig en bepaalde reaksies by lesers uit te lok. Dié studie wil veral vasstel watter kodes en strategieë Afrikaanse humoristiese kortverhaalskrywers hierby gebruik, of dit ooreenstem met breë tendense elders of eie is aan Afrikaans. Na 'n oorsigtelike uiteensetting van die historiese grondslae en die evolusie van die steeds veranderende begrip humor, word aandag bestee aan teorieë oor die aard en effek daarvan. Die vrugbare interaksie tussen verwante modi soos die komedie, satire, ironie, geestigheid, die burleske, travestie, parodie, karikatuur, die groteske, die absurde en swart humor, asook die bydrae daarvan tot die humorbelewing, word vervolgens ondersoek. Die Afrikaanse humortradisie word eers oorsigtelik histories nagespeur, waarna nadere ondersoek ingestel word na humorstrategieë aan die hand van Afrikaanse kortverhaaltekste wat dateer van 1884 tot 2001, geselekteer op grond van sowel verskeidenheid met betrekking tot die tipe humor as kriteria soos struktuur, styl en konvensie. Die klem val op kortverhale uit die afgelope twee dekades, ten einde aspekte soos die tydgebondenheid van humor en die interaksie met die heersende sosiopolitieke konteks te probeer bepaal. Die verskillende stylstrategieë wat geïdentifiseer is, word in verband gebring met die skrywers se berekende opset om 'n humoristiese uitkoms te bewerkstellig. Naas meer universele kenmerke, soos die wisselwerking tussen humor en erns in dié tipe tekste en tydspesifieke neigings (in ooreenstemming met ander letterkundes), soos die toename in groteske en absurde tipe verhale, word bevind dat die Afrikaanse humor- en humoristiese verhaal sterk kontekstueel veranker is. Humor in die Afrikaanse kortverhaal word steeds op 'n lewenskragtige wyse beoefen deur skrywers en bly gewild by lesers.
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Du, Plooy Alta. "Die ongelooflike avonture van Afrikaanse filmaanpassings: filmic adaptations of Afrikaans literature with specific focus on novels, youth literature and stage plays." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13349.
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Includes bibliographical references.South African cinemas, and Afrikaans cinemas in particular, have mostly been studied for its political, representational and socio-political value and its often-problematic furnishing in these categories. This dissertation explores different lenses through which Afrikaans cinemas can be studied. It models itself on Alexie Tcheuyap’s framework in Postnationalist African Cinemas (2011) which directly questions the notion that African cinemas have to be revolutionary, nationalistic, subversive and/or post-colonialist. These demands were clearly set out by FEPACI in the 1960s and many scholars never revised their strategies of scholarship or kept up with the vast political, social and cultural shifts of most of the continent’s cinemas and audiences. Tcheuyap argues for a new way of studying these cinemas that allows for emphases on genre, myth construction, sexuality, dance and the refraction of some cultural practices in the imagination of filmmakers, audiences and the screen (2011). Because this study models itself on new frameworks of investigating African cinemas, it contextualises Afrikaans cinemas within African cinemas. Afrikaans as a language should own its connections of a history of oppression and terrorisation of around 90% of South Africans for a very long time before, during and even after apartheid. It is however imperative that the language’s function, representation and literary and artistic contribution to South African culture is revised and included in studies of African cinemas. The unabashed subversiveness of Afrikaans filmmakers like Jans Rautenbach and Manie van Rensburg during the height of apartheid is often overlooked. Even though scholarship of Afrikaans cinemas is relatively limited, the domain of the discipline is rather large with a history that spans across 83 years. The parameters for this study beacon off one sector namely that of filmic adaptations of Afrikaans literature. Specific focus will be given to adaptations of novels, youth literature and stage plays. Adaptation theory has, like the study of African cinemas, only very recently moved away from the popular essentialist, page- to -screen view of what filmic adaptions should be or do. Kamilla Elliott teases out a complex history and development of scholarship and tendencies in adaptation studies in her book, Rethinking the Novel/Film debate (2003). I unpack Elliott’s tracing of interart wars and interart analogies and concepts of adaptation in chapter two. This proposed framework for adaptation studies is used to map some of the primary texts ’ film aesthetics and strategies of thematic moulding in Roepman (2011) in chapter two. Chapter three explores the special interaction between adaptation and particular narrative component and how the director uses a mixed film aesthetic to move between a character’s interiority and exterior environment in Die Ongelooflike Avonture van Hanna Hoekom (2010) . This chapter also analyses how Afrikaans films have posed challenges to the nuclear family – both Skilpoppe (2004) and Hanna Hoekom feature overt explorations of this theme. A contemporary stage play has never been adapted for Afrikaans film. Chapter four regards two adaptations from stage plays – Moedertjie (1931) and Siener in die Suburbs (1975) to observe how space and genre, with specific reference to melodrama, has entered into and functions in these texts.
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Rust, Winnie. "Limietberge : die fiksionalisering van die kleingeskiedenisse van enkele vrouefigure van Wellington." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51818.
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Thesis (MA)-- Stellenbosch University, 2000.ENGLISH ABSTRACT: The creative component of the thesis deals with Coba, the disillusioned and traumatised wife of a young academic who returns from the Netherlands to her home town, Wellington, where she is confronted with the diary of her grandmother and letters from the local museum. The letters and diary then become an introduction to encounters with different women from the past of her hometown. Recorded in the diary of her grandmother is, amongst other fragments from the past, the remarkable story of the marginalised Martha Solomon(s), a coloured woman of slave descent with little schooling at a mission school in Bovlei, district of Wellington. Through a dramatic sequence of events Martha benefits through her involvement and marriage to a remitted English gentleman, enabling her to eventually donate land for the erection of a schoolbuilding in Wynberg, later known as Battswood College. Writing down and recreating the story of Martha Solomon(s) and her (Martha's) encounter with contemporary women from different social levels, has a salutary effect on Coba. Her home surroundings also contribute to this healing effect. She gains insight and through this manages to cross certain psychological barriers, her "Limit Mountains" - the name of the mountains surrounding Wellington which becomes the main metaphor sustained throughout the story. To date the story of Martha Solomon(s) has remained unexplored in the history of Wellington, and can be regarded as a "little narrative." Parallel to the history of Martha Solomon(s), runs the mainstream history of Wellington of the 1870's, a period in which the first Christian School for Girls was founded by Dr Andrew Murray, Abbie Ferguson and Anna Bliss. To date (2000) the ironic parallel between Abbie Ferguson's dynamic initiatives and Martha's later initiatives in Wynberg to relieve the educational needs of her people, has not been fully explored. By fictionalising and foregrounding the little narrative of Martha Solomon(s), new perspectives on mainstream history are brought to the fore and historic ironies highlighted. The inclusion of letters, fragments from diaries and photo material as part of the text creates a defictionalising illusion. The historic component of the thesis gives, as far as possible, a chronological account of the different versions of the story of Martha and its sources; also of historic events which are fictionalised in Limietberge. Inthe component concerning literary theory an account is given of the meaning of historic trivia in this particular investigation. There is a brief allusion to New Historicism, a view on history which points out the complicated relationship between history and fiction, and the subjectivity of all records of historical events. Certain postmodern techniques are given account of in an otherwise conventional story with a linear sequence of events.
AFRIKAANSE OPSOMMING: Die skeppende komponent van die tesis handeloor Coba, die ontnugterde en getraumatiseerde vrou van 'njong akademikus wat uit Nederland terugkeer na haar tuisdorp, Wellington, waar sy deur die navorsing van haar moeder met die dagboek van haar ouma en ou briewe uit die plaaslike museum gekonfronteer word. Dié briewe en dagboek word die aanknopingspunte vir haar ontmoeting met enkele vrouefigure uit die verlede van haar tuisdorp. Ingeskrewe in die dagboek van haar ouma, is onder andere die merkwaardige verhaal van die gemarginaliseerde Martha Solomons, 'n bruin vrou van slaweherkoms en met geringe skoling aan 'n sendingskool in die Bovlei, distrik Wellington. Die historiese figuur Martha Solomon(s) word deur 'n dramatiese verwikkeling dermate bevoordeel deur haar verbintenis met 'n Engelse edelman wat deur sy familie verwerp is, dat sy in staat is om grond te skenk vir 'n skool wat later ontwikkel in die Battswood Kollege, Wynberg. Die neerskryf en herskepping van dié verhaal van Martha Solomon( s) en van laasgenoemde se ontmoeting met ander vroue uit verskillende sosiale sfere van die tyd, werk mettertyd genesend op Coba in. Hiertoe dra ook die salwende invloed by van haar tuisomgewing. Sy kom tot insig en deurbreek daarmee sekere psigologiese versperrings, haar "Limietberge" - die naam van die berge rondom Wellington wat deurgaans as metafoor gebruik word. Die verhaal van Martha Solomon( s)/Grey het tot dusver min aandag in die geskiedenisoptekening van Wellington gekry, en kan as "kleingeskiedenis"gesien word. Parallel met die kleingeskiedenis van Martha Solomon( s), loop die Victoriaanse hoofstroom-geskiedenis van Wellington van die sewentigerjare van die negentiende eeu; 'n tydperk waarin daar met die eerste Christelike hoërskool vir dogters onder aanvoering van dr.Andrew Murray en die Amerikaners Abbie Ferguson en Anna Bliss begin is. Ingebou in die ondersoek maar nog onontgin, is die ironiese parallelle tussen Abbie se dinamiese inisiatiewe met die uitbou van die Seminarium, en Martha se latere inisiatiewe by die onderwysnood onder haar mense. Deur die kleingeskiedenis van Martha Solomon(s) te fiksionaliseer,word nuwe lig op die hoofstroom geplaas, en historiese ironieë uitgewys. Deur die plasing van briewe, :fragmenteuit dagboeke en fotomateriaal as integrale deel van die teks, word de:fiksionalisering bewerkstellig. Die historiese komponent van die tesis gee sover moontlik chronologies verslag van alle weergawes van die Martha-verhaaJ en sy bronne, asook van historiese gebeure uit die Wellingtongeskiedenis wat in Limietberge gefiksionaliseer is. In die literêr-teoretiese komponent word verslag gegee van die betekenis van die kleingeskiedenis- optekening van die ondersoek, en van die Nuwe Historisisme - 'n siening omtrent geskiedenis wat onder andere die ingewikkelde verhouding tussen geskiedenis en fiksie, asook die subjektiewe aard van geskiedenis-optekening uitwys. Sekere postmoderne tegnieke word in dié afdeling ook uitgewys en verantwoord.
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Kemp, Christiaan Theodorus. "Skool." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/6894.
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Winfield, Matthew. "Border thinking and the modern Plaasroman: a study of three novels." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33980.
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In Afrikaans literature, the farm concept has a history of entanglement with ideals that are racist and nationalist. The early plaasroman (farm novel in Afrikaans) subgenre was a product of the 1920s and the 1930s, a period when Afrikaner nationalism was incipient. Later farm novelists brought new energy to the plaasroman during the second half of the twentieth century. In the modern plaasroman subgenre, challenges to racist-nationalist ideals are exhibited, along with ideals of the early plaasroman. The following study is an attempt to gauge whether, and the extent to which, three modern plaasromans are an expression of border thinking. These novels are Etienne Leroux's Seven Days at the Silbersteins, Etienne van Heerden's Ancestral Voices and Nadine Gordimer's The Conservationist. The paradigm of border thinking is chosen due to the similarities between its objectives, on the one hand, and the critical stance of the modern plaasroman, on the other hand. Both border thinking and the modern plaasroman can be described as a response to racial injustice and inequality. For this reason, it would seem that a study of modern plaasromans is well-suited as a context for the application of border thinking. Given that previous studies addressed challenges by modern plaasromans to racist and nationalist ideals, moreover, a study that deploys border thinking (focusing on racial injustice) is considered to be a valuable critical contribution. In order to determine whether these three novels are expressions of border thinking, this study first formulates three templates of ‘literary border thinking' (border thinking that is expressed in literature). Criteria that are derived from these templates are then used to determine whether, and the extent to which, these novels represent literary border thinking.
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Anker, Johan. "Die deiktiese ruimte as struktuurmiddel in die Afrikaanse prosa." Doctoral thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/22488.
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Bibliography: pages 327-337.The hypothesis of this thesis is that the prose text is a means of communication, a linguistic utterance (message) produced by a person, the speaker or narrator, and addressed to another person (the reader or narratee). In such a text the utterance has meaning in a given context, this context is created by the speaker or narrator and the reader reconstructs this context by the interpretation of the speaker's reference to person, place and time the deictic elements. This thesis has tried to determine in which way the deictic context in prose is given structure in the text. By reconstructing and interpreting the deictic context in eight shorter Afrikaans prose texts and a novel we determined that this deictic context is a given structure in the text and released from the text by the reader's interpretation of the narrator's references to the speaker, persons, the spatiotemporal context and activities. The reader determines this deictic context by: a) identifying the egocentric speaker; b) identifying and localizing references to the spatiotemporal context; c) identifying all references to person and d) the interpretation of implications in the linguistic utterance. The reader's interpretation of this deictic context leads to an interpretation of the implicated message of the text, thus completing the communication process of the literary text. It has become evident that while reading prose it is of the utmost importance to make a difference be tween narrator and focalizer to determine the egocentric speaker; that references to persons and the spatiotemporal context are to be interpreted from the viewpoint of the egocentric speaker and that implications in the text can be devided into three categories: implications in the preliminary text (title, motto, etc.), deictic implications and standard linguistic implications. The defining and restructuring of this deictic context in prose texts is valuable in that it is a method for the critical reading of prose; leads to an interpretation of the text; accentuates the integration of text elements; gives lead to a metatextual reading of the text; is a method to differentiate between genres; establishes the communication process between text and reader and is of importance when evaluating the text.
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Dreyer, Tom. "Stinkafrikaners : romanteks en besinning." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/20137.
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Whitfield, Lesley. "Die literêre soortlikheid van die fantasie, met spesiale verwysing na die Narnia-verhale van C.S. Lewis, die Huppelkind-reeks van W.O. Kühne en Ken jy die Kierangbos? van Freda Linde." Master's thesis, University of Cape Town, 1986. http://hdl.handle.net/11427/22148.
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This study is an investigation regarding the nature of the fantasy as a literary form, with special reference to children's literature. In Chapter 1 some recent theories on fantasy are examined in order to establish a theoretical basis for the study. A model is proposed in which the fantasy element is seen as the defining quality of the fantasy tale. This element consists of the depicting of events that are by nature "outside" of reality. In Chapter 2 the theory discussed in Chapter 1 is applied to three literary works traditionally regarded as fantasies. They are: the Chronicles of Narnia by C.S. Lewis; Huppel en sy maats by W.O. Kuhne and Ken jy die Kierangbos? by Freda Linde. Although these works do not all conform to the theories discussed in Chapter 1, it can be concluded that the fantasy element is central in each one and that they can therefore be defined as fantasies. In Chapter 3 the role of symbolism in the fantasy is considered. It is found that although symbolism is often used in this literary category, it is not a distinguishing quality of the fantasy. In Chapter 4 the specified works are examined as literature for children, with the aim of determining the relation between the fantasy and children's literature. It is concluded that the nature of the fantasy as a literary form makes it especially suitable for children because of the child's perception of reality. Chapter 5 consists of a summary of the findings in the previous three chapters. In conclusion the model proposed in Chapter 1 is re-examined. Fantasy is seen as a comprehensive literary category wi th sub-categories providing for the variety of literary works classified as fantasies according to the definition proposed.
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Janse, van Rensburg Christa Irene Marie. "Tussen droom en werklikheid : die voorstelling van die sakewêreld in die oeuvre van Willem Elsschot." Master's thesis, University of Cape Town, 1999. http://hdl.handle.net/11427/23256.
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This study investigates the representation of the business world in the oeuvre of Willem Elsschot. Firstly Elsschot as businessman levels criticism at a capitalistic economic system of which he himself was part. An ambivalence, namely humanitarianism versus profit, emerge through the sober style in which Elsschot's writes. Style was very important to Elsschot. Secondly, Elsschot illuminates the ideological tension between capitalism and socialism present in his oeuvre. Thirdly Elsschot provides the reader with insight into his fiction by incorporating in a realistic manner the historical, economic and social background of the society of his time. His representation of the business world implies social commentary on the civilian life of which he was part and from which he never really escaped. He seeks through his portrayal of capitalism a more moral society where the weak would no longer be seen as objects through whose usefulness more profit could be gained for capitalism. In this way he tacitly supports socialistic notions without ever actually practising or choosing socialist party politics. Fourthly, the autobiographical aspect of Elsschot's representation of the business world deserves mention. Although the characters in his oeuvre refer back to historical figures, and he draws from his own experience to create the business world about which he writes, it would be dangerous to assume that his writing is merely a realistic representation of Elsschot's own life. Fifthly, Elsschot examines the church as an instrument in the hands of capitalism. His representation of the church serves as criticism against the Roman Catholic Church which dominated many facets of Belgian society. Elsschot considers it as hypocracy when the church and the business world are seen to behave similarly. Elsschot uses different techniques to describe the business world. Style, being the first one captures Elsschot's choice of words, his overaccentuation and his use of language. Characterization is the second technique that requires consideration. Elsschot's characters act in pairs, an outward representation of the duality, humanitarianism is profit making, ("droom versus werklikheid") that is present in his characters. Even Elsschot as successful businessman himself, Alfons de Ridder, experiences this conflict and writes under the pseudonym Willem Elsschot. The last technique that contributes to the description of the business world is the evocation of unusual worlds with which to compare the real business world. The juxtaposition of everyday occurrences with biblical events for example strengthens the irony and humour in his style. Finally, this study determines Elsschot's motivation in representing the business world in the way that he does; to what extent he is influenced by the history, the ideologies and the society of his time and to what extent he was influenced by the conventions of his time. Although Elsschot has been dead for 38 years, the vitality and realism in his oeuvre are still strong and he still has many readers.
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Uys, Hendrik-Muller. "Die problematiese afbakening tussen sommige kortverhaalbundels en die roman in Afrikaans, aan die hand van geselekteerde tekste." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20201.
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Thesis (MA)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Since the sixties many short story collections referred to as ‘eenheidsbundels’ (‘unified volumes’) have appeared in Afrikaans. Especially those collections published since the eighties and nineties prominently display an overall unity suggestive of the greater unity found in the novel. These collections are usually characterised by the recurring appearance of characters beyond the borders of the individual stories and the use of themes and recurring motifs that run through the collection. Sometimes the separate stories within a collection share the same time period or geographical space. The same narrator may also appear throughout the collection. Although the individual stories within a volume may be regarded in isolation (or even published in isolation), they will inevitably be deprived of possible interpretations that would otherwise have been evident in relation to the collection as a whole. As a result, it would seem that the boundary between the short story volume and the novel becomes blurred in these unified collections. The main objective of this thesis is to try to determine whether the short story collections under discussion represent a new genre or subgenre or whether they could possibly constitute a continuation of an existing genre. The point of departure is the suggestion by J.P. Smuts (1989: 23) that the phenomenon is linked to the writers of the sixties’ rebellion against stereotyped literary forms and that these collections appear to represent an intermediate form, something that lies between the traditional short story collection and the novel. Chapter 2 serves as the theoretical foundation of the research: the traditional characteristics of the short story and novel are investigated. Postmodernism as school of thought associated with the problematisation of the boundaries between genres is also investigated. In Chapters 3 and 4 two unified collections from the nineties are analysed: Jaco Botha’s Sweisbril (1999) and S.P. Benjamin’s Die lewe is ’n halwe roman (1999). The purpose of these analyses is to determine the extent to which the extensive unity in these collections can be compared to the unity found in the novel. The secondary goal of the thesis is to suggest (in response to Maritha Snyman’s appeal (2011)) a more suitable Afrikaans name for the study object (“eenheidsbundel”). Neil Cochrane and Nina Botes’s proposed term “kortverhaalsiklus” (“short story cycle”) (2011) is considered, but Andr P. Brink’s reference to “’n soort kortverhaal-roman” (“a kind of short story novel”) finally takes precedence. The conclusion finds that the type of collection under discussion does represent a hybrid intermediary form located somewhere between the traditional short story collection and the novel, a form the development of which was probably influenced by postmodernism. The form seems to be a continuation of the tradition of the short story collection, one that has evolved towards the novel. Cochrane and Botes’s term “kortverhaalsiklus” is rejected in favour of the proposed term “kortverhaal-roman” (with some qualifications). This term can co-exist with terms such as “hibridiese bundel” (“hybrid volume”) or the more vague “eenheidsbundel”. The observation that the term “kortverhaalsiklus” does not convey the hybrid quality of the form, and the fact that Suzanne Ferguson (2003) points out that not all unified volumes are necessarily cycles, was decisive.
AFRIKAANSE OPSOMMING: Van die sestigerjare af het daar verskeie kortverhaalbundels in Afrikaans verskyn waarna literatore as ‘eenheidsbundels’ verwys. Veral di sedert die tagtiger- en ne ntigerjare toon ’n opvallende hegtheid wat selfs aan die groter eenheid van die roman herinner. Hierdie bundels word byvoorbeeld gekenmerk deur karakteroorvleuelings oor die grense van die verskillende verhale heen, die gebruik van oorkoepelende temas en die deurgaanse herhaling van motiewe. Soms deel die verskillende verhale in ’n bundel dieselfde tydvak of geografiese ruimte. Dieselfde vertellende instansie kan ook regdeur die bundel voorkom. Alhoewel die aparte bundelverhale in isolasie beskou (of selfs gepubliseer) kan word, word hulle so van interpretasiemoontlikhede ontneem wat slegs binne bundelverband waargeneem kan word. Dit wil gevolglik voorkom of die grens tussen die kortverhaalbundel en die roman in die eenheidsbundel vervaag. Die hoofdoelwit van hierdie tesis is om te probeer vasstel of die hegte eenheidsbundel van veral sedert die tagtigerjare in Afrikaans ’n nuwe genre of subgenre verteenwoordig en of dit moontlik ’n voortbouing op ’n bestaande genre is. Daar word uitgegaan van J.P. Smuts (1989: 23) se stelling dat die betrokke verskynsel aan die jare sestig se opstand teen geykte liter re vorme te koppel is en dat hierdie bundels ’n tussenvorm is, iets wat tussen die tradisionele kortverhaalbundel en die roman l . Hoofstuk 2 dien as die teoretiese basis van die ondersoek: die algemene kenmerke van die tradisionele kortverhaal en roman word ondersoek. Die postmodernisme as denkrigting wat met die opheffing van genregrense geassosieer word, word ook kortliks ondersoek. In hoofstukke 3 en 4 word twee hegte eenheidsbundels uit die ne ntigerjare breedvoerig bespreek: Jaco Botha se Sweisbril (1999) en S.P. Benjamin se Die lewe is ’n halwe roman (1999). Die oogmerk is om vas te stel in hoeverre die uitgebreide eenheid in hierdie bundels aan die hegte eenheid van die roman herinner. Die sekond re doelwit van die tesis is om, na aanleiding van Maritha Snyman (2011) se pleidooi, ’n meer geskikte benaming vir die studieobjek (“eenheidsbundel”) te probeer voorstel. Neil Cochrane en Nina Botes (2011) se keuse van die term “kortverhaalsiklus” vir die hegter soort eenheidsbundel word bekyk, maar Andr P. Brink se verwysing na “’n soort kortverhaal-roman” geniet voorlopige voorkeur. In die konklusie word bevind dat die bespreekte bundels wel ’n hibridiese tussenvorm verteenwoordig wat iewers tussen die tradisionele kortverhaalbundel en die roman gele is en waarvan die ontstaan en ontwikkeling waarskynlik deur die postmodernisme be nvloed is. Die vorm blyk ’n voortsetting van die kortverhaalbundeltradisie te wees wat in die rigting van die roman ge volueer het. Cochrane en Botes se term “kortverhaalsiklus” word afgewys ten gunste van die voorgestelde term “kortverhaal-roman” (met voorbehoude) wat naas terme soos “hibridiese bundel” en die vaer “eenheidsbundel” sou kon bestaan. Die waarneming dat die term “kortverhaalsiklus” niks oor die romanagtigheid of die hibriditeit van die vorm oordra nie, terwyl Suzanne Ferguson (2003) onder andere daarop wys dat nie alle eenheidsbundels noodwendig siklusse is nie, was hier deurslaggewend.
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Carstens, Beatrice Hendrina Jacoba. "Hertzogprystoekennings vir drama : 1915 tot 1971 (Afrikaans)." Thesis, University of Pretoria, 2009. http://hdl.handle.net/2263/24498.
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AFRIKAANS: Die Suid-Afrikaanse Akademie vir Wetenskap en Kuns vier vanjaar sy eeufees. Hierdie instansie is die kurator van die Hertzogprys, ’n gesogte letterkundeprys en die oudste en bekendste prestigetoekenning wat deur hierdie instansie gemaak word. Die terrein wat deur hierdie proefskrif gedek word, is die Akademie se houding teenoor en bevordering van Afrikaanse drama, met ’n geslypter fokus op die Hertzogprystoekennings vanaf 1915 tot net voor 1972. Etlike gegewens met betrekking tot die prys soos aangebied in reeds gepubliseerde werk, is verwarrend of nie feitelik korrek nie. Ten einde klarigheid daaroor te kry, is ’n grondige studie gemaak van die toekenningsprosedures en die invloed daarvan op die dramabekronings tot voor 1972. Dit was veral verhelderend met betrekking tot die dramaturg Uys Krige. Aanvanklik het die drie literêre kategorieë prosa, poësie en drama gelyktydig in aanmerking gekom vir die prys. Vanaf 1928 roteer dit en kom Afrikaanse dramas elke derde jaar aan die beurt. In vergelyking met die literêre kategorieë prosa en poësie, is daar relatief min dramabekronings gemaak – veral aan die beginjare van die prys. Deur noukeurige studie is gepoog om die gebrek aan dramatoekennings in perspektief te stel. Klem word gelê op die rol wat prosedures gespeel het, byvoorbeeld minder goeie prosedures wat veroorsaak het dat die verkeerde of geen toekennings gemaak is nie en sodoende bygedra het tot ’n skewe beeld wat bestaan oor Hertzogprystoekennings vir Drama. Sekere toekennings (of gebrek daaraan) kan direk gekoppel word aan foutiewe uitsprake van administratiewe amptenare, onbevredigende prosedures of aan die invloed van persone wat seggenskap oor die prys gehad het. Bepalende bakens en beslissings word aangetoon. Die sestigerjare was in die geskiedenis van die land en van die Akademie vol beroeringe. Met betrekking tot die Akademie se beleid oor die handhawing en bevordering van die Afrikaanse kultuur, het Akademielede van mekaar verskil oor die vertolking en uitlewing daarvan. Dit het gelei tot uiteenlopende menings oor die rigting wat die Akademie moes inslaan, maar ook oor sekere literêre werke. Verskillende menings het geheers oor wie die finale seggenskap oor die Hertzogprys moes hê: die Akademieraad as kurator van die prys volgens die skenkingsakte, of die Letterkundige Kommissie wat die kundiges op letterkundegebied was. Hierdie meningsverskille is op die spits gedryf in 1966 – die jaar waarin Uys Krige vir ’n dramatoekenning aanbeveel is. Die Akademieraadsbesluit om nie daardie jaar ’n prys toe te ken nie, het hewige kritiek ontlok – selfs van Kommissielede, en sou nog vir jare daarna ’n rimpeleffek hê. Die eerste staande Letterkundige Kommissie is aangewys vir die periode April 1968 tot April 1971 en die eerste toekenning waaroor hulle moes besluit, was die Dramatoekenning van 1969. In teenstelling met die stormagtige sestigerjare, het dramabekronings in die jare daarna verloop sonder onmin tussen die Akademieraad, die Fakulteitsraad en die Letterkundige Kommissie. Die jare waartydens ’n Hertzogprys vir Drama toegeken kon word vanaf 1972 tot 2009, word slegs kortliks en skematies gedek om die bespreking af te rond met betrekking tot dié dramaturge wat reeds voor 1972 gedebuteer het, maar eers daarna met die prys bekroon is. ENGLISH: The year 2009 marks the centenary celebrations of the Suid-Afrikaanse Akademie vir Wetenskap en Kuns. This institution is the curator of the Hertzog Prize, a sought-after literary prize and the oldest and most prestigious award made by this institution. This dissertation focuses on the Academy’s attitude towards and advancement of Afrikaans drama, with the focus on the Hertzog Prize awards from 1915 until 1971. Certain information relating to the prize as recorded in previously published works on the subject, are confusing and factually incorrect. In an effort to clarify these, an in depth study was undertaken of the award procedures and their influence on the awards for drama up to 1972. It was especially enlightening with regard to the dramatist Uys Krige. Initially the three literary categories prose, poetry and drama were considered simultaneously, but as from 1928 they rotate and Afrikaans dramas are considered every third year. In comparison with the literary categories prose and poetry, there is a paucity of drama awards – especially during the early years of the prize. An effort was made to place the paucity in perspective. Emphasis is placed on procedures with specific reference to those less than perfect ones which lead to incorrect, or the lack of, awards, resulting in a warped image of drama awards. Certain awards or lack thereof, can be attributed to incorrect statements by administrators, unsatisfactory procedures or the influence of people with authority. Defining beacons and decisions are indicated. In the nineteen sixties the country and the Academy experienced years of turbulence. With regards to the Academy’s policy on the protection and advancement of Afrikaans culture, members of the Academy differed on the interpretation and implementation thereof. This lead to differing views on the Academy’s course and on certain literary works. There were different views on who should have the final say on the Hertzog Prize: the Board as curator of the prize according to the deed of gift, or the Commission for Literature as literary experts. These differences lead to a boiling point in 1966 when Uys Krige was nominated for the prize. The Board’s decision not to award the prize lead to severe criticism – even from members of the Committee, and had a ripple effect for years thereafter. The first standing Commission for Literature was appointed for the period April 1968 to April 1971 and the first award they had to adjudicate was the Drama award for 1969. As opposed to the stormy sixties, the awards for drama in the following years were made without discord between the board of the Academy, the Faculty and the Commission for Literature. The years during which the Drama Prize could be awarded during the period 1972 to 2009 are dealt with briefly and schematically in order to conclude the discussion with reference to those dramatists who made their drama debut before 1972, but were only awarded the Hertzog Prize after 1972.Thesis (DLitt)--University of Pretoria, 2010.
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Whyle, James. "A reading of Blood Meridian (Essay) and The Book Of War (Novel)." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20324.
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Thesis (MA)--Stellenbosch University, 2012.Two separate texts are submitted towards the degree of MA in Creative Writing. The first is this essay, A Reading of Blood Meridian. The second is a novel, The Book of War. Essay The general focus of the essay is the theme of free will in Blood Meridian and the techniques with which the narrative elements of character, story, style and voice are deployed to focus the reader's mind on this theme. The central question: is the meaning, the final message, of Blood Meridian that as individuals human beings lack agency and that as groups they are shackled to a common destiny? The hypothesis is that Blood Meridian contains significant patterns, oppositions and dialectics, designed to place arguments for and against agency in the mind of the reader, but that the book's response to the theme is inherently and structurally ambiguous. Novel The novel was written before the essay. It was written in direct response to Blood Meridian and to the realization that Blood Meridian was a text rooted in history. Like Blood Meridian, The Book of War is based on, grows out of, first person accounts, specifically Stephen Bartlett Lakeman's What I saw in Kaffir-Land (1880) and William Ross King's Campaigning in Kaffirland: Or Scenes and Adventures in The Kaffir War of 1851- 1852 (1853). The novel takes characters devolved from Lakeman and places them in King’s journey through the war. These characters create, around a child called the kid, the social backdrop of a coming of age tale. The novel uses its source texts as a lens through which to view, and tell the story of, the War of The Prophet (Eight Frontier War 1850-53). Readers seeking to answer the question: Why is South Africa a violent society? might find at least part of the answer in the nature of, and the relationships between, English, Xhosa, Dutch, Khoi and Mfengu cultures in the 19th Century.
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Oosthuizen, Mia Magriet. "'n Polisistemiese ondersoek na veranderinge in die Afrikaanse kinderliteratuur-sisteem sedert 1990." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4252.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: Afrikaans children's literature has long been neglected in the Afrikaans literary polysystem and has been considered inferior by numerous figures, especially litterateurs. The negative effect of this attitude has been a shortage of academic studies on Afrikaans children's literature, the marginalised position of the genre in the Afrikaans literary canon and the absence of a general literary definition of "children's literature". The 1990’s see the dawn of a new democratic era in South Africa and a subsequent revival of the system of Afrikaans children's literature. However, despite this revival and growth, there is still a shortage of dedicated research into this genre. This thesis details the changes in the children's literature system that has occurred since 1990, by way of a polysystemic approach. The polysystem theory, as developed by Itamar-Even Zohar, serves as foundation for this study. Questions around genres, subgenres and problems surrounding the umbrella term "youth literature" are addressed. The age group of the readers of children's book are defined and a general definition of the children's literature genre is formulated. Based on this definition, ten academic studies since 1990, all of which are devoted specifically to children's literature, are identified and discussed. A historical overview of the development of Afrikaans children's literature is presented to support the choice of 1990 in the scope of the literature review. It is shown that the events that lead to the changes since 1990 are generally attributable to the political changes in South Africa that lead to the first democratic election in 1994. These changes in the different social and political systems are related to the changes in the children's literature system. It is further shown that these changes are reflected in the children's book itself, and are discussed in terms of the clear trends that emerge in children's literature and children's books since 1990. These trends are illustrated by an examination of six relevant publications. A literary definition of the term "children’s literature" is presented.
AFRIKAANSE OPSOMMING: Afrikaanse kinderliteratuur is vir lank as die stiefkind in die Afrikaanse literêre polisisteem behandel en is deur verskeie rolspelers, veral literatore, as minderwaardig beskou. Negatiewe gevolge wat hieruit spruit, is onder andere 'n tekort aan akademiese studies oor Afrikaanse kinderliteratuur, die genre se marginale posisie in die literêre kanon en gebrek aan 'n algemene en letterkundige definisie van die term "kinderliteratuur." Teen die 1990's breek daar 'n nuwe era van demokrasie in Suid-Afrika aan en is daar gepaardgaande herlewing in die Afrikaanse kinderliteratuur-sisteem. Ten spyte van hierdie herlewing en groei wat by Afrikaanse kinderliteratuur plaasvind, is daar steeds 'n tekort aan navorsing wat spesifiek oor hierdie genre gedoen word. In hierdie tesis word die veranderinge wat sedert 1990 in die kinderliteratuur-sisteem plaasgevind het, ondersoek aan die hand van die polisisteem-benadering. Die polisisteemteorie, soos ontwikkel deur Itamar Even-Zohar, dien as teoretiese grondslag van hierdie studie. Kwessies omtrent genres, subgenres en probleme rakende die gebruik van die sambreelterm "jeugliteratuur" word bespreek. Die ouderdomsgroep van die kinderboek-lesers word afgebaken en 'n algemene definisie vir die genre kinderliteratuur word geformuleer. Na aanleiding van die algemene definisie van kinderliteratuur word tien akademiese studies geïdentifiseer en bespreek wat sedert 1990 verskyn het en spesifiek handel oor kinderliteratuur. As deel van die motivering vir die gebruik van 1990 as afbakening van die ondersoeksveld, word 'n historiese oorsig oor die ontwikkeling van Afrikaanse kinderliteratuur ook gebied. Daar word getoon dat die gebeure wat aanleiding gegee het tot die veranderinge wat sedert 1990 plaasgevind het, grootliks gekoppel kan word aan die politieke veranderinge wat tot die eerste demokratiese verkiesing in 1994 in Suid-Afrika gelei het. Hierdie veranderinge in die verskillende sosiale en politieke sisteme word in verband gebring met die veranderinge in die kinderliteratuur-sisteem. Daar word ook getoon dat die verskillende veranderinge neerslag vind in die kinderboek. Hierdie veranderinge word bespreek na aanleiding van die tendense wat in die Afrikaanse kinderboek waargeneem kan word. Die tendense word aan die hand van 'n steekproef van 6 kinderboeke geïllustreer. 'n Letterkundige definisie van die genre kinderliteratuur word aangebied.
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Kalmer, Harold. "Van plaas tot agterplaas : die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners, en, 'n Duisend stories oor Johannesburg : 'n stadsroman." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85872.
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Thesis (MA)-- Stellenbosch University, 2013.AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis is ʼn opstel met die titel Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners en die tweede deel is ʼn roman getiteld ʼn Duisend stories oor Johannesburg. Die roman en die opstel hou tematies met mekaar verband. Soos die roman, speel al drie bekroonde werke in Johannesburg af met Afrikaners as sentrale karakters. Die bepaalde historiese konteks waarin elkeen van die drie pryswenners verskyn het, dikteer die invalshoek van die opstel, hoe die werk krities ontvang is, sowel as die rol en waarde wat deur die Afrikaner-instelling daaraan toegeken is. Daar sal verder in die bespreking getoon word watter rol die Hertzogprys in die skepping van die Afrikaner-instelling gespeel het. Die gebruik van die begrip en eienaam “Afrikaner” in hierdie bespreking verwys na die wit, Afrikaanssprekende, Christelike gemeenskap in Suid-Afrika, in die sin dat dit ooreenstem met die (uiters aanvegbare) stelling dat alle wit Afrikaanssprekers saamgevoeg kan word in ʼn organiese “volkseenheid”. Hierdie voorveronderstelling aanvaar ook dat hierdie “Afrikanerdom” tradisionele, konserwatiewe volkswaardes deel, en altyd beskikbaar is vir mobilisering ter wille van gedeelde Afrikaner-belange, soos deur Dan O‟Meara gedefinieer in sy Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). Hierdie kwessies word, onder meer, deur die polisisteemteorie van die Israeliese kultuurnavorser, Itamar Even-Zohar, asook J.B. Thompson se kritiese teorie van ideologie gedoen. Daar word ook na Jacques Rancière se teorie oor “die verspreiding van die waarneembare” (the distribution of the sensible) verwys. Daar word tot die gevolgtrekking gekom dat die Hertzogprys van meet af aan in diens van die Afrikaner-instelling gestaan het en ten spyte van ʼn veranderende ideologiese landskap, ʼn voortgesette rol gespeel het in die daarstelling van die Afrikaner-repertoire. Binne die polisisteemteorie is die “repertoire” die versameling reëls en elemente wat die produksie van tekste bepaal. Die term “instelling” verwys na die faktore wat betrokke is by die instandhouding van die letterkunde as ʼn sosio-kulturele aktiwiteit. Die roman speel af in ʼn klein Johannesburgse hotelletjie, genaamd Mei Villa, in die buurt Belgravia, tydens ʼn uitbarsting van xenofobiese geweld in 2008. Binne ʼn raamverhaalstruktuur fokus die roman op twee karakters, naamlik die ontheemde argitek, Zweig van Niekerk, wat na 40 jaar na Johannesburg terugkeer, asook die hoteleienaar, die bekroonde maar mindere digter, Bosman Hiemstra. Omring deur hotelgaste en personeel met hulle uiteenlopende verhale, soek Zweig van Niekerk tevergeefs na die Johannesburg van sy jeug, terwyl Bosman Hiemstra met ewe min sukses ʼn tweede digbundel probeer skryf. Aan die einde van die boek begin die digter ʼn roman te skryf met sy gas se lewensverhaal as gegewe dalk ook die boek wat die leser pas klaar gelees het.
ENGLISH ABSTRACT: The first part of this thesis is an essay titled Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners (From farm yard to back yard: The depiction of Afrikaners in Johannesburg in three Hertzog Prize winners) and the second part is a novel called ʼn Duisend stories oor Johannesburg (A thousand tales of Johannesburg). The novel and the essay are thematically linked. Like the novel, the three Hertzog Prize winners takes place in Johannesburg with Afrikaners as central characters. The point of departure of the essay is the historical context in which the three literary works were published, the critical reception thereof and what role and value was attributed to it by the Afrikaner institution. The role played by the Hertzog Prize in the creation of the Afrikaner institution will also be discussed. The term “Afrikaner” in this discussion refers to the white Afrikaans-speaking, Christian community in South Africa, in the sense that it correlates with the (highly debatable) contention that all white Afrikaans-speakers can be combined in an organic “volkseenheid”. This use of the term assumes that “Afrikanerdom” also shares traditional, conservative national values, and is always available for mobilisation in service of shared Afrikaner interests, as defined by Dan O'Meara in his Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). To examine these issues, the polysystem theory of the Israeli cultural researcher, Itamar Even-Zohar, as well as J.B. Thompson's critical theory of ideology, will be used. Reference is also made to Jacques Rancière's theory around “the distribution of the sensible”. The conclusion is reached that despite a continuously changing ideological landscape, the Hertzog Prize served the interests of the Afrikaner institution from the very start and played an ongoing role in the Afrikaner repertoire. Within the polysystem theory the “repertoire” is the aggregate of rules and elements which determine the production of texts. The term “institution” refers to the factors involved in the maintenance of literature as a socio-cultural activity. The novel is set in a small hotel, Mei Villa, in the Belgravia neighbourhood in Johannesburg during an outbreak of xenophobic violence in 2008. Within the story structure it focuses on two characters, the displaced architect, Zweig van Niekerk, who returns to Johannesburg after 40 years, and the hotel owner and award-winning, but lesser poet, Bosman Hiemstra. Surrounded by other hotel guests and staff with their own stories, Zweig van Niekerk searches in vain for the Johannesburg of his youth, while Bosman Hiemstra attempts with equal lack of success, to write a second book of poetry. At the end of the book the poet starts to write a novel using his guest's life as material; that could be the book that the reader has just completed.
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Grobler, Lizette. "Verby Komatipoort? Rasseproblematiek in die Portugees-Afrikaanse reisverhale van Elsa Joubert." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21212.
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Smit, Helena. "Postkoloniale terugskrywing : verset teen of verbond met kolonialisme ; Tweespoor (Kortprosa)." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/239.
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Wasserman, Herman 1969. "Postkoloniale kulturele identiteit in Afrikaanse kortverhale na 1994." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51879.
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Thesis (PhD)--Stellenbosch University, 2000.ENGLISH ABSTRACT: This thesis contains the results of an investigation into constructions of cultural identity in recent works of short fiction written in Afrikaans. The investigation was conducted within the framework of postcolonial literary theory, with specific reference to the work ofHomi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra and Bob Hodge. The conceptual apparatus concerning postcolonial reconstruction of cultural identities in reaction to the discourse of colonialism were applied to certain Afrikaans short stories to establish to what extent these texts could be considered a '
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Du, Toit Jacoba Wilhelmina. "Resente kleuter- en kinderbybels in Afrikaans en Engels : 'n krities-evaluerende ondersoek binne 'n literêr-semantiese raamwerk." Doctoral thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/26074.
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This research resulted from a concern for serious, authentic texts and the quality of adaptations. This brought the problematics surrounding the Bible and children's Bibles to the fore. The main concern is the integrity of the original text, and the depriving effect these adapted texts could have on very young listeners or readers. Chapter 1 is an introduction to this study. In chapter 2 the logical and magical dimensions of the word (as art) are examined. Chapter 3 is an attempt to define the Bible in literary semantic terms. Concepts under discussion are inter alia: oral tradition, genre, author, writer, double text (supratext and subtext), autobiography, reader and oeuvre. Chapter 4 defines children's Bibles in literary semantic terms and six prototypes are critically evaluated because of their claim to be called Bible. In chapter 5 these texts are discussed as children's literature. The last chapter gives an updated view of the child, including his religious needs and insights. A corrective on existing children's Bibles is proposed and motivated. Theoretical works on literary semantics, children's literature, developmental psychology and theology have been consulted. Although psychology and theology play a fairly important role in this study, the perspective remains literary semantic. ihe survey material includes all the English and Afrikaans toddler's and children's Bibles that were available in Cape Town, during the period 1992-1994. The main conclusion of this thesis is that the integrity of the original text, and that of the Author, have been violated (to different degrees). The implication is that the young listener has been deprived of a valuable meaninggiving source. Further it has been found that children's Bibles do not really have the right of existence as either Bible or children's literature. But the popularity and the real need for texts of this kind necessitates an alternative. A new approach is also suggested, namely, that the child starts hearing the pure Scripture already in utero. The practical outcome of this study proposes an alternative publication, which will soon be attempted. By the selection of Scriptures the selector will endeavour to give an overall view of the complete oeuvre in verbatim text. The aim is to publish such a text in various South African languages.
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Hough, Simone. "'n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme, en, Die nalatenis (roman)." Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/4278.
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Thesis (MA)--Stellenbosch University, 2010.ENGLISH ABSTRACT: Two separate texts are submitted towards the degree MA in Kreatiewe Afrikaanse Skryfkunde. Firstly, a thesis with the title ‘’n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme’, and secondly a novel titled Die nalatenis. The novel and the thesis are thematically related. The focus of the thesis is the ideological character of the Afrikaner cattle as a cultural phenomenon within the context of Afrikaner nationalism. The novel tells the story of a certain family’s fate and their special connection to the breeding of Afrikaner cattle in the Free State. Firstly I need to make it clear that the theme of this thesis was not lightly chosen, but that I do have a personal interest in the material. My uncle and aunt were well-know Afrikaner cattle breeders, each from families who have been renowned for their association with the stud breeding of these cattle for many generations. Since my aunt was an enthusiastic collector of family history, I have since childhood been familiar with the stories about certain family personalities and their love for their cattle. In my version of the stories, and my research on the subject, I wanted to explore the connection between this cattle breed and the Afrikaner culture. I aim to demythologize the histories to a certain extent and give a critical commentary on certain constructions of these histories. To examine these issues, J.B Thompson’s (1990) critical theory of ideology will be used as main theoretical tool. Thompson identifies certain ideological practices and strategies of symbolic construction through which relations of domination are established and sustained in the social world. These concepts will be used to examine the ideological character of the Afrikaner cattle breed as symbolic form and the strategies that were used to establish it as such. Through an analysis of a number of texts I will identify the different meanings and values that were associated with the Afrikaner cattle within the context of Afrikaner nationalism. I will aim to establish if and how these values served to sustain the relations of domination associated with Afrikaner nationalism. The novel tells the story of Ragel, ’n young photographer, who is her late uncle and aunt’s only heir. She inherits the farm and needs to decide what to do with it. She is also the last keeper of a family secret. She and her boyfriend are relocating to London and he has proposed to her. The news of her uncle’s death also triggers the pain of previous losses – especially her own mother traumatic death. Where she sits locked in her darkroom in this liminal state, the larger family saga is played out: the story of the patriarg Rooi Jakob, who blessed the wrong child; of Anna who had to flee during the war with her children and cattle; of Magriet who rejected her younger son and the resulting rivalry between the two brothers, Louis and Jakob; and of course the small love story of Beth and Louis, whose fateful relationship brought everything to a bitter end. The novel is based on the theory that a family photo album can also be a self-portrait in which one can (re)discover oneself.
AFRIKAANSE OPSOMMING: Twee afsonderlike werkstukke word hier ingehandig ter verkryging van die graad MA in Kreatiewe Afrikaanse Skryfkunde. Eerstens, ’n tesis met die titel: “’n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme”. Tweedens ’n roman getiteld Die nalatenis. Die roman en tesis hou tematies met mekaar verband. Die fokus van die navorsing is die ideologiese aard van die Afrikanerbees as gekontekstualiseerde fenomeen gedurende, en ná, die opkoms van Afrikanernasionalisme. Die roman handel oor ’n sekere familie se lot en spesiale verbintenis met die teel van Afrikanerbeeste in die Vrystaat. Ek wil dit graag aan die begin van die betoog stel dat die tematiek van die tesis nie lukraak gekies is as studie-onderwerp nie, maar dat ek ’n persoonlike belang het in die stof waarmee ek hier omgaan. My oom en tannie was bekende Afrikanerbeestelers, elk uit families wat vir geslagte reeds geassosieer is met die stoet teling van dié beesras. Aangesien my tannie ’n entoesiastiese versamelaar van die familiegeskiedenis was, is ek van kleins af bekend met vertellings oor sekere familiepersoonlikhede en hul liefde vir hul beeste. In my weergawe van die verhale, en navorsing oor die onderwerp, wou ek die besondere verhouding tussen dié beesras en die Afrikanerkultuur ondersoek. In hierdie tesis poog ek om die geskiedenis tot ’n mate te ontmitologiseer en kritiese kommentaar te lewer op sekere konstruksies daarvan. Vir dié ondersoek sal J.B Thompson (1990) se kritiese teorie oor ideologie as belangrikste teoretiese gereedskap gebruik word. Thompson identifiseer sekere ideologiese praktyke en strategieë van simboliese konstruksie waardeur magsverhoudinge in stand gehou word in die sosiale wêreld. Aan die hand hiervan sal daar ondersoek ingestel word na die ideologiese aard van die Afrikanerbees as simboliese vorm en die strategieë wat gebruik is om dit te vestig. Deur die analise van enkele tekste sal daar gekyk word na die verskillende betekeniswaardes wat binne die konteks van Afrikanernasionalisme aan die Afrikanerbees toegeken is. Daar sal vasgestel word of en hoe hierdie betekenisse kon dien om die magsverhoudinge wat Afrikanernasionalisme gekenmerk het, te konstrueer en te ondersteun. Die roman vertel die verhaal van Ragel, ’n effens labiele jong fotograaf, wat die enigste erfgenaam is van haar pas oorlede oom en tante. Sy erf die plaas en beeskuddes, en moet besluit wat sy daarmee sal doen. Sy is ook die laaste bewaarder van ’n familiegeheim. Sy en haar kêrel staan op die punt om na Londen te verhuis en hy het haar gevra om te trou. Die nuus van haar oom se dood, die laaste van haar familie, roep vir Ragel alle vorige verliese op – veral ook die traumatiese dood van haar ma. Waar Ragel toegesluit in haar donkerkamer in hierdie liminale toestand verkeer, speel ook die groter familieverhaal homself af: die verhaal van familievader Rooi Jakob wat die verkeerde kind geseën het; van Anna wat in die oorlog moes vlug met haar kinders en beeste; van Magriet wat haar jonger seun verwerp het en die gevolglike wedywering tussen die twee broers, Louis en Jakob; en dan natuurlik ook die klein liefdesgeskiedenis van Beth en Louis, ’n lotsverbintenis wat alles tot ’n bitter einde gevoer het. Die verhaal is gevorm op die teorie dat ’n familie-fotoalbum ook ’n soort selfportret kan wees waarin ’n mens jouself kan (her)ontdek.
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Meyering, Sharon. "A discussion of the elements of fantasy and children's literature applied to Harry Potter and the Philosopher's Stone and The Magician's Nephew, to conclude whether or not they are good children's literature." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/7913.
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Bibliography: leaves 64-66.Using the principles of previous studies of children's literature and the psychological development of children, this work examines the literary texts, Hany Potter and The Chronicles of Narnia, to determine whether or not they succeed as good fantasy literature for children.
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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2024.
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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005.The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images. Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution. I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself. This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.
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Victor, Madri. "Die funksie van 'landskap' binne Lettie Viljoen se roman 'Landskap met vroue en slang'." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52772.
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Thesis (MA)--Stellenbosch University, 2002.ENGLISH ABSTRACT: Landskap met vroue en slang, Lettie Viljoen's fifth novel, differ substantionally from her previous novel Karolina Feirrera. Landskap met vroue en slang concentrates on the inner processes of the main character rather than a series of external happenings. Because of the fragmentary presentation, wide reference field and many intertexts critics saw the novel as difficult, complex and challenging. It is clear that the title and cover of Landskap met vroue en slang "landscape," emphasize. In my opinion this serve as a point of orientation for the reader. Landscape not only plays an important roll in the text but also functions as a medium to make the text more accessible. With this research I focus on the function of the different landscapes in the novel. Almost all the reviews of Landskap met vroue en slang focus on the input of Nicolas Poussin, a seventeenth century artist, within the novel. On the cover of the novel is an illustration of two landscape paintings of Poussin. The title also call to mind one of Poussin's landscape paintings, "Landscape with two nymphs and a snake". By looking into the sublime landscape paintings of Poussin, one can come to a better understanding of Lena Bergh, the main character's, inner development. In addition to the sublime landscape as found in landscape paintings of Poussin, the domesticated landscape of gardens and parks, and the body as a landscape also plays an important roll to make the text more accessible. Lena's development during her psychological journey is clearly portrayed through her perception of and association with her garden while in parks and cemeteries she is confronted with issues of her past which she has to work through during her psychological journey. She uses bodily metaphors to get a better understanding of the landscape. The opposite also takes place. Lena uses the landscape to get a better understanding of her own changing body and sexuality. Her psychological journey is completed during the autopsy. Furthermore, one can draw interesting conclusions with regards to Lena's development by looking as how the colonel, a character that can be seen as the opposite of Lena, experience the landscape. In my opinion by focusing on landscape readers can gain a better understanding of this challenging and complex text.
AFRIKAANSE OPSOMMING: Landskap met vroue en slang (1996), Lettie Viljoen se vyfde roman, verskil grondig van sy voorloper Karolina Feirrera, deurdat die roman eerder op die hoofkarakter se innerlike prosesse as 'n reeks uiterlike gebeure konsentreer. Dit, tesame met die fragmentariese aanbod en wye verwysingsvelde en intertekste wat deur die teks opgeroep word, het veroorsaak dat die roman deur verskeie resensente as moeilik, kompleks en uitdagend beskou is. Uit die titel en buiteblad van Landskap met vroue en slang is dit duidelik dat "landskap" in hierdie roman vooropgestel word. Volgens my bied die titel en buiteblad 'n oriëntasiepunt vir die leser: landskap speel nie net 'n belangrike rol in die roman nie, maar dien ook as sleutel om die teks te ontsluit. In hierdie ondersoek fokus ek op die funksie van landskap in die roman en probeer sodoende die teks vir die leser meer toeganklik maak. In byna al die resensies oor Landskap met vroue en slang, word gewys op die belangrike rol wat Nicolas Poussin, 'n sewentiende eeuse skilder, binne die roman speel. Op die buiteblad van die roman is 'n afbeelding van twee landskapskilderye deur Poussin. Die titel herinner ook aan een van Poussin se landskapskilderye, Landskap met twee vroue en 'n slang. Deur die sublieme landskapskilderye van Poussin te ondersoek, kan belangrike insigte ten opsigte van die hoofkarakter Lena Bergh se innerlike ontwikkeling verkry word. Behalwe die sublieme landskappe soos dit in Poussin se landskapskilderye voorkom, speel die gedomestikeerde landskap van tuine en parke en die liggaam as landskap ook 'n belangrike rol om die teks meer toeganklik te maak. Lena se ontwikkeling tydens haar psigiese reis word duidelik uitgebeeld in haar persepsie van en omgang met haar tuin terwyl sy in parke en begraafplase met inhoude uit haar verlede gekonfronteer word wat sy op hierdie psigiese reis moet deurwerk. Sy gebruik liggaammetafore om 'n beter begrip van en greep op die vreemde Natalse landskap te kry. Die omgekeerde vind egter ook plaas: Lena gebruik die landskap om 'n beter begrip van haar eie veranderende liggaam en seksualiteit te kry. Haar psigiese reis word voltrek deur haar konfrontasie met die liggaam as landskap tydens 'n lykskouing. Deur verder die landskapsbelewing van die kolonel te ondersoek, 'n karakter wat as keersky van Lena beskou kan word, kan insiggewende kommentaar op Lena se beskouing van die landskap en psigiese reis gelewer word. Deur die verskillende landskappe te ondersoek, kan die leser myns insiens 'n beter greep op hierdie uitdagende en komplekse teks kry.
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Anker, Willem P. P. "Die idioot : spieël en skadu ; Sirkus (roman)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53373.
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Thesis (MA)- Stellenbosch University, 2003.ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled Sirkus (Circus) is presented in which the main character figures as an idiot. It is accompanied by a perspicacious formal essay which maintains the relationship between theory and novel. The essay titled "Die idioot: spieël en skadu" (The idiot: mirror and shadow) reflects on the problematics concerning the representation of the idiot in literary texts. The essay investigates the phenomenon of the idiot in literature according to well-known literary texts presenting idiots. What these texts have in common is that the narrator acts on behalf of a character who does not have the ability nor the will to narrate himself. The problematics is viewed from a thematic as well as writing technique niveaux, according to insights gleaned from literature, philosophy, narratology and psychology. The argument concludes by reflecting on the responsibility of the author and the ethics of creating an effigy of the idiot. The novel Sirkus, (Circus), focuses on an idiot character with webbed hands and feet, Siegfried Landman. It is an exposition of his journey to hell starting on a farm in the Karoo. It takes him through a grotesque urban landscape where he eventually ends up in a circus of freaks. The text starts with the death of Siegfried's father and is in the form of a quest narrative, a quest for the vague image of his uncle Fischer. The tale emanates predominantly from Siegfried's consciousness. During the course of the text he is accompanied by varioius travelling companions who each fmd a voice in the text.
AFRIKAANSE OPSOMMING Ter vervulling van die graad van Magister in Kreatiewe Afrikaanse skryfkunde is 'n roman getiteld Sirkus voorgelê waarin die hoofkarakter 'n idiotefiguur is. Dit word vergesel met 'n verbandhoudende beskoulike werkstuk: "Die idioot: spieël en skadu", wat die vorm aanneem van 'n essay oar die problematiek rondom die representasie van die idioot in literêre tekste. In die werkstuk word die verskynsel van die idioot in die letterkunde ondersoek aan die hand van bekende literêre tekste waarin idiotefigure gerepresenteer word. Hierdie tekste het dit gemeen dat die verteller optree namens 'n karakter wat nie die vermoë óf die wil het om self te vertel nie. Die problematiek word beskou op tematiese sowel as skryftegniese vlakke aan die hand van insigte uit die letterkunde, filosofie, narratologie en sielkunde. Die argument sluit uiteindelik af met 'n besinning oor die skrywerlike verantwoordelikheid en 'n skrywerlike etiek ten opsigte van die uitbeelding van die idioot. Die roman Sirkus fokus op 'n idiote-karakter met gewebde hande en voete, Siegfried Landman. Dit is 'n uitbeelding van sy hellevaart wat begin op 'n plaas in die Karoo en hom voer deur 'n groteske stadslandskap voor hy uiteindelik opeindig in 'n sirkus van fratse. Die teks begin met die dood van Siegfried se vader en is in die vorm van 'n soektognarratief, 'n soektog na die vae beeld van sy oom Fischer. Die verhaal word grotendeels vanuit Siegfried se bewussyn vertel. Hy word deur die verloop van die teks vergesel deur verskeie reisgenote wat elk ook 'n eie stem in die teks verkry.
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Foster, Ronel, Goede Petronella Hermina De, and Petronella Hermina Foster. "Postmodernisme en poesie, met spesifieke verwysing na die historiografiese metagedig 'Die heengaanrefrein' van Wilma Stockenstrom." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51881.
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Dissertation (PhD)--Stellenbosch University, 2000.ENGLISH ABSTRACT: The main aim of this study is to investigate the possibility of using a postmodern reading strategy for Afrikaans poetry, in particular that type of poetry which, following Linda Hutcheon, I will call historiographic metapoetry. The investigation consists of four phases. Firstly, in order to implement Hutcheon's model, cognisance will be taken of the theory of postmodernism (chapters 1- 3), particularly with regard to poetry, since the latter is apparently a marginalised genre in this theorisation. The second phase of the investigation encompasses a discussion of the discourse on postmodernism and poetry in America, the NetherlandsIFlanders and in Afrikaans (chapters 4-6, respectively). Attention is given to matters such as the developmental history of postmodernism, theorising on postmodern poetry and the practice of anthologising. The third phase bridges the gap between research on postmodernism and that on historiographic metapoetry (chapter 7). The focus will be on Pirow Bekker's poem "Apollo Smintheus", with specific attention being given to the representation of the event (the journey of Jonas de la Guerre into the hinterland in 1664) in the journal texts and other historiographic sources. Hutcheon's distinction between event and fact will also be adopted in the analysis. The last phase of this study is an application of Hutcheon's model to Wilma Stockenstrëm's poem, Die heengaanrefrein, a self-reflexive text on the arrival of the Huguenots in South Africa in 1688 (chapters 8-12). As an introduction to the discussion of the text, the problematising of various types of borders in the poem is examined. This is followed by an analysis of extracts from Die heengaanrefrein with reference to four matters that are, according to Hutcheon, central to postmodern theory and practice. These are: intertextuality, parody and the discourses of history; the problem of reference; the subject and the representation of subjectivity; and lastly ideological implications and political double-coding. The discussion of Die heengaanrefrein is supplemented with shorter discussions of other texts, for example, George H. Weideman's "Kieselguhr-kleim", two short poems from Breyten Breytenbach's Soos die so and P.J. Philander's poems "Die klippe praat" and "Genesis". In Chapter 13, the final chapter, the findings are summarised and Hutcheon's model is evaluated.
AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is 'n ondersoek na die moontlikheid om 'n postmodernistiese leesbenadering aan te wend by die lees van die Afrikaanse poësie, in die besonder daardie soort gedigte wat ek na aanleiding van Linda Hutcheon historiografiese metapoësie wil noem. Die ondersoek bestaan uit vier fases. Ten einde Hutcheon se model te implementeer, word daar eerstens bestek geneem van die teoretisering oor die postmodernisme (hoofstukke 1-3), veral wat die poësie betref, aangesien laasgenoemde 'n gemarginaliseerde genre in hierdie teoretisering blyk te wees. Die tweede fase van die ondersoek omvat 'n bespreking van die diskoers oor postmodernisme en poësie in onderskeidelik Amerika, NederlandIVlaandere en Afrikaans (hoofstukke 4-6). Sake wat aandag geniet, is die ontwikkelingsgeskiedenis van die postmodernisme, die teoretisering oor postmodernistiese poësie en die antologiseringspraktyk. Die derde fase is 'n oorbrugging tussen die navorsing oor die postmodernisme en dié oor historiografiese metapoësie (hoofstuk 7). Pirow Bekker se gedig "Apollo Smintheus" kom onder die soeklig, met spesifieke aandag aan die representasie van die gebeurtenis (die sogenaamde landsreis van Jonas de la Guerre in 1664 die binneland in) in die joernaaltekste en ander historiografiese bronne; Hutcheon se onderskeid tussen event en fact word ook betrek. Die laaste fase van die studie is 'n toepassing van Hutcheon se modelop Wilma Stockenstrom se gedig Die heengaanrefrein, 'n selfbesinnende teks oor die koms. van die Hugenote na Suid-Afrika in 1688 (hoofstukke 8-12). Ter inleiding van die teksbespreking word die problematisering van verskillende soorte grense in die gedig nagegaan. Dit word gevolg deur analises van fragmente uit Die heengaanrefrein na aanleiding van vier kwessies wat volgens Hutcheon sentraal staan in die postmodernistiese teorie en praktyk. Hierdie sake is: intertekstualiteit, parodie en die diskoerse van die geskiedenis; die problematiek van referensialiteit; die subjek en die representasie van subjektiwiteit; en ideologiese implikasies en politieke dubbelkodering. In die loop van die studie word die bespreking van Die heengaanrefrein aangevul met korter besprekings van ander tekste, soos byvoorbeeld George H. Weideman se "Kieselguhr-kleim", twee gedigte uit Breyten Breytenbach se Soos die so en P.J. Philander se gedigte "Die klippe praat" en "Genesis". Inhoofstuk 13, die sluitstuk, word die bevindinge saamgevat en Hutcheon se model beoordeel.
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Van, Rooyen Ian William. "Die konsep van 'n gay-paradigma met betrekking tot hoofstroom-literatuur." Master's thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/19679.
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Met die gay-teks as primere objek van ondersoek, is daar in hierdie studie gekyk na die onderskeiding tussen hoofstroomen gay-literatuur. Die hipotese van hierdie studie is dat bogenoemde onderskeiding nie in aIle gevalle geregverdig kan word nie. Hierdie studie ontken nie die verskille tussen die gay-teks en hoofstroom-literatuur nie. Inteendeel, daar word kennis van die onderskeiding geneem. As vertrekpunt word die aard van die gay-teks ondersoek. Dit word gedefinieer as n geordende opeenvolging van sinne wat as n samehangende eenheid geproduseer en/of geinterpreteer word waarin homofiliteit n rol speel primer, sekonder, of bloat as 'n suggestie of sensibiliteit. Die verskil tussen gay- en hoofstroom-literatuur vind veral op tematiese vlak plaas waar die bogenoemde definisie duidelik van toepassing is. Die kern van die hoofstroom-teks bestaan daarin dat die teks grotendeels op die uitbeelding van 'n menslike kondisie fokus. Hierdie menslike kondisie behels ervaringe wat aIle mense met mekaar gemeen het. n Teks kan op verskeie vlakke geinterpreteer word. Met Edmund White se roman, A Boy's Own Story as proefteks, toon hierdie studie dat een teks as beide gay- en hoofstroom teks gelees kan word. Hiermee word bewys dat die gay-teks en hoofstroom-literatuur nie antonieme van mekaar hoef te wees nie.
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Crous, Matthys Lourens. "Die diskoers van Antjie Krog se Lady Anne (1989)." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/16085.
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Thesis (DLitt)--University of Stellenbosch, 2002AFRIKAANSE OPSOMMING: Die ondersoek in hierdie studie sentreer random die diskoers in Antjie Krog se sewende digbundel, Lady Anne (1989). Die ondersoekprableem is die vraag na die wyse waarop die diskoers van hierdie teks georden en' geproduseer word. Foucault se teorie oor diskoersanalise word as kritiese werktuig gebruik by die beantwoording van hierdie vraag. Foucault (1981) omskryf diskoers onder meer as die sosiale gebruik van taal gesitueer binne bepaalde kontekste en verbonde aan spesifieke instansies. Volgens Foucault vertoon diskoers 'n innerlike orde of formasie wat argeologies opgediep kan word; dit het 'n regulerende funksie wat nie net betekenis afbaken nie, maar betekenis praduseer in die positiewe sin van die woord (Foucault, 1981). Wanneer hierdie regulerende funksie genealogies ontleed word, blyk dit dat diskoers mag uitoefen deur die meganismes van kennis, waarheid en self (Foucault, 1980), Diskoers artikuleer kennis wat die self die waarheid oor die self toe-eien. Dit roep op sy beurt weer die prableem van vryheid en politieke verset op. Die ondersoek fokus op die volgende vraagstukke random die diskoers in Lady Anne: die diskursiewe patrone in die teks; die beperkinge wat op die diskoers geplaas word (Foucault, 1981); die outeursfunksie soos beskryf deur Foucault (1979); die fiksionalisering van die lady Anne Barnard-geskiedenis aan die hand van die genealogiese benadering (Foucault, 1970; 1972). Daar sal ook ingegaan word op die verestetisering van die politieke diskoers in Suid-Afrika, asook op die kwessie in watter mate daar sprake is van stemgewing aan die Ander. Die sentrale vraagstuk wat ondersoek word, is: wat is die posisie van die wit skeppende vrau in Suid-Afrika en hoe word hierdie posisie ingeskryf in die diskoers van die Afrikaanse letterkunde? In samehang hiermee word gelet op kwessies soos subjektiwiteit, beskrywing van die objek, asook die subjek se posisie met betrekking tot die tradisie waarin sy die teks inskryf.
ENGLISH ABSTRACT: This dissertation centers on the discourse in Antjie Krog's seventh volume of poetry, Lady Anne (1989). The central thesis of the dissertation is to analyse the way in which the discourse of the text under discussion is being ordered and produced. The theoretical approach is based on Foucault's discourse analysis. Foucault (1981) defines discourse as, among others, the social usage of language within specific contexts and as part of specific institutions. According to Foucault, discourse has an internal order or formation which one can reveal by way of an archaeological approach; it also has a regulatory function which not only delineates meaning, but produces meaning in the more positive sense of the word (Foucault, 1981). If one analyses this regulatory function by way of a genealogical approach, it appears as if discourse exercises power over mechanisms such as knowledge, truth and self (Foucault, 1980). Discourse articulates knowledge that the self claims as a particular truth. This calls to mind issues such as the problem of freedom and political resistance. This dissertation focuses on the following issues pertaining to the discourse in Lady Anne: the discursive patterns in the text, the limitations placed on the production of discourse (Foucault, 1981), the author function as used by Foucault (1979), the fictionalization of the history of Lady Anne Barnard by means of a genealogical approach (Foucault, 1970; 1972). Another pertinent issue that will be analysed is the aestheticisation of the political discourse in South Africa, as well as the manner in which a voice is given to the so-called Other. The central issue of this investigation is the following: What is the position of white creative women in South Africa and how is this position being inscribed into the discourse of Afrikaans literature? Concomitantly, issues such as subjectivity, the description of the object, as well as the subject's position within the literary tradition will be analysed.
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Van, den Heever Aletta Jacoba. "Toevalligheid in Ingrid Winterbach se "Die boek van toeval en toeverlaat" : interpretasies van die roman met die fokus op die tema van kontingensie." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4220.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: This thesis is a study of Ingrid Winterbach‟s novel, Die boek van toeval en toeverlaat. The premise of the thesis is that a study of the theme of contingency or chance can lead to a heightened insight into the novel. The novel is approached from different perspectives, but in each perspective the way in which the theme of chance is developed in the novel, is illuminated. By way of introduction the history of the term “contingency” in the Afrikaans language and Western philosophy is broadly traced. This is the background to a reading of the novel as a reaction to contingency. This is followed by a reading of the novel from the perspective of the sociology of religion. The focus is on the nominizing function of religion; the role of language in this process and the way in which Helena Verbloem‟s shells become symbol of man‟s search for meaning and order. In the third chapter the novel is read from the perspective of popular science with the focus on the part of chance in the history of evolutionary thought and the way the novel interprets this. A reading of the novel from the perspective of the philosophy of language follows: the arbitrary and contingent nature of language is discussed and the way the novel underlines this, is brougth to the attention. In the last chapter the novel is read from the perspective of literary theory, focusing on the traditional narrative structure and the way in which it is undermined, undermining also in the process a teleological reading of the novel. Following the reading of the novel from these different perspectives, the conclusion is made that Ingrid Winterbach acknowledges contingency and makes it her own to such an extent that she meets Nietzsche‟s criteria for a “brave poet”. She is indeed a brave and poetic novelist.
AFRIKAANSE OPSOMMING: Hierdie tesis is ‟n studie van Ingrid Winterbach se roman, Die boek van toeval en toeverlaat. In die studie word die tema van kontingensie of toeval sentraal gestel. Die roman word dan ook vanuit verskillende perspektiewe benader; binne elkeen word die wyse waarop die toeval as tema in die roman uitgewerk word, duideliker. Daar word eerstens ‟n gebruiksgeskiedenis van die term “kontingensie” in die Afrikaanse taal en die Westerse filosofie gegee. Hiermee word die agtergrond geskets waarteen die roman as reaksie op die kontingensie gelees moet word. Daarna word die roman vanuit ‟n godsdiens-sosiologiese perspektief benader: die rol wat die tradisionele toeverlaat steeds in die hoofkarakter, Helena Verbloem, se lewe speel, word in oënskou geneem. Die fokus val op die nomiserende werking van godsdiens; die rol van taal in hierdie proses en die wyse waarop Helena se skulpe simbool word van die mens se soeke na betekenis en orde. In die derde hoofstuk word die roman vanuit ‟n populêr-wetenskaplike hoek gelees: die aandag word gerig op die rol van toeval in die geskiedenis van evolusionêre denke en die wyse waarop die roman hiermee in gesprek tree. ‟n Taalfilosofiese perspektief kom vervolgens aan die beurt: die arbitrêre en toevallige aard van taal word bespreek en die wyse waarop hierdie idees in die roman teruggevind word, word uitgelig. In die laaste hoofstuk word die roman vanuit ‟n literêr-teoretiese perspektief gelees met die fokus op die tradisionele narratiewe struktuur en hoe die wyse waarop daarvan afgewyk word, ‟n teleologiese lees ondermyn. Na aanleiding van die bespreking van die roman vanuit hierdie verskillende hoeke, word tot die gevolgtrekking gekom dat Ingrid Winterbach die kontingensie erken en haar eie maak en daarom aan Nietzsche se kriteria vir ‟n “brawe digter” voldoen. Sy is inderdaad ‟n brawe en digterlike romanskrywer.
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Fagan, Eduard Wille. "Die rol van die outeur in moderne literêre teorie, met spesifieke verwysing na die ek-poësie van Breyten Breytenbach en D.J. Opperman." Doctoral thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/22462.
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Bibliography: pages 336-357.Die skripsie ondersoek die rol van die auteur in moderne literêre teorieë, en bevat hoofstukke oor Russiese formalisme, Praagse strukturalisme, Ferdinand de Saussure, Claude Lévi-Strauss, Roland Barthes, semiotiek en dekonstruksie. Hierdie teorieë en teoretici word verbind deur 'n ontkenning van die auteur. Barthes vorm die spil van die ontwikkelingslyn in soverre hy "die dood van die auteur" verkondig en die moontlikheid skep vir 'n hedonistiese benadering tot letterkunde; so 'n benadering is inderdaad die logiese eindpunt van die geleidelike ontwikkeling weg van die auteur en na die leser. 'n Onderskeid kan daarbenewens getref word tussen "behoudende" en "radikale" benaderings, met eersgenoemde wat gestalte vind in semiotiek en laasgenoemde in dekonstruksie; die onderskeid is weer eens gebaseer op die rol wat aan die auteur toevertrou word. Die sogenaamde "afgrond" veroorsaak deur 'n hedonistiese benadering kom uiteindelik waardeloos voor, en daar is gevolglik by sowel die latere Barthes as by dekonstruksie pogings om die beweging te bekamp deur opnuut erkenning aan die auteur te gee. Om erkenning aan die auteur te gee impliseer nie 'n terugkeer na 'n naïewe biografiese benadering waar die auteur as aanvanklike uitgangspunt figureer nie. Dit beteken wel 'n bereidwilligheid om letterkunde as 'n kommunikatiewe stelsel - na aanleiding van Roman Jakobson se skema - te sien, wat lei nie tot 'n beperking op die spel-element in literêre teorie en kritiek nie, maar inderdaad tot 'n verbreding daarvan deur nie die teks te sluit met betrekking tot die oorsprong daarvan nie. Die rol van die auteur word tekstueel ondersoek na aanleiding van die ek-poësie van Breytenbach en Opperman se Komas uit 'n bamboesstok. Breytenbach-kritici fouteer deur òf vir hom van "ekkerigheid" te beskuldig òf die outobiografiese verwysings te probeer verdoesel. In stede daarvan behoort Breytenbach se oeuvre gelees te word juis in terme van die ek; kritici wat vir Breytenbach as middelpunt ontken beperk sy poësie deur dit op 'n tradisionele manier te wil benader. Komas word betrek ten einde 'n moontlike beskouing van Breytenbach as 'n eenloper teë te werk. Wanneer twee van die vooraanstaande Afrikaanse digters so sterk outobiografies skryf, is dit nie meer moontlik om die rol van die auteur te ontken in moderne literêre kritiek of teorie nie.
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Van, der Westhuizen Nicolaas Johannes. "Die erotiek as sosio-psigologiese projeksie in die literatuur en literatuurondersoek, met spesiale verwysing na betreklik hedendaagse Afrikaanse letterkunde." Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/23473.
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In die skripsie word die hiaat ondersoek wat tussen die oorspronklike konsepsies van die "Erotiek", waar dit beskou is as 'n kosmogoniese mag, die Primêre Beweger, wat die skepping mitologies laat afspeel het, en die moderne opvattings en toepassings van betekenis dieselfde term waar die betekenis oënskynlik gereduseer is tot slegs een aspek van die oorspronklike term - die seksualiteit. Die evolusie van die begrip word nagegaan vanaf die vroegste verskyning, by die Griekse digter Hesiodus (c. 700 v.C), en Plato (asook ander Griekse wysgere) se filosofiese uitbouing, die omvorming van die liefdesidee deur die Christendom tot Agape, en die uiteindelike kulminasie van die moderne erotiek soos dit verskyn in die Afrikaanse literêre teks. Die roman Mahala van Chris Barnard word vanuit 'n Freudiaanse perspektief benader en wys op die sado-masochistiese boublokke van die Afrikanerliefde: die sosio-psigologiese regressie van die hoofkarakter word nagegaan namate hy ondergaan weens die skuld teenoor die Vader. Sewe Dae die Silbersteins skets die teenoorgestelde proses, waar die enkeling geïnisieer word in die gesofistikeerde Westerse wêreld, deur die Jungiaanse individuasieproses trapsgewys, maar ironies te voltooi, as die Self/Seun-offer hier gemaak word aan die die Moeder, sonder die regenerasie van die lewende mite/simbool vir die tyd. Die gedig "Snol" uit van N.P. van Wyk Louw is die slotteks en wys op die konfrontasie van die denker met homself, waar hy in 'n post-koïtale melancholie deurdring tot die gnosis dat die waarheid/ heling/verlossing diep in sy skeppende self lê.
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Smuts, Susanna Elizabeth. "Die desentralisasie van die subjek : 'n post-strukturalistiese beskouing van Breytan Breytenbach se Die Ysterkoei moet sweet en ("YK")." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/15946.
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Bibliography: pages 190-199.The study attempts to indicate how frames of reading which presuppose a definable subject and a hierarchy of real poet and poem are problematized and transgressed by the Breytenbach texts. How these texts confront the normative, predetermined and rigid definitions of the subject and subject positions is one of the challenges faced in this work. It is argued that the texts under scrutiny depict literature as a terrain where stereotypical social codes are destroyed and recreated and where the symbolic order is challenged.
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Abrahams, Fernel Rodger. "Poësie en die politiek van die postmodernisme : 'n ondersoek na die postmodernistiese poësie van Wilma Stockenström." Doctoral thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/21768.
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Bibliography: pages 184-194.This dissertation comprises a study of the postmodernist tendencies in Wilma stockenstrom's poetry text Die heengaanrefrein (1989). It is argued that the postmodernist text carries with it certain political implications, among which are an interrogation of the way in which history is represented, as well as an interrogation of the ways in which each literary text can be read as a rewriting of existing, or precursor texts. It is further argued that the interrogation of historical representations opens up links between the postmodern debate and postcolonial discourse. This is especially pertinent when reading literary texts from a former colony such as South Africa, and specifically a text which focuses on an event which forms part of the country's colonial history, that being the arrival at the Cape of the Huguenots in 1688-89. Finally it is argued that this postmodernist text, by way of intertextual references, not only implies a rewriting of colonial perspectives on history, but also a rewriting of a literary history, thereby contributing to the decolonisation of the Subject.
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Lewis, Minnie Miriam. "'n Herwaardering van die werk van Elise Muller." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/21876.
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Bibliography: pages 161-168.Hierdie studie het gemik op 'n herwaardering van Elise Muller se bydrae tot die Afrikaanse letterkunde. Hennie Aucamp het met Elise Muller. Verhale en essays 1942-1981, die eerste stap tot herwaardering geneem ten opsigte van Elise Muller en haar prosawerk. So ook het Nel in haar skripsie met waardering gekyk na die bekende en haas onbekende werk van Muller. Hierdie nuwe kyk na die werk van Elise Muller word in die tesis verder gevoer. Dit poog om die onbekende, "ander" Elise Muller op die voorgrond te stel. Ten einde die "ander" Muller te belig, was dit nodig om te let op die tradisionele Muller. 'n Ondersoek na beide Muller se vernuwende en tradisionele bydrae tot die Afrikaanse letterkunde het dit duidelik laat blyk dat sy heel gebalanseerd en genuanseerd te werke gaan met die tradisionele Afrikaner ideologieë.
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Steyn, Reinette. "Humor in die algemeen en met spesifieke verwysing na die romans van Etienne Leroux." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/22043.
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Leroux se stelselmatige vernietiging van die mite, die kuns, die skrywer en wesentlik die kosmos deur sy oeuvre, word dan ook moontlik nie net vermag nie, maar aanvaarbaar gemaak, deur sy aanwending van die humoristiese skryfwyse wat relativerend werk ten opsigte van die inhoud van sy werk, maar ook ten opsigte van die leser se reaksie daarop. Sander die humor sou sy virtuele kosmiese ontploffings (oos die moderne sub-atomiese fisika) te verpletterend en psigies ontwrigtend wees vir die mees te mense. Deur "waarhede" met humor te klee, bied die skrywer 'n uitweg vir die leser: hy kan alles as 'n groot grap (weliswaar nie altyd in "goeie" smaak nie) klassifiseer en so sy angs by die oorweging van die moontlike implikasies onderdruk.
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Coetzee, Carli. "'n Ondersoek na die aard van poësie, met verwysing na kinderpoësie en die "eenvoudige" poësie van N.P. van Wyk Louw en D.J. Opperman." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/21875.
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Bibliography: pages 142-149.Dit is lank reeds 'n aanvaarde feit dat poësie nie 'n spontane uiting van emosie deur middel van ritmiese taal is nie; die aard van poësie skakel juis spontane!teit uit. Die tradisionele definisie van poësie, naamlik die beskouing daarvan as nie-mimetiese genre teenoor prosa wat mimeties is, is onvoldoende. In stede hiervan kan poësie as genre beskou word in die konteks van die reoriëntasie wat plaasgevind het in literatuur- en taalstudie. Die moderne literere teorieë het as doel die omskrywing van literatuur as stelsel, en die konvensies onderliggend daaraan wat betekening moontlik maak. Ook in moderne literatuur word die klem geplaas op die taal- en literatuursisteem, en op die skeppende teenwoordigheid in die teks. Binne hierdie beskouing van literatuur verval die opposisie tussen poësie en prosa tot 'n groot mate. Modernistiese literatuur is 'n selfbewuste gebruik van taal, geskep deur 'n auteur wat kennis het van die onderliggende konvensies. Hierdie definisie van poësie word getoets aan die hand van kinderpoësie, aangesien die tradisionele beskouing van poësie 'n geskiktheid vir kinders impliseer. Die kind se ontwikkeling word kortliks bespreek en daar word aangedui dat die .kind se denkprosesse en belewing van die wereld poësie onbegrypbaar maak. Die kind se ontwikkeling word bespreek met verwysing na Jean Piaget se genetiese epistemologie en Heinz Remplein se samevattende beskouing. Die kind beskik nie oor die kennis in verband met die konvensionele aard van literatuur en taal wat benodig word om poësie te begryp nie; nog is kinders in staat om dit aan te leer. Die aard van die konvensies is abstrak, terwyl die kind konkreetheid vereis ten opsigte van die taalgebruik en die inhoud van literatuur. Ten slotte word verwys na volkspoësie, wat dikwels as primitief en ongevormd beskou word. Die "Klipwerk"-siklus van N P van Wyk Louw en Komas uit 'n Bamboesstok van D J Opperman word bespreek. Daar word aangetoon dat die vermoë om nostalgies te skryf oor die primitiewe 'n hoë mate van selfbewustheid en taalbewustheid vereis. Die auteur in hierdie verse is selfreflekterend en skep 'n werk wat die konvensies van literatuur uitwys, en terselfdertyd bevraagteken. Poësie is dus in wese 'n konvensionele gebruik van taal, waarvan die selfreflekterende aard spontane!teit en eenvoud ontken.
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Norton, Robert William. "'n Spieëlse studie : 'n bespreking van kaats- en watersimboliek as moontlike sleutel tot die primordiale dimensie met spesiale verwysing na enkele werke van Wilma Stockenström." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/22120.
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Bibliography: pages 235-244.This study in literary semantics focuses primarily on aspects of the primordial. It proposes a functional description of the primordial, as well as a model to explain how language and linguistic processes are insufficient to bring about accurate communication in a social environment. Certain significant findings come to the fore in terms of the relationship between language, communication and the primordial reality. The study was begun with the basic premiss of a link between the specific symbols relating to mirrors and water, and the primordial dimension. The fact that there are general references to this concept over a fairly wide range of subjects and fields of study brought about the need to clarify somewhat the "grey area" that is called into question whenever such allusions are made. The reason for this confusion is that the idea of the primordial has been a very misunderstood concept. The term has in the past been used to a large extent as an academic buzzword, with users often not being aware of the full implications thereof. The little that is known about this subject often results in fairly serious misconceptions when the term is employed. The study attempts to describe and to define the concept of the primordial, with reference to two key aspects of this idea: the primordial dimension as a base for universal meaning and reference, and the primordial concept as the actual reference point for the related linguistic term. In this way it is shown that all referential and interpretative systems, such as language, are based loosely on the primordial.
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Boshoff, Ronell. "'n Vergelykende ondersoek na die ooreenkomstige beeldgebruik in "Groot ode" van N.P. van Wyk Louw en Die Heengaanrefrein van Wilma Stockenström." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/22329.
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Bibliography: pages 157-163.This dissertation examines the corresponding symbols and imagery in N. P. van Wyk Louw's "Groot Ode" and DIE HEENGAANREFREIN by Wilma Stockenström. The poetic approach in both works is similar and comparable, because both poets are concerned with mankind's questing nature. In both texts man is portrayed as searching for omnipotence through omniscience. A section of the analysis is devoted to extra-textual influences on the two works. Examples of these are: genre expectations, poetic influence and the fact DIE HEENGAANREFREIN was commissioned for a special celebration. Previous analyses are also discussed briefly. The two main sections of this dissertation are dedicated to analysing the parallel (1) images and (2) motifs. The similarities in the application of mirror and colour imagery are but two examples of corresponding threads in both works. Motifs are discussed as the organic entities of a text: they develop in the text and are not the stagnant components that images are. Themes of evolution and of the apocalypse are examples of motifs covered. Language as motif is very important in this analysis, because it is not only an intra-textual occurrence, but also becomes an extra-textual determination. The last section is concerned with the role that language plays in ordering the chaos of the universe. The anxiety that the poet experiences as ephebe/successor to God and to earlier poets is also briefly discussed.
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Abrahams, Fernel Rodger. "Die rol van die egosentriese outeur in die poësie van Antjie Krog, met spesifieke verwysing na Lady Anne (1989)." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/22180.
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This dissertation examines the role of the egocentric author in the poetry of Antjie Krog and its development through seven volumes of verse. The term "egocentric author" here signifies that author which is the writing subject and which insists that the reader take cogniscence of him or her. The second chapter of the dissertation focuses on the development in literary theory in the twentieth century which has seen the author increasingly marginalised in the process of asserting the autonomy of the text. Barthes in 1968 proclaimed the author dead and early poststructuralism has no place for the author in its approach to discussing literary texts. However, a definite role has lately been assigned to the author, not as the divine artistic source of the meaning in a text, but rather as an agent or textual strategy by which the material or historical discourse present in literary texts can be examined. The study further examines the way in which Antjie Krog's oeuvre shows a definite line of development in respect to the speaking subject which admits that it is also the poet. In no way is dwelt on the specific biography of the "real" poet unless biographical information is obviously a textual element. With Krog the "biographical" information that she is a mother, wife and an Afrikaans speaking poet is an integral component of the textual composition. The last section deals with the fact that in Lady Anne, Krog uses the historical figure of Lady Anne Barnard (born Lindsay) (1750-1825) to function as an objective correlative for the white female poet who is increasingly concerned with the oppressive political climate in her country, her part in the oppression of its disenfranchised citizens. The interaction between the self-conscious poet and her metaphor enables the poet in a singular way to pose the important question of whether she has the power through her poetry to address the injustices which her artistic sensibility witnesses around her.
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Kemp, Christiaan Theodorus. "Deur die sleutelgat : ’n ondersoek na die voyeuristiese elemente in die poesie van Johann de Lange." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/8571.
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Thesis (MA)--University of Stellenbosch, 2000.Blog by Johann de Lange: http://johanndelange.blogspot.com/
AFRIKAANSE OPSOMMING: Die term voyeurisme hoort normaalweg tuis binne die sielkunde, waar dit dui op 'n seksuele abnormaliteit en afwyking. Hierdie siening stigmatiseer egter die fenomeen voyeurisme as 'n perverse handeling. In die eerste hoofstuk van hierdie studie word 'n poging aangewend om die begrip voyeurisme te verruim. Die voyeurisme wys nie net op 'n seksuele afwyking nie, maar vorm 'n sentrale deel van die eietydse samelewing. Die voyeurisme is dus ook van kardinale belang vir die letterkunde. In hierdie tesis word die voyeuristiese elemente in die poësie van Johann de Lange ondersoek. Aan die hand van tekste uit De Lange se oeuvre word die hipotese getoets dat die voyeurisme 'n voorwaarde vir die letterkunde is. Voorts word daar beweer dat die voyeurisme 'n onmisbare funksie in die skryf-en-lees-proses vervul; dat nie net die digter nie, maar sowel die teks as die leser noodwendig deel in die voyeuristiese handeling. Die letterkunde is dus, volgens hierdie hipotese, te danke aan die perspektiwiese kompleksiteit van die voyeurisme. Om die sprong van die sielkunde na die letterkunde te maak, word daar eerstens aandag bestee aan die werk van die teoretici Jean-Paul Sartre, Jacques Lacan en Michel Foucault en die bydraes wat hulle tot die teoretisering oor persepsie lewer. Voorts word vier gedigte geanaliseer met konsentrasie op aspekte van die voyeurisme soos wat dit in De Lange se oeuvre manifesteer en funksioneer, naamlik: die skilderkuns, die fotografie, die religie en die verhouding tussen vader en seun. Hoewel hierdie tesis uitsluitlik oor die werk van Johann de Lange handel, wil dit 'n gesprek oor die voyeurisme in die Afrikaanse letterkunde tot stand bring.
ENGLISH ABSTRACT: The term voyeurism normally belongs to the field of psychology, where it is used to describe a sexual abnormality and deviation. However, this view stigmatises the phenomenon of voyeurism as a perverse act. In the first chapter of this study the author attempts to broaden the notion of voyeurism. Voyeurism not only indicates sexual deviation, it also forms a central part of contemporary society. Voyeurism is therefore also of the utmost importance in literature. In this thesis the voyeuristic elements in the poetry of Johann de Lange are examined. Using texts from De Lange's oeuvre the hypothesis that voyeurism is a condition for literature is tested. It is further argued that voyeurism fulfils an essential function in the reading and writing process; that, not only the poet, but both the text and the reader inevitably share in the voyeuristic action. Literature according to this hypothesis, has its origins in the perspective complexity of voyeurism. To explain the connection between psychology and literature attention is firstly devoted to the works of the theorists Jean-Paul Sartre, Jacques Lacan and Michel Foucault and the contributions they made on perception. Further four poems are analysed in detail, with emphasis on aspects of voyeurism as they manifest and function in De Lange's oeuvre, namely: the art of painting, photography, religion and the relationship between father and son. Although this thesis deals exclusively with the work of Johann de Lange, it wants to bring about a discussion on voyeurism in the Afrikaans literature.
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Lotter, Jacoba Catharina (Karin). "Die retoriese rol van literêre feeste, met toespitsing US Woordfees en die Amsterdamse Weerwoordfestival." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20063.
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Thesis (MA)-- Stellenbosch University, 2012.ENGLISH ABSTRACT: The establishment of literary festivals as a type of event that is presented both nationally and internationally has expanded tremendously in recent years, but it has not as yet received the necessary attention to fully understand its impact on and sociocultural function in a host community. This thesis attempts to formulate a working definition for the phenomenon, in order to gain more insight in its sociocultural function and impact in a host community and thus to contribute towards a more substantial discourse on the subject. The hypothesis is firstly that literary festivals come into existence due to specific needs in the host society and secondly that the strategic application of rhetorical strategies have a positive sociocultural impact. It is argumented that literary festivals function according to the principles of Aristotle’s rhetoric, by convincing festival visitors that books, reading, writing, debating and freedom of speech are of great aesthetic, moral and educational value. The eventual aim is to cause festival visitors to show greater appreciation for literary texts, as illustrated by their increased participation in reading, writing and other literary activities. The following theories serve as points of departure: the system theory as expounded by Itamar Even-Zohar, Gerard Hauser’s application of rhetorics to the public sphere, the ritual theories of Victor Turner and Jeremy Boissevain, as well as festival theories by Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch and Michael Kamp. The programmes, festival contents and other relevant texts that form part of two selected literary festivals, i.e. the Stellenbosch University’s (SU) Wordfest (Woordfees) and the Amsterdam Weerwoordfestival, are scrutinised in order to prove that these festivals are strategically constructed to have a persuasive effect on festivalgoers. A festival’s survival and sustainability is determinated by its establishment of a strong own character; good management (also in times of crisis); effective networks; and the persuasion of both target groups and interest groups that supporting the festival is to their own advantage.
AFRIKAANSE OPSOMMING: Die literêre fees, as tipe gebeurtenis wat toenemend nasionaal én internasionaal aangebied word, het tot dusver min aandag van navorsers geniet. Ten einde die sosio-kulturele funksie en krag daarvan in ’n gasheergemeenskap te probeer vasstel en te omskryf, asook om by te dra tot ’n meer omvangryke diskoers oor hierdie fenomeen, word bestaande teorieë oor feeste in die algemeen dus in hierdie studie as vertrekpunt gebruik en aangepas by literêre feeste. Die hipotese is eerstens dat literêre feeste ontstaan in reaksie op behoeftes in die gasheergemeenskap en tweedens dat die aanwending van retoriese strategieë in literêre feeste ’n positiewe sosio-kulturele impak tot gevolg kan hê. Na aanleiding van Aristoteles se uitgangspunte oor die retorika word voorgestel dat die funksie en werking van literêre feeste retories van aard is: Die organiseerders wil feesdeelnemers oorreed dat lees, skryf, debattering en vrye meningswisseling esteties, opvoedkundig en moreel waardevol is, om sodoende ’n groter belangstelling in en deelname aan literêre aktiwiteite te probeer bewerkstellig. Die volgende teoretici se uitgangspunte word veral gebruik: dié van Itamar Even-Zohar oor die sisteemteorie, Gerard Hauser se toepassing van die retorika op ’n openbare sfeer, ritueelteorieë deur Victor Turner en Jeremy Boissevain, sowel as feesteorieë van Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch en Michael Kamp. Deur ’n vergelykende studie van die ruimer konteks, feesprogramme en ander relevante tekste wat deel uitmaak van twee literêre feeste, naamlik die Universiteit Stellenbosch Woordfees en die Amsterdamse Weerwoordfestival, word nagegaan hoe hierdie feeste strategies en oorredend funksioneer deurdat beide literêre én nie-literêre elemente geselekteer (inventio) en gekombineer (dispositio) is om ’n sterker positiewe eventiserende betekenis oor te dra as in die alledaagse lewe. Die gevolgtrekking is dat effektiewe retoriese strategieë sterk afhanklik is van die konteks waarbinne feeste plaasvind. Die voortbestaan en volhoubaarbaarheid van literêre feeste word veral bepaal deur die vestiging van ’n sterk eie identiteit; goeie bestuur (ook in krisisse); doeltreffende netwerke, asook deur die oorreding van beide teikengroepe én belanghebbers dat hulle wen deur die fees te ondersteun.
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Henn, Maryke. "'n Strukturele en verteltegniese ondersoek na die representasie van die vroulike subjek in Marlene van Niekerk se Agaat." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4248.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: This study investigates the representation of the female subject in Marlene van Niekerk’s novel, Agaat (2004). The female subjects, Milla and Agaat, are the focus of this study. Both women are subjected to drastic situations, which not only influence their relationship, but also their respective identities. This turn of events lead up to a power struggle between Milla and Agaat, which eventually gets reversed throughout the course of the narrative. The focus is essentially on the complex structure of the novel, where a prologue and epilogue serve as a framework for the four different story lines, each with its own narrative technique. A number of theoretical approaches will be employed in order to explore the discussion of the female subject. The novel, which is presented throughout by a single narrator, leads the study to concepts such as representation, subjectivity and identity. In an attempt to understand “the other”, the central role of language and mirrors with regard to representation is explored. Van Niekerk’s reinvention and even subversion of the farm novel of the late twentieth century involves ideologies of the Afrikaner such as land and religion, gender, politics and culture. This strategy results in the focus on concepts like subjectivity and identity. Both these processes will be explored in an attempt to gain insight into the characters. Key elements such as displacement, substitution and revenge give momentum to the chain of events in the story and lead up to introspection by both women. It is especially Milla’s terminal illness that induces introspection and preparation, for both Milla and Agaat, towards death. The influence of all these events, Milla and Agaat’s mutual dependence on each other, as well as the way in which they position themselves in the face of death, prompt this study. This study explores the influence of these events on women, the power struggle that developed out of this and the way in which their respective roles are reversed.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die representasie van die vroulike subjek in Marlene van Niekerk se roman Agaat (2004). Daar word gefokus op die twee vroue in die verhaal, Milla en Agaat. Beide vroue word aan ingrypende situasies onderwerp, wat ʼn invloed op hulle verhouding sowel as hulle onderskeie identiteite het. Hierdie gebeure lei tot ʼn magspel tussen Milla en Agaat, wat tydens die verloop van die verhaalgebeure volledig omgekeer word. Die fokus val eerstens op die roman se ingewikkelde vertelstruktuur waarin daar sprake is van ʼn pro- en epiloog as raamwerk waarbinne vier verhaallyne, elk met sy eie verteltegniek, gebruik word. ʼn Verskeidenheid teoretiese uitgangspunte word nagegaan ten einde die representasie van die vroulike subjek te ondersoek. Die roman, wat deurentyd uit die perspektief van een verteller aangebied word, lei die studie na ondersoekterreine soos representasie, subjektiwiteit en identiteit. Die sentrale rol van taal en spieëls ten opsigte van representasie en in die poging om die “ander” te kan verstaan, word nagegaan. Van Niekerk se herskrywing van die plaasroman in die laat twintigste eeu betrek op subtiele wyse die ideologieë van die Afrikaner rondom grond en religie, gender, politiek en kultuur. Dit lei tot die fokus op subjektiwiteit en identiteit. Beide hierdie prosesse word in die studie ondersoek ten einde begrip vir die karakters te probeer vind. Elemente soos verplasing, plaasvervangerskap en vergelding gee stukrag aan die verhaalgebeure en lei tot besinning by albei vroue. Dit is veral Milla se terminale siekte wat aanleiding gee tot bestekopname en voorbereiding op die dood. Die invloed van al dié gebeure en hoe twee vroue wat op mekaar aangewese is, hulleself posisioneer ten opsigte van die dood, gee aanleiding tot hierdie studie. Die studie onderneem om ondersoek in te stel na die invloed van gebeure by beide vroue, die magspel wat hieruit ontwikkel en hoe die rolle stelselmatig omruil in die verhaalgebeure.
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Bezuidenhout, Zandra. "Sosio-literêre perspektiewe op die eietydse digkuns van vroue in die Afrikaanse en Nederlandse taalgebiede." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50451.
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Thesis (PhD)-- Stellenbosch University, 2005.ENGLISH ABSTRACT: A study of poetry by six contemporary women in the Afrikaans and Dutch-speaking worlds points toward a multi-focal approach. While texts by poets of a marked diversity are presented as aesthetic objects, the scope of my research has been determined by considerations of gender, language and culture. The central line of investigation concerns the interplay between the poem as an artefact and the changing socio-cultural contexts by which the respective poets have been informed. My dissertation was inspired by Pierre Bourdieu's argument in favour of a fusion between the close reading practices of the New Critics (and in this case, their Dutch counterparts, the Merlinists) and the contextual approach advocated by literature sociologists. Concomitantly the art philosophical standpoint of Marcia Eaton and the views on the écriture féminine or "women's style of writing" held by Helene Cixous are applied to poetry. By incorporating insights from adjacent disciplines and thereby decentering the relative autonomy of the poetic text, I hope to demonstrate how the study of literature could acquire new relevance, either by expanding its own parameters, or by enriching the field of cultural and gender studies. In conclusion I regard the poetry written by contemporary women as a polyphonic discourse voicing women's newly-found position as subjects and challenging notions such as a monolithic "female identity" and the marginalization of "women's poetry". From this perspective, the aesthetic value of the poetic genre is paralleled by its function as a source of knowledge and a cultural agency.
AFRIKAANSE OPSOMMING: 'n Ondersoek na die poësie van ses eietydse vroue in die Afrikaanse en Nederlandse taalgebiede veronderstel reeds 'n multifokale invalshoek. Nie alleen word tekste van uiteenlopende digters as estetiese objekte aan die orde gestel nie, maar staan oorwegings soos geslag, taal en kultuur sentraal by die afbakening van die ondersoeksterrein. Daarby vorm die wisselwerking tussen die gedig as artefak en die veranderende sosio-kulturele konteks die riglyn van die betoog. Pierre Bourdieu se aandrang op 'n fusie tussen die stipleesmetode van die New Critics (in Nederland nagevolg deur die Merlinisten) en die kontekstuele benadering van literatuur wat deur literatuursosioloë voorgestaan word, het as aanset tot hierdie studie gedien. Terselfdertyd word die kunsfilosofiese standpunte van Marcia Eaton en die siening van Héléne Cixous omtrent die écriture féminine ("vroulike skryfwyse") op die poësie betrek. Deur insigte uit naasliggende dissiplines te betrek en die outonomie van die poësieteks te relativeer, wil die ondersoek aantoon dat literatuurstudie 'n nuwe relevansie verkry wanneer die parameters van die vakgebied versit, of kultuur- en genderstudies daardeur verryk word. Uiteindelik beskou ek die digkuns van eietydse vroue as In polifoniese diskoers waarin vroue op uiteenlopende wyses stem gee aan hul nuutverworwe subjekposisie, en wat daarmee die nosie van In monolitiese "vroulike identiteit" en dié van "damespoësie" as afsonderlike en gemarginaliseerde kategorie dekonstrueer. Naas die estetiese waarde daarvan, verkry die poësie uit hierdie perspektief ook In nuts- of instrumentele waarde as 'n alternatiewe bron van kennis en In kultuurskeppende agens.
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Devarenne, Nicole. "'In contempt of our creator' : the nationalist past and new developments in Afrikaans literature." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403809.
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Viljoen, Louise. "Breyten Breytenbach se (`yk') : 'n semiotiese ondersoek." Thesis, Stellenbosch : Stellenbosch University, 1988. http://hdl.handle.net/10019.1/70129.
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Fritz, Dawn. "Waar eeue wegtik met elke oogknip : fin de siecle-intertekste in die poesie van Johann de Lange." Thesis, Stellenbosch : University of Stellenbosch, 1998. http://hdl.handle.net/10019.1/8570.
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Thesis (MA)--University of Stellenbosch, 1998.Blog by Johann de Lange: http://johanndelange.blogspot.com/
AFRIKAANSE OPSOMMING: Hierdie studie stel hom ten doel om die 19de-eeuse kulturele fin de siecle-intertekste in Johann de Lange se poësie, wat grotendeels postmodernisties van aard is, na te gaan ten einde die hipotese te toets dat sy werk sterk ooreenkomste met die kunsuitinge van die vorige eeuwending openbaar. Hieruit blyk duidelik 'n korrespondensie of ekwivalensie tussen die tydsgees en diskoers van die huidige fin de millennium en die van die 19de-eeuse fin de siecle. Die titel van die tesis is ontleen aan die gedig "Greenwichtyd" uit Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] Omdat al sewe bundels van die digter ondersoek is, kon slegs drie gedigte in diepte geanaliseer word, naamlik "Correspondences" uit Wordende naak (1990:22), "Studie van 'n portret van 'n man" uit Snel grys fantoom (1986:56) en "Vlees van die berg" uit Vleiswond (1993:51-52). Die gedig "Correspondences", wat seminaal is vir die hipotese wat in hierdie studie gestel word, kom in 'n eie hoofstuk aan bod; "Studie van 'n portret van 'n man" is aanvullend tot die hipotese dat De Lange hom met die kunstenaars van die fin de siecle vereenselwig; terwyl "Vlees van die berg" op vele wyses De Lange se digterlike preokkupasies weerspieël. Enkele aspekte van die kunsstrominge van die Dekadentisme, Estetisisme en Simbolisme, wat in die eeuwending voorkom en ook in De Lange se verse neerslag vind, word in afsonderlike hoofstukke bespreek. Die digter se sosiopolitieke betrokkenheid wat deur die meeste kritici in die verlede misken is, word bevestig. As gevolg daarvan dat mistisisme en metapoësie by De Lange dikwels in 'n enkele gedig saamsmelt, word hierdie aspekte ten slotte in 'n afsonderlike hoofstuk onder die loep geneem. Daar word deurgaans gebruik gemaak van verwysings na geselekteerde gedigte uit De Lange se oeuvre, telkens gesitueer binne die konteks van die postmoderniteit. Ten einde die dinamika van intertekstuele en interdiskursiewe prosesse te demonstreer, word intertekstuele ekskursies of intertekstuele cruising dikwels onderneem.
ENGLISH ABSTRACT: This study investigates the 19th century cultural fin de siecle intertexts in Johann de Lange's predominantly postmodernistic poetry in order to test the hypothesis that his work reveals strong correspondences to art forms of the previous turn of the century. As a result a correspondence or an equivalence between the cultural climates and discourses of the relevant ages, viz. the present fin de millennium and the fin de siecle of the 19th century, is indicated. The origin of the title of the thesis is the poem "Greenwichtyd" from Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] The volume of work involved in the examination of the poet's entire oeuvre of seven volumes precluded the exhaustive analysis of vast numbers of poems. For this reason only three poems have been analysed in any depth. These are "Correspondences" from Wordende naak (1990:22), "Studie van 'n portret van 'n man" from Snel grys fantoom (1986:56) and "Vlees van die berg" from Vleiswond (1993:51-52). The poem "Correspondences" which is seminal to the hypothesis posed in this study is discussed in a separate chapter; "Studie van 'n portret van 'n man" is supplementary to the hypothesis that De Lange identifies with the artists of the fin de siecle; while "Vlees van die berg" reflects many of De Lange's poetic preoccupations. A few aspects of decadence (in the cultural sense), aestheticism and symbolism, schools of art prevalent at the turn of the century which all find expression in De Lange's poems, are examined in separate chapters. The sosio-political commitment of the poet, unrecognised by most critics in the past, is confirmed. Because De Lange often merges mysticism and metapoetry in a single poem, these aspects are finally investigated together in one chapter. Reference is made throughout to selected poems from De Lange's oeuvre as situated within the context of postmodernity. In order to demonstrate the dynamics of intertextual and interdiscursive processes, intertextual excursions or "cruises" are often undertaken.
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Van, Huyssteen Konstant. "Populêre vs. literêre grensverhale : twee beelde van die Angolese oorlog (1966-1989)." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/19512.
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Bibliography: pages 198-207.In this dissertation, a study is made of two bodies of fiction documenting the South African soldier in Angola. The fiction was limited to Afrikaans short stories, as this genre is believed to best reflect the fragmentary, explosive experience of combat. This demarcation also served as a way of limiting the body of fiction for the study. A cut-off year of 1990 was taken. The rationale for this is that the late seventies and eighties was the golden age for the publication of border fiction, and that Southwest AfricaNamibia gained independence in 1990 with a SWAPO (South West Africa People's Organisation) government, thus largely defeating the purposes of South African military involvement in Namibia and Angola. The collections of short stories that were analyzed in this study, were divided into two categories. The stories published in popular family magazines such as Die Huisgenoot were considered to be popular fiction. These stories are overtly accepting of South Africa's involvement in Namibia and Angola, and are highly propagandistic. The collections Ses Wenverhale (1988) by Maretha Maartens and others, and Verby die wit brug (1978) by Johan Coetzee, were analyzed as examples of this category. In the category of literary short stories, Wie de hel het jou vertel? (1988) by Gawie Kellerman and 'n Wereld sonder grense (1984) by Alexander Strachan were analyzed. It is important to note that the texts were selected thematically i.e. the criterium was that they had to have the South African soldier in South West AfricaAngola as main theme. Analyses of the texts are based on the thesis formulated by H P van Coller in his article "Afrikaanse literatuur oor die gewapende konflik in Suider-Afrika sedert 1963 - 'n voorlopige verslag". In this report, Van Coller mentions that studies comparing the literary border fiction with the popular border fiction, have been left behind. The study aims at examining this unexplored territory and looks extensively at how these two bodies of fiction differ. It was found that two radically different images of the border war emerge from the two bodies of fiction: the popular fiction is uncritical, war is presented more as an exciting game in the popular fiction, whereas it is presented as deadly, yet addictive, in the literary fiction. The ideological backgrounds from which the stories are written, are fundamentally opposed: the popular fiction often sees the war as a continuation of the white man's struggle for survival on a violent continent, and God is assumed to be on the South African side. The literary fiction documents a loss of God and criticises the government, censorship and apartheid. The literary fiction also fulfills a function of reporting - that which has not been said in the media due to censorship by government. The scope of the popular fiction is much narrower than the literary fiction, ignoring issues such as homosexuality in the army, torture and atrocities. Finally, the conclusions differ, with a sentimental "all will be well" in the popular fiction, as opposed to the fundamental pessimism in the literary fiction.
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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste /." Link to the online version, 2005. http://hdl.handle.net/10019/998.
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Carney, Terrence Robert. "Die skryf van 'n skoolgids vir die bestudering van ouer letterkunde in die graad 12-Afrikaanshuistaalklaskamer." Diss., Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-09272007-151502.
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Jordaan, Margarethé Maria. "Die representasie van slaafskap in 'Die kremetartekspedisie' deur Wilma Stockenström : die voorstelling van die onvoorstelbare." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51721.
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Thesis (MA)--Stellenbosch Universiteit, 2000.ENGLISH ABSTRACT: In this study the role played by literature or fiction in historiography is investigated. Firstly, the problem of representing an "objective reality" is outlined, and subsequently applied to the domain of historiography by questioning terms such as "objectivity", "reality" and "truth". Due attention is given to changing perceptions about the nature of history writing. It is indicated that historiography cannot render or recreate the past as something which is present here-and-now and, therefore, that history writing is of necessity always an interpreted and subjectively construed representation of an ephemeral "reality". Against this background the thesis focuses on that part of South African history (slavery) which for a variety of reasons lacks a formalised historiography. It is indicated how the "gaps" created by the failures of formalised historiography can be "filled" by the suggestive power of the literary imagination. Wilma Stockenstrëm's Die kremetartekspedisie (1981) is used to exemplify the above claims by specifically noting how the personal slave experience is described through the literary imagination in Die kremetartekspedisie.
AFRIKAANSE OPSOMMING: In hierdie studie word daar ondersoek ingestel na die moontlike rol wat letterkunde of fiksie kan speel in die geskiedskrywingsproses. As agtergrond word die problematiek rondom die bestaan en voorstelling van 'n 'objektiewe werklikheid' bespreek en uitgebrei na die terrein van die historiografie deur die bevraagtekening van terme soos 'objektiwiteit', 'werklikheid' en 'waarheid'. Daar word aandag geskenk aan verskuiwende persepsies oor die aard van geskiedskrywing en aangedui dat historiografie nooit die verlede teenwoordig kan stel nie en dat geskiedskrywing altyd 'n geïnterpreteerde en subjektief-gekonstrueerde representasie van 'n verbygegane 'werklikheid' is. Teen hierdie agtergrond word daar spesifiek gelet op 'n gedeelte van die Suid-Afrikaanse geskiedenis wat, as gevolg van verskeie redes, 'ontbreek' in formele geskiedskrywing, naamlik slawerny. Daar word aangedui hoe hierdie gapings op suggestiewe wyse deur die literêre verbeelding 'gevul' kan word. Die kremetartekspedisie deur Wilma Stockenstr6m dien as voorbeeldteks om bogenoemde punt te illustreer deur spesifiek te let op die wyse waarop 'n slavin moontlik haar persoonlike ervaring van haar slaafskap sou kon verwoord soos dit in Die kremetartekspedisie deur die literêre verbeelding gedoen word.