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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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Kleyn, Shane Jean. "Variante in die poesie van Ina Rousseau." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20230.
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Thesis (MA)--Stellenbosch University, 2012ENGLISH ABSTRACT: “A verse might be complete, but then I fiddle with it again and it is not complete anymore,” Ina Rousseau says in an interview. When one compares poems from her Versamelde gedigte 1954-1984 and Die stil middelpunt with their predecessors in magazines and in her volumes of poetry, one sees that Rousseau often made revisions. Over the years her poetry has come into being like a “living organism”. It reminds one of the rewritings of Martinus Nijhoff. This study aims to discuss the variants in the poetry of Ina Rousseau, by means of a variant system that unlocks the printing history of all 253 published poems. My discussion focuses on 17 poems (at least one from each volume of poetry) that is printed in full in the variant edition. I’ve used supplement material and reception texts to give the reader a perspective on Rousseau as poet, and the involvement of other roll players. By bringing in these secondary texts I aim to situate the poem discussions and try to show that theme and textgenesis should not be viewed as separate entities.
AFRIKAANSE OPSOMMING: “’n Vers kan miskien afgerond wees en dan gaan peuter ek weer aan hom en dan is hy nie meer afgerond nie,” sê Ina Rousseau in ’n onderhoud. Wanneer ’n mens dan gedigte uit haar Versamelde gedigte 1954-1984 en Die stil middelpunt vergelyk met vroeër weergawes in tydskrifte en in bundels, sien ’n mens dat sy lief was daarvoor om veranderinge aan te bring. Haar poësie, wat deur die jare soos ’n “lewende organisme” tot stand gekom het, herinner aan die verbete herdigtings van Martinus Nijhoff. Hierdie studie het ten doel om die variante in die poësie van Ina Rousseau van naderby te beskou aan die hand van ’n variante-apparaat wat die volledige drukgeskiedenis van 253 gedigte ontsluit. My bespreking fokus op 17 gedigte (minstens een uit elke bundel) wat volledig in ’n variante-edisie afgedruk staan. Ek gebruik ook aanvullende materiaal en resepsietekste om die leser ’n perspektief op Rousseau se digterskap en die betrokkenheid van ander rolspelers te gee. Deur die byhaal van hierdie sekondêre bronne probeer ek om die gedigbesprekings te situeer en te toon dat tematiek en teksontwikkeling nie losmaaklik van mekaar is nie.
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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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Bosman, Maria Elizabeth. "Op hom die groot hosannas : enkele aspekte van die modern Christelike poësie in Afrikaans." Thesis, Rhodes University, 1989. http://hdl.handle.net/10962/d1002089.
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This study is concerned with modern Christian poetry in Afrikaans. Afrikaans poetry, which initially carried the clear stamp of the Afrikaner's Calvinistic view of life, gradually assumed a new image to the extent that it could no longer be recognised as religious and specifically Calvinistic poetry. To the contrary, modern Afrikaans Christian poetry is the expression of a contemporary conceptualisation of the very same gospel. The occasional violent reaction especially of conservative institutions to so called "unchristian" modern poetry in Afrikaans during the past three decades, has prompted this study which attempts to illustrate that modern Afrikaans poetry still exhibits a strong Christian element. The essential qualities of contemporary Christian poetry in Afrikaans are illustrated in the discussion of the works of particular leading Afrikaans poets. Chapter 3 attempts to indicate a transitional stage between traditional and modern Christian poetry by means of an overview of the latest tendencies and approaches, with brief references to the recent poetry of the Louws, the poetry of Peter Blum as the initial exponent of the poetry of the Sixties, and the poetry of Ina Rousseau. The work of Sheila Cussons, eminent Roman Catholic (and thus also Christian) poet who is probably the most impressive contemporary exponent of metaphysical/mystic poetry in Afrikaans, is discussed in chapter 4. Chapter 5 illustrates the traditional Calvinistic Christian point of view and Christian experience as represented in the poetry of I.L. de Villiers. The poetification of the ministry adds new dimension to religions poetry in Afrikaans. Chapter 6 constitutes a discussion of the works of T.T . Cloete, the most significant contemporary Reformed poet in Afrikaans indicating the extent to which the many related facets embodied in his poetry consistently reflect a Christian attitude and are unified in and encompassed by the principle of Soli Deo Gloria. Chapter 7, by way of conclusion, reviews the religious poetry of Lina Spies and Petra Müller who write accessible popular poetry, nevertheless exploring interesting references. In conjunction with the poetry of Ina Rosseau, this poetry represents a contribution to modern Afrikaans religious poetry from a feminine point of view
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Fouche, Marietjie. "Vertaling en die kindervers : ’n vergelykende studie van Afrikaanse en Franse vertalings." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71863.
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Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Few people realize exactly how complicated the translation of children’s poetry is. Translators do not only have to adhere to the young readers’ desires and satisfy the adult critics, but are constantly confronted with choices concerning the translation of the ‘play-element’ (structure) and the ‘visual element’ (content) of children’s verses, i.e. the translation of cultural elements, figurative language, pun, nonce words, onomatopoeia, alliteration, rhyme and meter. In addition, their translation strategies are continually subjective to and restricted by the visual text (illustrations) in the source texts, which interrelate with the verbal text (verses). In this descriptive, systematic analysis the Afrikaans and French translations of Mother Goose’s nursery rhymes, Dr. Seuss’s rhyming picture books and Roald Dahl’s verse fragments are compared to one another and the source texts in order to identify the various translation strategies and theoretical translation approaches used by the various Afrikaans and French translators, to make concrete observations about the translation of children’s poetry that can be useful for translators, and to establish if it is indeed possible to create translations of children’s verses that remain true to the ‘spirit’ of the original poetic texts, can function as autonomous texts in the target system, and that can supplement the Afrikaans and French children’s literature systems. __________________________________________________________________________
AFRIKAANSE OPSOMMING: Min mense besef hóé ingewikkeld die vertaling van kinderverse eintlik is. Vertalers moet nie net tegelykertyd aan jong lesers se behoeftes voldoen en volwasse kritici tevrede stel nie, maar word ook deurgaans gekonfronteer met keuses wat betref die vertaling van die spel-element (struktuur) en visuele element (inhoud) van kinderverse, o.a. die vertaling van kultuurgebonde verwysings, beeldspraak, woordspel, neologisme, onomatopee, alliterasie, rym en metrum. Daarbenewens word die vertalers se vertaalstrategieë beïnvloed en beperk omdat die visuele teks (illustrasies) in die brontekste deurgaans met die verbale teks (verse) in gesprek tree. In dié deskriptiewe sisteemondersoek word die Afrikaanse en Franse vertalings van Moeder Gans se kinderrympies, Dr. Seuss se versverhale en Roald Dahl se prosimetriese kinderstories met mekaar en die brontekste vergelyk om die verskillende vertaalstrategieë en teoreties gefundeerde vertaalbenaderings wat deur die onderskeie Afrikaanse en Franse vertalers toegepas is, te identifiseer, konkrete bevindinge oor die vertaling van die kindervers te maak wat vir toekomstige vertalers van praktiese nut kan wees, en te bepaal of dit inderdaad moontlik is om vertalings van kinderverse te skep wat getrou bly aan die ‘gees’ van die oorspronklike gedigtekste, as selfstandige tekste in die doelsisteem kan funksioneer, en die Afrikaanse en Franse kinder- en jeugliteratuursisteme kan aanvul.
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Retief, Petronella (Ronel). "Die konstruksie van die vroulike subjek in die oeuvres van enkele Afrikaanse vrouedigters sedert 1970." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/1282.
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Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2005.ENGLISH ABSTRACT: The construction of the female subject in the poetry of Afrikaans women poets since 1970 is examined with reference to the oeuvres of Sheila Cussons, Ina Rousseau, Wilma Stockenström and Antjie Krog. The work of three French feminists, namely Julia Kristeva, Hélène Cixous and Luce Irigaray, is selected as the theoretical framework, because of, amongst other reasons, their attention to the structuring role which language plays in the construction of subjectivity. In terms of defining the scope more precisely, there is a specific focus on the role of the mother-daughter relationship, as reflected in the work of these three women. This focus examines not only biological mother-daughter relationships, but also the stance which women adopt regarding the “place of the mother”, as well as the way in which the relationship with the mother’s body emerges in the writing of women. The question is posed whether there is indeed a clearly identifiable feminine subject in the oevres of the four Afrikaans women discussed and, if so, whether this feminine subject is potentially capable of destabilising or even subverting the prevailing patriarchal order.
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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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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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Retief, Petronella. "Die konstruksie van die vroulike subjek in die oeuvres van enkele Afrikaanse vrouedigters sedert 1970 /." Link to the online version, 2005. http://hdl.handle.net/10019.1/1282.
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Viviers, Marni. "Die voorstelling van die Noordweste as ruimte in George Weideman se digbundel 'n Staning onder sterre." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/799.
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Adam, Benjamin. "Senior niemoedertaalleerders se ingesteldheid teenoor die voorgeskrewe gedigte en onderrigmetodes vir Afrikaans eerste addisionele taal in die hoërskool." Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-10222007-122444.
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Le, Roux Christiaan Johannes. "Vervreemdingstegnieke in Gert Vlok Nel se digbundel Om te lewe is onnatuurlik." Thesis, Stellenbosch : Stellenbosch University, 1998. http://hdl.handle.net/10019.1/70318.
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Thesis (MA) -- Stellenbosch University, 1998.ENGLISH ABSTRACT: In this thesis the techniques of defamiliarisation in Gert Vlok Nel's Om te lewe is onnatuurlik (1993) are investigated, especially with the aid of the Russian Formalist concept ostranenie. The introductory chapter expounds the theoretical basis. With reference to some reviews the question is investigated whether the volume can be regarded as worker poetry. After this follows an explanation of the concept ostranenie as understood by the Formalists, especially Victor Shklovsky, and of the concept Verfremdungseffekt as formulated by Bertolt Brecht. These concepts are then compared with the postmodemist notion of de-naturalization as used by, for example, Linda Hutcheon. In addition to Formalist theory other theories will be used in an eclectic fashion: semiostructuralism (Mikhail Bakhtin and Michael Riffaterre), reception theory (Wolfgang Iser) and psychoanalysis (Harold Bloom). Because om te lewe is onnatuurlik was created in postmodemity, the theoretical approach is also predominantly of a poetmodern nature. In the practical part of the thesis seven poems are discussed in order to highlight the principal techniques of defamiliarisation in each one: the use of ellipses and parody ("die dag toe hulle vir Donkie Viviers"); selfreflexivity and metafidional elements (desember & see"); childlike focalisation and register (soeklig" and "boggellug"); typographical experimentation ("landskap"); spatial relativation ("Rita" and "hillside") and retardation ("hillside").
AFRIKAANSE OPSOMMING: In hierdie tesis word ondersoek ingestel na die vervreemdingstegnieke in Gert Vlok Nel se bundel om te lewe is onnatuurlik (1993), veral met behulp van die Russiese Formalistiese teorie oor die begrip ostranenie. Die inleidende hoofstuk hied 'n uiteensetting van die teoretiese hegrollding. Met verwysing na enkele resensies word daar eerstens ondersoek of die bundel as werkerspoosie beskou kan word. Hierna volg 'n uiteensetting van die konsep ostranenie soos gehanteer deur die Formaliste, veral Viktor Sklovsky, en van die konsep Verfremdungseffekt, soos geformuleer deur Bertolt Brecht. Hierdie begrippe word dan vergelyk met die postmodernietiese begrip de-naturalisasie soos gebruik deur byvoorbeeld Linda Hutcheon. Naas die Formalistiese teorie word ander teoriee op eklektiese wyee in hierdie .tudie betrek: die semio-strukturalisme (Mikhail Bakhtin en Michael Riffaterre), resepsieteorie (Wolfgang Iser) en psigo-analise (Harold Bloom). Omdat die bundel om lewe is onnatuurlik in die post· moclemiteit geskep is, is die invalshoek hoofsaaklik p08tmodernisties van aard. In diepraktiese deel van die tesis word &ewe gedigte bespreek ten einde die belangrikste vervreemdingstegnieke in elk uit te lig: die gebruik van ellipee en parodiering ('"die dag toe hulle vir Donkie Viviers'); selfrefieksie en metapoitiese elemente ("desember & see"); kinderlike fokalisering en register reoeklig" en "boggellug"); tipografiese eksperimentering ("landskap"); ruimtelike relativering ("Rita" en ··hillside");en vertraging ("hillside").
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Ferreira, Jeanette. "Aspekte van die Judaïes-Christelike en die Boeddhistiese in die poësie van Breyten Breytenbach." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1002097.
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Concepts of life and death, time and self-denial are investigated in the poetry of Breyten Breytenbach, with specific reference to the similarities and differences between the Judeo-Christian and the Buddhist traditions. Biblical references in the poetry are examined, and their underlying concepts compared to related concepts in Tantric Buddhism and Zen-Buddhism. The conclusion is drawn that the biblical concepts are transposed in the poetry in order to create Buddhist concepts of life and death, time and a form of self-denial. De-sacralisation of the Christian. concepts is inevitable in this creative process. However, the primary intention of the author is not de-sacralisation, but the implementation 'of the Buddhist philosophy of life in which everything is experienced as "totally one". A comparison between the reconstructed intended reader of Breytenbach's poetry and elements of the Afrikaans reading public suggests that political comment on segregated South African society is intended. Breytenbach's poetry is compared to canonized Afrikaans poetry with respect to Buddhist influence, national protest, aspiration to holiness and transposed biblical concepts. The conclusion is that his poetry is highly innovative in these respects. In the broader spectrum of South African literature his poetry is compared, with reference to transposed biblical concepts and national protest, to the poetry of Black poets writing in English, and (where material is available) to those writing in Afrikaans. The conclusion is that Breytenbach's poetry is strongly linked to this poetry. However, the complexity of Breytenbach's poetry, and the advanced aesthetic level and linguistic code required of the intended reader determine his placing within the canon of Afrikaans poetry.
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Van, Wyk André Johan. "Die dood, die minnaar en die oedipale struktuur in die Ingrid Jonker-teks." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1003917.
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From Inleiding: In dié inleiding word die implikasies van die woord "teks", asook die resepsie van die Ingrid Jonker-teks in die lig van haar dood, en 'n eie benaderingswyse, in teenstelling met die tradisionele kritiese metodes, bespreek. 1.1 Die teks: Die Ingrid Jonker-teks behels (met die dood, die rninnaar en die OedipaIe struktuur as uitgangspunt) aIIes waarop die woorde "Ingrid Jonker", as teks - die parentese tussen die datums op haar grafsteen - dui. Dit beteken dat genre-onderskeidinge en die onderskeid biografie en literatuur opgehef word. Verdere implikasies van die woord "teks" gaan vervolgens ter inleiding ondersoek word. Daar sal ruim gebruik gemaak word van die literêr-teoretiese en filosofiese veronderstellinge van Julia Kristeva, Maurice Blanchot, Jacques Derrida, Jacques Lacan, Pierre Macherey en Roland Barthes.
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Engelbrecht, Anna Maria. "Bevriending en bevreemding in Sprokkelster en Groenstaar van Marlene van Niekerk." Thesis, Stellenbosch : Stellenbosch University, 1996. http://hdl.handle.net/10019.1/55021.
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Thesis (MA)--Stellenbosch University, 1996.ENGLISH ABSTRACT: Amity and estrangement in the poetry of Marlene van Niekerk are investigated in this dissertation according to various poetic aspects: figurisation, time and space, musicality, love poetry and Godly experience. The first chapter introduces the concepts of "amity" and "estrangement" by way of contextual definition. I shall endeavour to show, inter alia, how these two concepts are already present in the titles of the two poetry volumes of Marlene van Niekerk, Sprokkelster and Groenstaar. Figurisation is discussed in chapter 2. The term "figurisation", i.e. the embodiment of form or figure, is briefly described, followed by a discussion of "figurisation" in nine selected poems and the manifestation of amity and estrangement therein. Chapter three focuses on time and space in the poetry of Van Niekerk and of the presence, also here, of amity and estrangement. First the concepts of "time" and "space" are explained, followed by a discussion of ten poems with specific emphasis on the well-known expanse of South Africa, as opposed to the less well known cosmos of Europe — particularly the Netherlands. I highlight, inter alia, the contrast between these two areas as well as the estrangement that Van Niekerk experienced from the country of her birth during her stay abroad. Chapter four deals with one of the most striking features of the poetry of Van Niekerk — that of musicality. After the term "musicality" is briefly described, seven poems are discussed to illustrate the musicality therein, whilst keeping the focus on amity and estrangement. The theme of love is dealt with in the fifth chapter. The poetry of Van Niekerk is, according to Cloete (1978:173), "so filled with realism that it shows little interest in the personal". In the few love poems that are present in her two poetry volumes, the world around the "I" enjoys preference over the beloved, with the beloved experienced largely through images of nature. The penultimate chapter is devoted to the manner in which Van Niekerk experiences the presence of God. Six poems are analyzed to substantiate this, and to show the appearance of amity and estrangement here. The salient points of the presence of amity and estrangement and the significance of these two elements in the poetic oeuvre of Marlene van Niekerk, are encapsulated in the concluding chapter.
AFRIKAANSE OPSOMMING: In die tesis word bevriending en bevreemding in die poesie van Marlene van Niekerk aan die hand van verskillende aspekte van die poesie ondersoek: figurering, tyd en ruimte, musikaliteit, liefdesverse en Godsbelewing. Hoofstuk 1 dien as inleiding waarin onder andere die begrippe "bevriending" en "bevreemding" omskryf word. Ek sal aandui hoe hulle reeds in die titels van Marlene van Niekerk se twee digbundels, Sprokkelster en Groenstaar, aanwesig is. Figurering word in die tweede hoofstuk bespreek. Eerstens word die begrip "figurering", nl. die gee van vorm aan gestalte of figuur, kortliks omskryf. Daarna word figurering in nege gedigte bespreek, en word ook aangedui hoe bevriending en bevreemding daarin voorkom. Hoofstuk 3 handel oor tyd en ruimte in Van Niekerk se poesie en hoe bevriending en bevreemding ook hier aanwesig is. Die begrippe "tyd" en "ruimte" word eers kortliks verduidelik. Daarna word 'n tiental gedigte bespreek wat onder meer handel oor die bekende ruimte, Suid-Afrika, en die minder bekende ruimte, Europa, veral Nederland. Ek wys onder meer op die kontras tussen die twee ruimtes, asook die vervreemding wat daar by Van Niekerk ingetree het teenoor haar geboorteland tydens haar verblyf in die vreemde. Een van die opvallendste kenmerke van Van Niekerk se poesie, naamlik musikaliteit, kom aan die bod in Hoofstuk 4. Eerstens word die begrip "musikaliteit" kortliks beskryf. Daarna word sewe gedigte ter illustrasie bespreek, terwyl terselfdertyd gewys word op bevriending en bevreemding. Hoofstuk 5 handel oor die tema liefde. Volgens Cloete (1978:175) is Van Niekerk se poesie "so vol van die werklikheid dat dit weinig geinteresseerd is in die personale". In die enkele liefdesverse wat in haar twee digbundels voorkom, geniet die wereld rondom die ek dan ook voorkeur b6 die geliefde en word die geliefde meestal deur natuurbeelde heen beleef. In Hoofstuk 6 word Van Niekerk se belewing van God aan die hand van ses gedigte bespreek. Daar word aangedui hoe bevriending en bevreemding ook hier teenwoordig is. Die slothoofstuk is 'n kort samevatting van die bespreking van bevriending en bevreemding in die voorafgaande hoofstukke.
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Adendorff, Elbie Maria. "Digdebute teen die milleniumwending : 'n polisistemiese ondersoek." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/4578.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2003.AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is om die verskyning en ontvangs van Afrikaanse dig-debuutbundels teen die millenniumwending met behulp van die polisisteemteorie te bestudeer. Dié teorie behels dat die literatuur as 'n sisteem tussen ander sisteme in die samelewing beskryf word. In hierdie geval word die sisteemgrens tot die Afrikaanse poësie beperk. Die resepsies van die ses debuutbundels wat in 1999–2000 verskyn het en wat vir die Ingrid Jonker-prys in aanmerking geneem is, word ondersoek. Binne die polisisteemverband word 'n studie onderneem na die marginalisering van die Afrikaanse poësie; dít terwyl die poësie as sodanig reeds 'n gemarginaliseerde genre is. Dié marginalisering is grootliks die gevolg van ekonomiese oorwegings – hoofstroomuitgewers dink twee maal daaroor voordat hulle 'n digbundel uitgee, veral 'n debuutdigbundel. Terwyl die poësie in die orale vorm toenemend gewild blyk te wees, is daar nie veel publikasie-moontlikhede vir debuutdigters nie. Hierdie toestand gaan veral die opkomende digters nadelig tref. In hoofstuk 1 word 'n uiteensetting van die studie gegee. Die stand van sake in die Afrikaan-se poësiesisteem teen die millenniumwending word voorlopig beskryf. Die doel van die navorsing, die afbakening van die studie-objek en die hoofstukindeling van die tesis word uiteengesit. Hoofstuk 2 bied 'n uiteensetting van die polisisteemteorie, wat gegrond is op die werk van die Russiese Formaliste. Verder word aandag bestee aan 'n omskrywing van die poli-sisteem, die struktuur van die polisisteem en die toepassingsmoontlikhede van die teorie. 'n Teoretiese oorsig van kanonisering in die literatuur word in hoofstuk 3 onderneem. In dié hoofstuk word die verskillende definisies van die konsep kanon gegee, die verskillende soorte kanons en die proses van kanonvorming word bespreek. Laastens word die invloede van kanonisering vermeld. Die Afrikaanse literêre veld is die fokuspunt in hoofstuk 4, waar die poësie as gemargina-liseerde genre, die voorkoms van die Afrikaanse poësieveld, die Ingrid Jonker-prys en die rol van die uitgewer bespreek word. Die vraag na die afwesigheid van die "nuwe stemme" in die letterkunde word ook ondersoek. Die toekoms van die Afrikaanse poësie word verder onder die soeklig geplaas. In hoofstuk 5 word 'n studie onderneem van die resepsies van die ses debuutbundels van 1999–2000. Die resensent as kritikus en die taak van resensente word eerstens ondersoek. Kwalitatiewe en kwantitatiewe ondersoeke word onderneem ten einde na te gaan welke van die debutante moontlik die kanondrempel kan oorsteek. In die slothoofstuk, hoofstuk 6, word die bevindinge van die ondersoek saamgevat ten einde die gesprek oor die Afrikaanse poësie verder te voer. Verdere moontlike navorsingsterreine word uitgestippel.
ENGLISH ABSTRACT: The aim of this study is to examine the publication and reception of first volumes of poetry at the end of the twentieth century by means of the polysystem theory. This theory maintains that literature should be considered as a system within other systems in society. In this case the systemic boundary is limited to Afrikaans poetry. The reception of six first volumes of poetry that appeared between 1999 and 2000 and were taken into account for the Ingrid Jonker Prize is investigated. A study is made of the reception of Afrikaans poetry within the polysystemic context and in the light of the fact that poetry is already a marginalised genre. This marginalisation is largely the result of economic pressures – mainstream publishers think twice before publishing a volume of poetry, especially a first volume. While poetry, particularly oral poetry, seems to be increasingly popular, there are few publishing opportunities for new poets. This situation is going to affect especially upcoming poets negatively. Chapter 1 gives an outline of the study. The state of affairs in the Afrikaans poetry system at the end of the twentieth century is described briefly. The aim of the research, the delimitation of the field of study, and the organisation of the chapters of the thesis are set out. Chapter 2 offers an explanation of polysystems theory, which has its foundations in Russian Formalism. The chapter also describes the structure of a polysystem and discusses the possible applications of the theory. Chapter 3 presents a theoretical overview of the process of canonisation in literature. Different definitions of the concept of the canon are given and the process and effects of canonisation are considered. Chapter 4 focuses on Afrikaans literature, including discussion of poetry as a marginalised genre, the future of Afrikaans poetry, the Ingrid Jonker Prize, and the role of the publisher. The issue of the absence of "new voices" in literature is also investigated, as well as the future of Afrikaans poetry. Chapter 5 examines the reception of six first volumes of poetry between 1999 and 2000. The reviewer as literary critic and the function of reviewing are considered first. Qualitative and quantitative studies are undertaken in order to determine which of the first volumes might be incorporated into the canon. Chapter 6 draws together the findings of the investigation in order to extend the discussion on Afrikaans poetry. Possible areas of research are suggested.
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Oppelt, Riaan N. "C. Louis Leipoldt and the making of a South African modernism." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80232.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: C. Louis Leipoldt had, in his lifetime and after his death, a celebrated reputation as an important Afrikaans poet in South Africa. He remains most remembered for his contribution to the growth of Afrikaans literature and for the significance of his poetry in helping to establish Afrikaans literature in the early part of the twentieth century in South Africa. He is also mostly remembered for his recipe books and food and wine guides, as well as his career as a paediatrician. Between 1980 and 2001, scholarly work was done to offer a reappraisal of Leipoldt’s literary works. During this period, previously unpublished material written by Leipoldt was made publicly available. Three novels by Leipoldt, written in English, were published at irregular intervals between 1980 and 2001. The novels cast Leipoldt in a different light, suggesting that as an English-language writer he was against many of the ideas he was associated with when viewed as an Afrikaans-language writer. These ideas, for the most part, linked Leipoldt to the Afrikaner nationalist project of the twentieth century and co-opted him to Afrikaner nationalist policies of racial segregation based on the campaigning for group identity. The three English-language novels, collectively making up the Valley trilogy, not only reveal Leipoldt’s opposition to the nationalist project but also draw attention to some of his other work in Afrikaans, in which this same ideological opposition may be noted. In this thesis I argue that Leipoldt’s Valley trilogy, as well as some of his other, Afrikaans works, not only refute the nationalist project but offer a reading of South African modernity in the nineteenth and twentieth centuries. This reading of historical events in South Africa that reveals the trajectory of the country’s modernity is strongly indicative of a unique literary modernism. It is my argument that Leipoldt’s Valley trilogy shows a modernist critique of the historical events it presents. Because the concept of a South African modernism in literature has not yet been fully defined, it is also an aim of this thesis to propose that Leipoldt’s works contribute a broad but sustained literary outlook that covers his own lifespan (1880-1947) as well as the historical period he examines in the Valley trilogy (the late 1830s -the late 1920s/early 1930s). This literary outlook, I argue, is a modernist outlook, but also a transplantation of a Western understanding of what modernism is to the South African context in which there are crucial differences. This thesis hopes to arrive at an outcome that binds Leipoldt’s anti-nationalism to his literary critique of the modernity he explores in the Valley trilogy, thereby proving that Leipoldt could be read as a South African literary modernist.
AFRIKAANSE OPSOMMING: C. Louis Leipoldt het in sy leeftyd en na sy dood 'n gevierde reputasie behou as 'n belangrike Afrikaanse digter in Suid-Afrika. Hy word die meeste onthou vir sy bydrae tot die groei van die Afrikaanse letterkunde en die belangrikeheid van sy poësie tot die Afrikaanse letterkunde, se stigting in die vroë deel van die twintigste eeu in Suid-Afrika. Hy word meestal ook onthou vir sy resepteboeke en kos en wyn gidse, sowel as vir sy loopbaan as 'n pediater. Tussen 1980 en 2001, is navorsingswerk gedoen om ‘n herwaardering van Leipoldt se literêre werk aan te bied. Gedurende hierdie tydperk was voorheen ongepubliseerde material geskryf deur Leipoldt publiek sigbaar gestel. Drie romans deur Leipoldt, wat in Engels geskryf is, is gepubliseer op ongereelde tussenposes tussen 1980 en 2001. Die romans stel Leipoldt in ‘n ander lig, wat daarop dui dat as 'n Engelse skrywer was hy gekant teen baie van die idees waarmee hy geassosieer was toe hy as 'n Afrikaanstalige skrywer beskou was. Hierdie idees het grootendeels vir Leipoldt gekoppel aan die Afrikaner-nasionalistiese projek van die twintigste eeu en het hom gekoöpteer tot Afrikaner nasionalistiese beleide van rasse-segregasie gegrond op die veldtog vir groepidentiteit. Die drie Engelstalige romans, gesamentlik die Valley-trilogie, openbaar nie net Leipoldt se teenkanting van die nasionalistiese projek nie, maar vestig ook aandag op sommige van sy ander werk in Afrikaans waarin hierdie selfde ideologiese opposisie aangeteken kan word. In hierdie tesis voer ek aan dat Leipoldt se Valley-trilogie, sowel as sommige van sy ander, Afrikaans werke, nie net die nasionalistiese projek weerlê nie, maar ook ‘n lesing aanbied van Suid-Afrikaanse moderniteit in die negentiende en twintigste eeus. Hierdie lesing van historiese gebeure in Suid-Afrika wat die trajek van die land se moderniteit openbaar is sterk aanduidend van 'n unieke literêre modernisme. Dit is my redenering dat Leipoldt se Valley-trilogie 'n modernistiese kritiek toon van die historiese gebeurtenisse wat dit aanbied. Omdat die konsep van 'n Suid-Afrikaanse modernisme in die letterkunde nog nie ten volle gedefineer is nie, is dit ook 'n doel van hierdie tesis om voor te stel dat Leipoldt se werke 'n breë maar volgehoue literêre kritiek bydra wat sy eie leeftyd dek (1880-1947) asook die historiese tydperk wat hy ondersoek in die Valley-trilogie (die laat 1830s tot die laat 1920s/vroë 1930s). Hierdie literêre vooruitsig, redeneer ek, is 'n modernistiese vooruitsig, maar ook 'n oorplanting van 'n Westerse begrip van wat die modernisme is tot die Suid-Afrikaanse konteks waarin daar belangrike verskille is. Hierdie tesis hoop tot 'n uitkoms wat Leipoldt se anti-nasionalisme bind tot aan sy literêre kritiek van die moderniteit wat hy ondersoek in die Valley-trilogie, en daardeur bewys dat Leipoldt gelees kan word word as 'n Suid-Afrikaanse literêre modernis
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Botha, Maria Elizabeth. "Die outobiografiese kode in Antjie Krog se poëtiese oeuvre." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1534.
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This study primarily investigates the autobiographical code in Antjie Krog's poetical oeuvre, spanning from 1970 to the present. Krog's poetry collections may be read as offering life writing through poetry, while the prose works mostly present the reader with a mixture of autobiographical fact plus creative reworkings of fact and fiction. Even though her 10 volumes of poetry follow her biological development from young girl to grandmother, uncertainty still exists about about where truth ends and fiction begins in this poet and autobiographer's interwoven tapestry of multiple and varied perspectives. Furthermore, autobiographical (as utilised and adapted in Krog's oeuvre, in combination with the conventioans from other genres), offers a variety of creatively innovative, experimental strategies and possibilities exploited adroitly by Krog. Reading her poetry with the focus on autobiographical markers leads to another, mostly untapped, dimension of interpretation. This literary approach is in stark contrast to the approach prescibed by N.P. van Wyk Louw in "Die 'mens' agter die boek" ["The 'Person' behind the Book] (1956), in which he states clearly that a text should be interpreted as not "about the human behind the text". To a large extent Krog as poet is inviting the reader to consciously break the taboo that Louw placed on the reader intent on "searching the actual person behind the text". My hypothesis is that in Krog's poetry there is a distinct interrelationship between the perceptions, experiences and sensual impressions of the lyrical "I" in the poems and that of the authobiographical "I" writing. It would be irresponsible to declare the poet and the speaker as one and the same, but in instances where the poet purposefully integrates autobiographical elements into her poems, she is implicitly requesting the reader to interpret her work in this way. This fictive and implicit request is referred to by Philippe Lejeune as the autobiographical poet. Krog's poetry can be divided into four categories: "direct autobiographical", "indirect autobiographical", "universal" and "general" poems. The first category involves criteria that are linked to the poet, such as the use of the names, initials and dates. Indirect autobiographical poems can be read against the background of knowledge (previously published information) about the poet. Poetry with no apparent autobiographical element, but with universal themes such as love, loss and transience, fall into the third category of "universal" poetry. If poems do not fit into the mentioned categories, they are deemed "general".
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Marais, Lodewikus Stefanus. "Die huis as betekenisvolle ruimte in enkele Afrikaanse gedigte, met spesifieke verwysing na die bewoningsfilosofiee van Heidegger, Bolnow en Bachelard en Vierluik." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/86862.
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Thesis (MA)--Stellenbosch University, 2008.ENGLISH ABSTRACT: The first section of this thesis aims at creating a reading strategy for the analysis of poetry thematically concerned with habitation and the space of the house. Selected Afrikaans poems, forming part of a newer house-poetry that breaks away from the idyllic, genial representation of the house in earlier Afrikaans poetry, are examined. The theoretical equipment utilised in this examination is the habitation philosophies of Martin Heidegger, Otto Friedrich Bollnow and Gustav Bachelard. Various related insights in the work of these philosophers are developed into a three-tiered model for the interpretation of house poetry. Supplementing the abovementioned framework is the socio-historical work of Joseph Rykwert and Ton Lemaire. Both these theorists explore the close connection between the space of the house and the realisation of mortality and transience. The application of the philosophical model facilitates, on the micro level of image and word choice, a fresh understanding of the selected poems, as well as a wider philosophical contextualisation of their thematic content. The reading strategy and the application thereof could also provide the means with which a new philosophical scrutiny of Afrikaans house-poetry can be achieved. The abovementioned formal essay is presented as coupled with a collection of original Afrikaans poems, entitled Vierluik, the creative section of this thesis. Vierluik examines, among other things, aspects of habitation in city, town and countryside, and reflects on descent, rootedness, displacement and the interconnection of space and identity.
AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis het as doel die daarstelling van ’n leesstrategie waarmee poësie wat tematies oor die huisruimte en bewoning handel, ondersoek kan word. Geselekteerde Afrikaanse gedigte, wat deel vorm van ’n nuwer huispoësie wat sedert die sestigerjare wegbreek van die idilliese, gemoedelike uitbeelding van die huis in vroeër Afrikaanse gedigte, word ondersoek. Die teoretiese apparatuur wat in hierdie ondersoek aangewend word, is die bewoningsfilosofieë van Martin Heidegger, Otto Friedrich Bollnow en Gustav Bachelard. Verskeie verbandhoudende insigte in die werk van hierdie denkers word ontwikkel tot ’n drieledige interpretasiemodel vir huispoësie. Hierby dien as aanvulling die kultuur-historiese werk van Joseph Rykwert en Ton Lemaire, waarin die noue band tussen die huisruimte en die doods- of verganklikheidsbesef uitgewerk word. Die toepassing van hierdie filosofiese begripsapparatuur fasiliteer op die mikrovlak van beelde en woordkeuse ’n vars verstaan van die vyf geselekteerde gedigte, asook ’n breër filosofiese kontekstualisering van hulle tematiese inhoud. Die leesstrategie en toepassings sou ook ’n filosofiese oopdek van die huispoësie in Afrikaans kon bemiddel. Hierdie akademiese gedeelte dien verder as ’n verbandhoudende oefening by die kreatiewe gedeelte van die tesis, naamlik ’n digbundel, Vierluik. Die bundel ondersoek, onder andere, aspekte van bewoning in stad, dorp en platteland, en bied ’n besinning aan oor herkoms, geworteldheid, verplasing en die verweefdheid van ruimte en identiteit.
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Crous, Matthys Lourens. "Feminisme en lees : Antjie Krog se Lady Anne en Joan Hambidge se Die anatomie van melancholie." Thesis, Stellenbosch : Stellenbosch University, 1990. http://hdl.handle.net/10019.1/68821.
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Thesis (MA)--Stellenbosch University, 1990.ENGLISH ABSTRACT: The aim of this investigation was to provide a theoretical overview of the predominant feminist literary movements and their theoretical theses. I concentrated specifically on providing an historical overview of the major theories and by doing so accumulating them into one theoretical model. Concommitantly theories coined by post-structuralist thinkers such as Derrida and deconstruction are also employed in furnishing the reading model with a deconstructivi i-.>"": base. It proved appropriate to analyse postmodernist poetry ~
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Van, der Walt Hester Carina. "Identiteitsbeelding in poësie vir die adolessent : 'n vergelykende studie tussen 'n Afrikaanse en 'n Nederlandstalige bloemlesing / H.C. van der Walt." Thesis, North-West University, 2004. http://hdl.handle.net/10394/308.
Full textAbstract:
Anthologies composed for adolescent readers are rare in both Afrikaans and Dutch. These
anthologies are published at quite lengthy intervals, because they are post-publications in
which already published volumes are absorbed. These anthologies are, however, to an
increasing extent the medium by which readers become aware of poetry and are also
introduced to different poets. For that reason it can be concluded that anthologies inform
poetic taste.
The empathy and love towards poetry experienced by young children in both languages are
gradually replaced by an apathetic attitude towards poems and even an antipathetic attitude in
general during adolescence. The first reaction to poetry is usually emotional and this indicates
the way for further intellectual development. When selecting poems for the adolescent reader,
the different developmental aspects affecting the adolescent and his identity development
must be taken into consideration. The needs of the adolescent reader must be kept in mind.
Needs in reading develop as a result of general needs that should be satisfied in the first place.
Should this be the case, the need for reading would develop.
In this study different theoretical points of view, namely reader-response criticism,
developmental psychology, general needs and reading-related needs are used to determine the
representation of identity in poems. Specific theories of poetry are used as instruments in text
studies and analyses with regard to representation of identity in anthologies for adolescents.
Poems in Versreise (Vermaak et al.) and Met gekleurde billen zou her gelukkiger leven zijn
(Van Coillie) are analysed focusing on the representation of time and space, speaker and
perspective, atmosphere and metaphorical language. For the purposes of this study analyses
were conducted to evaluate and interpret the representation of identity in the texts of both
anthologies. The differences and similarities between the Afrikaans and Dutch poetry texts for
the adolescent had to be identified. The differences were used to determine which type of text
would support the Afrikaans identity, the Dutch identity or the Flemish identity. The
similarities, on the other hand, were used to determine the type of text that would not appeal
to the Afrikaans, Dutch or Flemish adolescents only, but to adolescents in general.
In this study method-pluralism is scientifically unavoidable. Different methods were
systematically combined to support the specific methods of approach. The research was done
in accordance with four methods: a synopsis of existing and appropriate theory of literature
and forming of theory with regard to relevant concepts and terms; the analyses of texts in two
anthologies; a summary of critical opinions stated in different reviews as well as surveys and
interviews based on consultations via e-mail with the different role players, i.e. the anthology
composers, illustrators and publishers.Thesis (MA (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2004.
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Radloff, Adeline. "A poetry of remembrance : a study of Tatamkhulu Afrika's Nine Lives, Dark Rider and Maqabane." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52688.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2002.ENGLISH ABSTRACT: This thesis looks closely at three volumes of Tatamkhulu Afrika's poetry (Nine Lives, Dark Rider and Maqabane), to find that his work reflects a deep understanding of South African society and the different forces and conflicts inherent therein. I argue that although Afrika's poetry is presented as a recount of personal experience through the voice of a first person participant and observer, it is more than mere autobiography. This is because his poems resonate further (by means of vividly detailed descriptions, powerful metaphoric images and a mix of varied perspectives) to encompass not only his own life but also the lives and experience of many ordinary South Africans. In particular, his political poetry humanizes the abstractions of political discourse to show the impact that the greater political situation has had on the lives of ordinary South Africans. I conclude by arguing that although Tatarnkulu Afrika's insights are filtered through a moral perspective based on his religious views and his belief in a basic humanity shared by all people, his work cannot be described as "traditionalist" as he constantly unsettles and recasts settled beliefs in an imaginary way.
AFRIKAANSE OPSOMMING: Hierdie thesis bestudeer drie van Tatamkhulu Afrika se digbundels (Nine Lives, Dark Rider en Maqabane) en vind dat sy werk 'n diep insig toon in die verskillende kragte en konflike inherent in die Suid-Afrikaanse samelewing. Ek voer aan dat, alhoewel Afrika se gedigte spreek van 'n herlewing van persoonlike ervaring deur 'n eerstepersoonsverteller, dit meer is as blote outobiografie. Dit is omdat die impak van sy gedigte verder uitkring (by wyse van helder gedetaileerde beskrywings, sterk metaforiese uitbeeldings en 'n mengsel van verskillende perspektiewe) om nie net sy eie lewe nie, maar ook die lewens en ervaringe van ander Suid-Afrikaners uit te beeld. Dit is in besonder waar van sy politiese gedigte, waar hy die abstraksies van politieke diskoers humaniseer om te wys hoe die groter politieke situasie 'n impak gehad het op die lewens van gewone Suid- Afrikaners. Ek sluit af deur voor te stel dat alhoewel Tatamkhulu Afrika se insigte gefilter is deur 'n morele perspektief gebasseer op sy godsdienstige oortuigings en sy geloof in 'n basiese menslikheid wat deur almal gedeel word, sy werk nie as "tradisionalisties" beskryf kan word nie, aangesien hy voortdurend geikte tradisionele beskouings bevraagteken en op 'n verbeeldingryke wyse herskep.
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Ernest, David Solomon Harold. "Meaning in Small, Snyders and Pearce : an application of Lotman’s semiotics to ‘coloured’ literature." Diss., University of Pretoria, 2004. http://hdl.handle.net/2263/28757.
Full textAbstract:
In this study, a semiotic point of view of selected literature written by ‘coloured’ writers is examined, using some of the semiotic theories of Jurij M. Lotman, one of the leading Soviet semioticians of the school of Tartu. Selected theories of Lotman are applied to ‘coloured’ literature. These include an examination of poetic language (based on Lotman’s theory of a primary and secondary modelling system), the iconicity of the text, the aesthetics of identity and opposition, the distinction between text and extra-text, and the relationship that exists between the extra-text, culture and code. The literary texts chosen for analysis are works by three contemporary ‘coloured’ writers, namely Adam Small, Peter Snyders and Robert Pearce, who have all contributed poetry, prose and drama to Afrikaans literature in general, and original Afrikaans literature in particular. The selected dramas are Joanie Galant-hulle (Small 1978), Political Joke (Snyders 1983) and Die Laaste Supper in Marabastad (Pearce 1988b)*. These writers’ works span approximately three consecutive decades and their work can be examined for commonality and differences. The three chosen dramas were written five years apart respectively; yet they reveal thematic similarities. The dramas also feature a common ‘deviant’ language code used by ‘coloured’ people and discussed in this study as original Afrikaans. This code, which is juxtaposed with standard Afrikaans, is one of the basic areas of interest that motivated the choice of subject for this study. The primary objective of this study is to examine the differentiation that Lotman makes between the various sign systems that operate in natural language (the primary modelling system) and poetic language (a secondary modelling system), and to determine whether these sign systems can be detected and are functional in ‘coloured’ literature. In addition, an investigation is made of the iconicity that operates in poetic language (which, according to Lotman, is the basis for differentiation), and to ascertain whether iconicity occurs in these examples of ‘coloured’ literature and to what extent it influences meaning. In the process, intratextual relations within the poetic text were scrutinised to establish whether the manipulation of language, devices and codes raises any particular expectation in the poetic text, and also to detect whether oppositionally constituted code-systems which set up their own patterns of expectation within the syntactic and lexical levels of the poetic text clash with and contradict prior expectations. In addition, an analysis has been made to determine whether a new understanding of the texts can be reached, based on Lotman’s aesthetics of identity and opposition, and to what extent the reader is forced to collaborate in the modelling process of the texts when the reader’s expectations are undermined by an aesthetics of opposition. The study has successfully corroborated and substantiated all the selected aspects of Lotman’s theory. The differentiation that Lotman makes between the primary and secondary language model is demonstrated especially by the iconicity that operates in poetic language. Examples are abundant in the selected literature and are conspicuous, especially through the manipulation of the language, devices and codes employed by the authors to defamiliarise objects so that they transcend their familiar characteristics and perceptions, and sometimes signify a totally new concept. In this way, readers’ expectations are subverted and they are invited to collaborate in the modelling process of the texts. These techniques are also an integral part of both the text and the extra-text, and their presence justifies Lotman’s claims that the meaning of a literary text cannot be understood outside its cultural or historical context. In retrospect, it can be argued that this research has opened up some additional avenues for an analysis of meaning in ‘coloured’ literature.Dissertation (MA (English))--University of Pretoria, 2004.
English
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Van, Zyl Engela Anna. "Die dodegedig in Afrikaans." Thesis, 2014. http://hdl.handle.net/10210/9236.
Full textAbstract:
M.A. (Afrikaans)In this study the place of the death poem as genre and particularly its incidence in Afrikaans is traced. Because the corpus of poems about death is so comprehensive, a distinction is made between two significant categories: death poetry in general and death poetry with specific regard to the death of a beloved, especially with reference to a close relative. For the purpose of this study the latter is dealt with. It is established that the death poem referring to the death of a close relative has in almost every known literature been responsible not only for some of the most touching poems, but also for some of the best. In certain Iiteratures particular conventions in connection with . the death poem have crystallized. In others the theme of death has found unrestrained expression. A comparative study and an assessment of value are the two most important methods that were used in this study to ascertain the place of the death poem in literature. The death poem can be classified under several categories, each of which has contributed to a greater or lesser degree to the genre of the death poem. The category of the beloved deceased, especially the beloved close relative is emphasized in this particular study. Most poets have contributed to the corpus of the death poem, but Totius, Elisabeth Eybers, D.J. Opperman and T.T. Cloete, each representing one of the great literary eras in Afrikaans, have contributed the best death poems. It appears from the comparative study that there has been a qualitative improvement in this genre.
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Motaung, Ruth Mathomane. "Aantekeninge by Skakering (1991) : 'n omgewingsopvoedingsbenadering tot die gedigteks." Thesis, 2001. http://hdl.handle.net/10413/5457.
Full textAbstract:
This article has as focus an environmental education analysis of ten selected poems
from the book Skakering (Opperman and Coetzee 1991) to associate the problem of
environmental education with the teaching of a humanities subject like Afrikaans, and
specifically in the light of the poem as text. It has as its aim the teaching of a genre, to
relate in this regard the single text (the poem text) to the environment and
environmentally associated problems. In this respect an approach which is aimed at
selected texts in Skakering (Opperman and Coetzee 1991) shall possibly accentuate
both teachers and pupils' relationship with nature. This article will concentrate on the
following: a definition of environmental education as phenomenon which links up the
concept ecology, general overview of the important and relevant sources, a theoretical
explanation of the concept environmental education, a brief discussion of existing
studies that pays attention to the environment and environmental education in the
literature, the analysis of the contents of poems that represent certain environmental
problems, and an awareness of the pedagogical implications for the teacher. OPSOMMING
Hierdie artikel het as fokus 'n ' omgewingsopvoedingsanalise van tien geselekteerde
gedigte uit die bundel Skakering (Oppenman en Coetzee 1991 ) om die probleem van
omgewingsopvoeding in verband te bring met die onderrig van 'n geesteswetenskaplike
vak 5005 Afrikaans. en spesifiek aan die hand van die gedigteks. Oit het as doel die
onderrig van 'n genre, om in die verband die enkelteks (die gedigteks) in verband te
bring met die omgewing en omgewingsverwante probleme. In hierdie opsig sal 'n
benadering wat op geselekteerde tekste in Skakering (Opperman en Coetzee 1991 )
gerig is, beide ondervvysers en leerlinge se verhouding met die natuur aksentueer. In
hierdie artikel word op die volgende gekonsentreer: die omskrywing van
omgewingsopvoeding as verskynsel wat aansluit by die konsep ekologie, In oorsig van
die belangrike en retevante bronne, 'n toeretiese uiteensetting van die konsep
omgewingsopvoedingsbenadering, 'n kortlikse bespreking van bestaande studies wat
aandag gee aan die omgewing en omgewingsopvoeding in die letterkunde, 'n analise
van die inhoud van gedigte wat bepaalde omgewingsopvoedingsprobleme representeer,
en 'n bewustheid van die pedagogiese implikasies vir die onderwyser.Thesis (M.A.)-University of Natal, Durban, 2001.
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Van, Tonder Wessel Johannes Arnoldus. "Die openingsgedig as programgedig." Thesis, 2015. http://hdl.handle.net/10210/14726.
Full text
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Lyons, Jacques. "Ruimte en identiteit na aanleiding van D.J. Opperman se digbundel, Komas uit 'n bamboesstok (1979) = Space and identity pertaining to D.J. Opperman's volume of poetry, "Komas uit 'n bamboesstok" (1979)." Thesis, 2013. http://hdl.handle.net/10413/10654.
Full textAbstract:
Hierdie studie is ʼn ondersoek na die rol wat ruimte en identiteit speel in D.J. Opperman se digbundel Komas uit ʼn bamboesstok (1979). Die studie maak gebruik van ʼn kommunikatiewe benadering wat die leser in staat stel om op ’n geïntegreerde wyse verslag te doen oor die hele proses wat plaasvind tussen die sender en ontvanger, deur middel van die gedrukte teks. Die teoretiese kennis sal hoofsaaklik op Opperman se digbundel toegepas word, asook tekste vanuit die Afrikaanse letterkunde wat daarby aansluit. Hierdie verhandeling sal verder ook klem plaas op hoe Opperman se digbundel sy persoonlike ruimte en identiteit aan die leser oordra, asook hoe die uitbeelding aansluit by die vorming van die identiteit van die leser/mens. Die struktuur van die studie sal bestaan uit vier hoofstukke:
Hoofstuk een is ʼn kort inleiding waarin fokus geplaas word op die navorsing en redes vir die ondersoek. Die hoofstuk sal verder ook die nodige struktuur van die studie uiteensit, asook verskeie sleutelbegrippe wat deel sal vorm van die studie en sal bydra tot die leser se begrip van dit wat in die studie verduidelik of uitgebeeld word.
In hoofstuk 2 word ’n kort oorsig van die Afrikaanse literatuur, met klem op die geskiedenis agter die ontwikkeling van Afrikaanse verhalende literatuur tot en met die publikasie van Opperman se digbundel Komas uit ’n bamboesstok gegee. Daar sal verder ook gekyk word na die literêre veranderings wat plaasgevind het in die Afrikaanse digkuns, met klem op ’n kommunikatiewe benadering tot literatuur, asook ’n Russiese Formalistiese bydrae daartoe. Die eksplisiete en implisiete motiewe en temas wat binne die Afrikaanse literatuur bestaan, en so ook dié van Opperman, sal verken word. Laastens sal twee aspekte, naamlik teorieë verbonde aan ruimte en identiteit, asook hoe die genoemde teorieë sigbaar en/of geïntegreer is in Opperman se digbundel Komas uit ’n bamboesstok (1979) bespreek word.
Hoofstuk drie van hierdie studie verleen aandag aan Opperman as skrywer en legende, asook sy digbundel Komas uit ’n banbloesstok. Klem word geplaas op biografiese inligting van D.J. Opperman en agtergrondsinligting oor sy digbundel Komas uit ’n bamboesstok. ’n Diepgaande bespreking van Opperman se digbundel, d.w.s. die voorblad, die titelblad, kerngebeurtenisse en
figure in Opperman se digbundel, motiewe en temas, geselekteerde gedigte vanuit die genoemde bundel, ensovoorts, sal dan volg.
In die laaste hoofstuk wat deel sal vorm van die studie, hoofstuk vier, sal daar tot ʼn slotsom gekom word en klem geplaas word op hoe Opperman se digbundel Komas uit ’n bamboesstok (1979) bygedra het tot vernuwing in die Afrikaanse digkuns.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.
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Malan, Isabella Cornelia. "Die ekologiese kode in die Afrikaanse poësie." Thesis, 2012. http://hdl.handle.net/10210/6454.
Full textAbstract:
M.A.In Afrikaans poetry, Nature is depicted in terms of the relationship existing among and / or inanimate organisms, i. e. an ecological mode. Man's influence on the environment, features strongly in the poetry of the eighties. The anthology, Groen (J. L. Marais), can be seen as a focal point of this involvement. Chapter one provides an overview of the ecological code in Afrikaans poetry, spanning the time from the First Afrikaans Language Movement up till the seventies. With regard to this period, the different approaches of the poets to Nature are being studied. During this era a decidedly dynamic approach to the subject existed. Nature was initially seen as the idyllic, soothing and was also used as a metaphor for beauty and purity. With time, Nature took on another dimension and came to represent destructive forces. In chapter two, the anthology Groen by J. L. Marais, under discussion in this work, concluding the eighties, Man is called to task, i. e. to protect and nurture the balance in the ecology. Man is made aware of both the threat to and the conservation of nature. These binary forces are discussed with reference to two semantic devices, cohesion and coherence. As binding factors they provide a semantic light on the above themes. Verweerde aardbol by J. L. Marais, is approached along the same lines in chapter three. The specific themes used in this anthology, serve as a classification aid. The poet's concern about the transience of nature comes to the fore, and Marais himself states that the time has come for writers to be called up in service to the environment without being apologetic about it (Marais 1993: 32). A clear paradigm shift is visible from the infant years of Afrikaans poetry to the poetry of the eighties. The "green"-awareness which inflamed / inspired the community, plays an important role in the eighties and is reflected in Afrikaans poetry. The dynamic power of the ecological code as theme, still has many untapped areas which can be explored in further studies.
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Basson, Coenraad Hendrik. "Aspekte van die Afrikaanse poësie van die tagtigerjare." Thesis, 1995. http://hdl.handle.net/10500/18067.
Full textAbstract:
Text in AfrikaansDie Afrikaanse poesie van die tagtigerjare toon 'n ryke verskeidenheid deurdat ouer digters soos Eybers, Breytenbach, Cussons, Stockenstrom en Ernst van Heerden voortdig en 'n groot aantal nuwelinge na vore tree. Hoewel die groep digters die grense van "generasie" ver oorskry, blyk dit dat hulle 'n baie li tererbewuste groep kunstenaars is wie se poesie verskeie gemeenskaplike trekke openbaar. Uit die groot verskeidenheid blyk dat sekere temas, soos pyn, aftakeling, dood, liefde, godsdiens asook sosio-kulturele en politieke aktualiteite steeds as die gewildste onderwerpe figureer. 'n Deel van die studie word daaraan gewy om aan te toon hoe hierdie temas in die jonger Afrikaanse poesie vergestalting vind. 'n Terna wat 'n besliste vernuwende aspek in die Afrikaanse poesie bring, is die homoerotiek. Die groter openheid oor homoseksualiteit gee aanleiding tot eksplisiete homoerotiese verse, veral by Joan Hambidge en Johann de Lange. As gevolg van die terroristiese bedrywighede en militere optrede aan die landsgrense gedurende die sewentiger- en tagtigerjare beleef die Afrikaanse literatuur die opkoms van die sogenaamde grensliteratuur as 'n vernuwende aspek van die tema van oorlog en geweld wat van die vorige dekade af oorspoel. Verder word aandag gegee aan die verskynsel van inter(-)tekstualiteit, wat weens die omvang daarvan in die kreatiewe en beskouende literatuur, perspektiefverandering in die Afrikaanse poesie teweegbring. 'n Verdere vernuwende aspek wat aangetoon word, is die wegbeweeg van die beoef ening van die loss er, vryer versvorm van die sestiger- en vroee sewentigerjare na 'n strenger vormbeheer en - dissipline. Die skryf van 'n meer tradisionele tipe poesie word by verskeie digters aangetoon. Die bydrae van tydskrifte en tydskrifverse tot die Afrikaanse poesie word ondersoek. Saam met die verskyning van talle bundels populere poesie, waar die klem veral op die volkskwatryn, sonnet en limerick val, speel die tydskrifte 'n besondere rol om Afrikaanse poesie vir 'n breer leserspubliek toeganklik te maak. Daar word tot die gevolgt~ekking gekom dat die digters van die tagtigerjare die "demokratisering" van die Afrikaanse letterkunde veel verder gevoer het en dat die reikwydte van Afrikaans daardeur uitgebrei is
The rich diversity of Afrikaans poetry of the eighties is displayed by the fact that many of the older poets, such as Eybers, Breytenbach, Cussons, Stockenstrom and Ernst van Heerden, have continued writing poetry, while a large number of newcomers have appeared on the scene. Although these poets far exceed the "generation" boundaries, they are evidently a very literary-aware group of artists, whose work has a number of traits in common. Certain themes, such as pain, decadence, death, love and religion, as well as socio-cultural and political realities, remain popular topics. Part of this study is to show how these themes are expressed in contemporary Afrikaans poetry. A decidedly new aspect of Afrikaans poetry is homo-eroticism. The more open approach to homosexuality gives rise to explicit homo-erotic poems, especially those of Joan Hambidge and Johann de Lange. As a result of terrorist activities and military action on our borders during the seventies and eighties, Afrikaans literature saw the beginning of the so-called border literature as a renewal of the war and violence theme, a relic from the previous decade. Inter(-)textuality is explored, which, due to its influence on creative and reviewing literature, has brought about a change in the perspective of Afrikaans poetry. A further renewal highlighted, is the moving away from the unstructured and freer verse form of the sixties and early 4 seventies to a stricter, controlled and disciplined form. The more traditional type of poetry written by various poets is discussed. The contribution by periodicals and poems in periodicals to Afrikaans poetry is explored. Together with the numerous volumes of popular poetry published, emphasizing the national quatrain, sonnets and limericks, periodicals play an important role in making Afrikaans poetry more accessible to a broader reading public. The conclusion is reached that the poets of the eighties promoted the "democratization" of Afrikaans literature, thereby extending its influence
Afrikaans & Theory of Literature
D. Litt. et Phil. (Afrikaans)
31
Pauw, Marianne Alet. "Die ouderdommetafoor in die Afrikaanse poësie : 'n kognitiewe ondersoek." Thesis, 2012. http://hdl.handle.net/10210/5422.
Full textAbstract:
M.A.Old age is a universal experience. Poets in general and Afrikaans poets in particular use imagination and metaphor to understand and make sense of the experience of old age and nearing death. To understand one domain of experience in terms of another we need metaphor that unites reason and imagination. Language is based on cognition. According to cognitive semantics we mentally group together similar, but disparate, entities and transformations of image schemas. A conceptual domain consists basically of interrelated entities emanating from universal experiences. The purpose of this study is to give an account of various (mainly cognitive) theories on metaphor and to use the cognitive approach to disclose the main conceptual domains which act as source domains and are projected onto the target domain. The resulting metaphors describe the experience of old age and its physical and psychological infirmities and decay. By analysing various examples of metaphor it is argued that image schemas are different patterns of recurring bodily experiences that emerge from our perceptual understanding of actions and events in the world. The examples illustrate that image schemas/domains do not exist as single entities, but are often linked together to form relationships through different image schemata transformations. The poet as abstract author, but also the reader, creatively and imaginatively recognize a schema in a new situation and contrive metaphorical connections between various conceptual structures. Thus a metaphorical expression links two or more domains of experience. Metaphor is the means by which we project structure across categories to establish new connections. Structure from two or more input mental spaces is projected onto a separate "blended" space, which inherits partial structure from the inputs, and has emergent structure of its own. It is argued that creativity shows rationality and structure. In metaphorical projection, blending from different conceptual domains plays an important role in the process of creating meaning. The examples in this study reveal that metaphors are a reflection of the ecological, cultural and ideological background of the language community. Metaphors based on image schemata for path, time, cycle, container, balance and verticality are discussed by means of examples from the poetry of selected Afrikaans poets. Special attention is given to the works of poets who are themselves experiencing old age. This study arrives at the conclusion that language is inextricably entrenched in our cognitive make-up, as illustrated by the various metaphors conveying the experience of old age. The examples reveal that the path-, cycle- and time domains are the more important source domains for the old age metaphors. The metaphors not only describe the authors' emotions on experiencing old age, but also create emotions in the reader.
32
Bohnen, Rene. "Die gedig as outoëtnografiese konkretisering van 'n spirituele individuasieproses soos vergestalt in geselekteerde gedigte uit 'n blaar hierdie boot (Afrikaans)." Diss., 2010. http://hdl.handle.net/2263/27050.
Full textAbstract:
Hierdie verhandeling bestaan uit die ongepubliseerde manuskrip (gedigte) ʼn blaar hierdie boot, ʼn mini-verhandeling en ʼn tuisvervaardigde CD met ʼn paar gedigte. Die studie bespreek teoretiese terme en begrippe soos outoëtnografie, individuasie en vaslegging (imprinting), uit die vakgebiede van Sielkunde, Sosiologie, Opvoedkunde en Kommunikasiekunde. Die toepaslikheid van hierdie terme ten opsigte van geselekteerde literêre tekste word genoem en geïllustreer aan die hand van spesifieke skrywers. Daar word kortliks gekyk na die verstradisies van Sjina en Japan om die verwantskap met die Afrikaanse gedigte vas te stel. Sogenaamde “close reading” word geteleskopeer op geselekteerde verse uit ʼn blaar hierdie boot. ENGLISH : This dissertation consists of an unpublished anthology of poetry, ʼn blaar hierdie boot and a dissertation of limited scope, together with a home-recorded CD of poems. The study takes stock of theoretical terms and concepts like autoethnography, individuation and imprinting from the disciplines of Psychology, Sociology, Education and Communication. The relevance of these terms regarding selected literary texts is illustrated by the mention of specific authors and poets. A brief view on poetry traditions in China and Japan is offered, to illustrate the relation to Afrikaans poetry in general and the candidate’s poems in particular. So-called close reading is applied to selected poems from ʼn blaar hierdie boot Additional information available on a CD, stored at the Merensky Library on Level 3 CopyrightDissertation (MA)--University of Pretoria, 2010.
Afrikaans
unrestricted
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Eberle, Catherine. "Mediating urban identity : orality, performance and poetry in the work of Koos du Plessis." Thesis, 2002. http://hdl.handle.net/10413/4452.
Full textAbstract:
In this article I examine as mediations of urban experience poems written by Koos
du Plessis. a contemporary Afrikaans poet. together with their musical rendition by
Johannes Kerkorrel. a singer and musician from the Afrikaans altemative music
scene and former member of Die Gereformeerde Blues Band. The poetry was
initially published with musical arrangements in the volume Kinders van die Wind :
En Ander Lirieke (1981) . In order to use this material in an article produced as part
of an English study . I have translated the poetry into English . The translation (in
linguistic and performative terms) of these poems has the dual effect of rendering
them more appropriately for this study, and making them accessible to a wider
audience. I am concemed with the way poems written by a poet from an earlier
decade (the 1980s) interpret and mediate an urban identity and. further. with the fact
that performance not only gives them a new lease of life. but also transforms them
into works which have meaning and appeal for a more contemporary, broader
audience. The fundamental issues addressed in this poetry , namely a response to
and a negotiation of urban (South African) experience. continue to speak
compellingly today.Thesis (M.A.)-University of Natal, Durban, 2002.
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Jansen, Ena. "Elizabeth Eybers Se "Nederlandse" Bundels, 1962-1991." Thesis, 1992. https://hdl.handle.net/10539/25462.
Full textAbstract:
A thesis submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg,
for the degree of Doctor of Philosophy.Since Eybers went to live in Amsterdam in 1961 her poetry has always been simultaneously published in Amsterdam and Cape Town. Nine of her sixteen collections since she made her debut in 1936 can therefore be called "Dutch" in the sense that they have not only been published in the Netherlands, but have also been reviewed there extensively and very positively. She is regarded as a poet belonging to the Dutch literary tradition, and was awarded the highest prize for Dutch literature in 1991. All of this has happened without her losing her South African readership or status as one of the greatest Afrikaans poets. In this study I present an overview of the situation in Holland with regard to the scant acceptance and Jack of knowledge of Afrikaans and of its literature at the time Eybers went to live there. The uniqueness of her Dutch acceptance is analysed against this background. An overview of her Dutch and South African reviews (1962-1992)clearly shows that Dutch reviewers have always been fascinated by the fact that they can understand her work in spite of the fact that Afrikaans is otherwise considered a language from which texts need to be translated into Dutch in order to be readable and marketable. Because Eybers lives in the Netherlands she shares a frame of reference with her Dutch readers. Her language has incorporated many typical Dutch phrases, allowing her poetry to become more accessible and familiar to Dutch readers. Basically,though, she still writes in Afrikaans and South African readers still read and regard her as an Afrikaans poet In her poems - which often describe her state of voluntary exile and In which memories of the vast South African landscape are described - South African readers therefore find much which is familiar to them. Her themes -Iove.Ionellness, ageing, death, estrangement - are universal. In spite of this wide acceptance an in depth study or the particularities of the Eybers Idiolect and fields of reference clearly shows that both sets of leaders are constantly faced with quite severe comprehension problems. I therefore argue that the work of Eybers offers a unique example of "making it strange", the element which the Russian Formalists regarded as the essentiai difference between natural language and poetic language. The "double world" and "go between" language of Eybers result in a blend of intimacy and strengeness which two sets of readers experience in different ways. I argue that particular "ungrammaticalities" make her "Dutch" volumes "doubly poetical". Formalist, reception and semiotic theories are employed in a descriptive explanation of the Eybers phenomenon.
Andrew Chakane 2018
35
Visagie, Jan Andries Gysbert. "Volkspoësie : die bestaan en ontwikkeling van die begrip in Afrikaans, met besondere verwysing na die bydrae van N.P. Van Wyk Louw en D.J. Opperman." Thesis, 1997. http://hdl.handle.net/10500/17816.
Full textAbstract:
Summaries in Afrikaans and EnglishDie term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik!
The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle!
Afrikaans and Theory of Literature
D. Lit. et Phil. (Afrikaans)
36
Botha, Tanja. "Van kubermens tot kuborg: representasies van mens-masjienverhoudinge in die Afrikaanse poesie (1990-2012)." Diss., 2017. http://hdl.handle.net/10500/22688.
Full textAbstract:
In hierdie studie word die manifestasies en ontwikkelings van mens-masjien-verhoudinge in die Afrikaanse poësie vanaf 1990 tot 2012 ondersoek. Relevante uitgangspunte van die fenomenologie, posthumanisme en transhumanisme dien as teoretiese begronding om die gekompliseerde en gevarieerde aard van mens-masjien-verhoudinge in die Afrikaanse poësie te bestudeer. Die studie beoog om deur kwantitatiewe data-analise die manifestasie van tegnologiese terme en verwysings na tegnologiese objekte in Afrikaanse poësie vanaf 1990 tot 2012 te karteer. Hierbenewens word deeglike kwalitatiewe ondersoek gedoen na die verskillende representasies van mens-masjien-verhoudinge in geselekteerde Afrikaanse gedigte. Laastens word rolle en metaforiese betekenisse van digitale tegnologie in posthumane subjekte se belewing op drie tematiese vlakke ondersoek, naamlik liefde en seks, spiritualiteit en die dood.In this study the different manifestations of human-machine relationships in Afrikaans poetry between 1990 and 2012 are investigated. Relevant viewpoints from the phenomenology, posthumanism and transhumanism form part of the theoretical framework in which the often complicated and varied nature of human-machine relationships are studied. It is the goal of this study to map the manifestations of technological terms and references to technological objects in Afrikaans poetry from 1990 to 2012, utilising quantitative data analysis. Furthermore, the in-depth qualitative analysis will investigate various representations of human-machine relationships in selected Afrikaans poems. The roles and metaphorical meanings of digital technology within the experiences of posthuman subjects are investigated on three thematic levels, namely love and sex, spirituality and death.
Afrikaans and Theory of Literature
M. A. (Afrikaans)
37
Maree, Linda. "Taksonomie, taksidermie en diorama : bewaring in die poësie van Johann Lodewyk Marais." Diss., 2015. http://hdl.handle.net/10500/18843.
Full textAbstract:
Text in AfrikaansIn hierdie navorsingsverslag word die omgewingsgerigte poësie van Johann Lodewyk Marais ondersoek. Marais se verskuns word onder meer as “groen”, “omgewingsgerig”, “ekopoëties”, “bioregionaal” en “biogeografies” beskryf en kritici is dit eens dat sy oeuvre ‘n sterk bewaringsingesteldheid vertoon. Marais se eiesoortige bydrae tot die bewaringsdiskoers (deur sowel sy verse as kritiese uitsprake) word hier geëvalueer aan die hand van sekere sleutelkonsepte uit die museum- en bewaringswetenskap wat telkens as metafore in sy poësie figureer: taksonomie, taksidermie en diorama. Saamgelees met Halloran se idee van die teks as argivale ruimte of museum, word hierdie konsepte (naamlik taksonomie, taksidermie en diorama) voorgehou as ‘n leesstrategie waarmee die bewaringsgesinde poësie van Marais gedekodeer kan word.
This research report focuses on the environmental poetry of Johann Lodewyk Marais. His poetry has been described as “green”, “environmental”, “ecopoetical”, “bioregional” and “biogeographical” and critics agree that the oeuvre displays a strong element of conservation and even preservation. Marais’s unique contribution towards this discourse of conservation is assessed by utilising certain key concepts from museology, which frequently manifests in his poetry as metaphors: taxonomy, taxidermy and diorama. Halloran’s notion of the text as archival space or museum, read in tandem with these concepts of taxonomy, taxidermy and diorama, is then presented as a reading strategy for decoding Marais’s poetry.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
38
Landwehr, Selma Louise. "Die korrelasie tussen tematiek en prosodie in die poësie van Wilma Stockenstrom." Thesis, 2014. http://hdl.handle.net/10210/9480.
Full textAbstract:
M.A.Although critics have acknowledged the work of Wilma Stockenstrom and have responded favourably, and although she has received four awards and prizes for her poetry up to the publication of Monsterverse, no all-embracing study of her poetry has been undertaken. Many of the reviews and critical analyses have failed to give proper recognition to her first two volumes of poetry. Consequently the process of development in her work has been largely overlooked, and Monsterverse, although acclaimed, has been assessed as "problematic" and totally "foreign". This study therefore attempts to determine the tendencies which figure in Wilma Stockenstrom's poetry, and examines in particular the iconicity of thematics and prosody as it has developed throughout successive volumes. Most of the themes developed in the later volumes are introduced in her debut work, Vir die Bysiende Leser. Some of the themes explored in this volume, however, lose their significance in later volumes. Although the prosody is still somewhat uncertain in some of the poems, a few poems already suggest her unique and individualistic application of this aspect of style. In this early work it is already apparent that her real power lies in the writing of free verse. She exploits this verse form with rich variety throughout her four volumes. Vir die Bysiende Leser clearly functions as a unit. The intratextuality of the poems is a striking structural aspect of. this work. Unity is also emphasized in the following three volumes, but progressively more attention is given to intertextuality. Stockenstrom's work clearly links up with the intertextual tradition which N. P. van Wyk Louw's Tristia and D.J. Opperman's Komas uit n Bamboesstok have established in Afrikaans literature.