Academic literature on the topic 'De Wet, Reza – Drif'

The dramatic text can be divided into two parts:the dialogue spoken by the dramatic personae; andthe so-called didascalies of the text.The role and functions that didascalies can fulfil in a dramatic text are d emonstrated in a discussion of Reza de Wet’s Diepe grond.

Reza de Wet has more than once referred in interviews to the syncretic relationship she sees as existing in the “long history” between Afrikaner and black cultures. Due to its close association with black African cultures, she claims that Afrikaner culture has fused a belief in mythologies and “magical thinking” with a “European consciousness” (Solberg, 2003:180). This article investigates ways in which some of De Wet’s English translations – as well as her play “Concealment” (De Wet, 2004) – demonstrate the consequences of a fear of this amalgamation; a dread of hybridity. Concurrent with this anxiety is the danger inherent in a repression of desire. In a number of De Wet’s plays it seems that what is cloistered and protected within the purity of family (possibly a metaphor for the Afrikaner people) conceals an incestuous perversion.

Twenty years after the end of Apartheid, violence is still a serious problem in South Africa, despite the prosperity and democratic stability of the state. Sexual violence, in particular, has become a major concern. During the decades of transition, secrets of sexual crimes were disclosed more than ever, and it was made patent that they were intertwined with political violence. Incest thus became a new important fictional theme in South African literature. Actually, the issue was already a tacit burning question for politicians and scientists at the end of the 20th century. Given the racist and eugenist background of the country, incest has long been written in the gothic mode to express White communities’ anxieties, until Doris Lessing, Reza de Wet and Marlene van Niekerk came along. They integrated irony into the gothic and rethought the question of taboo in such a way that it was made available for critical thinking beyond local or racial boundaries. Since the end of the 90s, writing fictions involving incest contributes more than ever to reflect on the possibility or the impossibility of strengthening an extended national community against violence, which I demonstrate through my reading of the novels by Achmat Dangor and of a recent play by Paul Grootboom and Presley Chweneyagae.

Abstract. Mawarni A, Azizah FNN, Sartika HW, Hadisusanto S, Putri DM, Reza A. 2020. Short Communication: Community of Phytoplankton in peatland canal, Riau, and wet dune slacks of Parangtritis, Yogyakarta, Indonesia. Biodiversitas 21: 1874-1879. The ecosystems of peatland canal and wet dune slacks have specific characteristics for phytoplankton community. This study aimed to elaborate on the distribution and abundance of phytoplankton community in peatland canal of Sungai Tohor Village, Meranti Islands, Riau and wet dune slacks of Parangtritis, Special Region of Yogyakarta. Phytoplankton was collected using a 2-L modified Van Dorn water sampler. In peatland, canal phytoplankton was sampled at 3 different locations, each with 5 repetitions. Meanwhile, in wet dune slacks, phytoplankton was sampled at 5 locations, each with 3 repetitions. Phytoplankton samples were filtered with Wisconsin plankton-net 120 mesh and fixed with 3 drops of formaldehyde 4%. The measured physical and chemical factors were air temperature, water temperature, dissolved oxygen, alkalinity, carbon dioxide, pH, depth, transparency, nitrate, sulfate, and phosphate concentration. The results showed that the distribution and abundance of phytoplankton community in wet dune slacks were greater than those of the peatland community. This research found 18 species of phytoplankton in peatland canal, dominated by Synedra acus and 116 species of phytoplankton in wet dune slacks, dominated by Cyclotella meneghiniana.

Thesis (MA)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: This thesis contains the results of an investigation into the elements of the horror story and the Gothic novel in three contemporary works. The investigation was conducted within the theoretical framework of the original historical Gothic novel of the eighteenth century, in comparison with contemporary theorization on the Gothic, with specific reference to the study of Eddy Bertin, and to some extent Hendrik van Gorp and Fred Botting. Four conventions of the Gothic genre were identified, and were applied to an Afrikaans novel and drama, as well as a Dutch novel, to establish to which extent the Gothic manifests itself in these contemporary texts. The study focussed on The night only has one eye (1991) by Francois Bloemhof, Crossing/ Passion (1994) by Reza de Wet and A heart of stone (1999) by Renate Dorrestein. From these texts, which were read within a Gothic framework, it could be deduced that there is a deviation from the conventional Gothic texts within both the Afrikaans and the Dutch texts. This deviation especially occurs with regard to characterization, with specific reference to the female character. The authors use the traditional Gothic characters as a point of departure, but bring about renewal in the texts by making them part of a wider philosophical field. The portrayal of the themes of good versus evil, space and tension, also shows a deviation from the Gothic conventions. An important finding in this study is that the Gothic genre in its pure form can not successfully be traced in contemporary literature. The three texts under discussion show the occurrence of allogamy between the different sub-categories of horror. A further important conclusion is that these three texts cannot be merely categorized as Popular literature because of the renewal it brings regarding the traditional Gothic conventions.
AFRIKAANSE OPSOMMING: Hierdie tesis bevat die resultate van 'n ondersoek na elemente van die gruwelverhaal en die Gotiese roman in drie kontemporêre tekste. Die ondersoek is gedoen binne die teoretiese raamwerk oor die genre van die oorspronklike historiese Gotiese roman van die agtiende eeu, in vergelyking met die hedendaagse teoretisering oor die Gotiek, met spesifieke verwysing na die navorsing van Eddy Bertin, en in 'n mindere mate Hendrik van Gorp en Fred Botting. Vier konvensies van die Gotiese verhaaltipe is geïdentifiseer en toegepas op 'n Afrikaanse roman en drama, asook 'n Nederlandse roman, om vas te stel in watter mate en op watter wyse die Gotiek gemanifesteer word in dié hedendaagse tekste. Die navorsing fokus op Die nag het net een oog (1991) van Francios Bloemhof, Drif (1994) van Reza de Wet en Een hart van steen (1999) van Renate Dorrestein. Dié tekste vertoon al drie duidelik Gotiese kenmerke, maar vertoon daarbyook opvallende afwykings van die tradisionele verskyningsvorme van die Gotiek. Dit geld veral vir karakterisering - meer spesifiek die vroulike karakter en die verhouding tussen die twee geslagte. Die outeurs gebruik die tradisionele Gotiese tipe karakters as vertrekpunt, maar bring vernuwing deur die tekste deel te maak van 'n wyer filosofiese veld. Die tekste se hantering van ander konvensies op die terrein van die tematiese (die goeie versus die bose), ruimte en spanning wyk ook af van die historiese Gotiek. 'n Belangrik aspek wat in die ondersoek na vore kom, is dat die Gotiek as verhaaltipe selde nog in sy suiwer vorm in literatuur aangetref word. Die drie tekste onder bespreking toon in watter aansienlike mate kruisbestuiwing plaasvind tussen die onderskeie sub-kategorieë van die riller. Laastens word daar aangevoer dat die Gotiese en gruwel-elemente binne dié drie tekste op so 'n vernuwende wyse geproblematiseer en uitgedaag word, dat dit nie sonder meer as triviaalliteratuur beskou kan word nie.

The central problem of this thesis is the situation of women in Reza De Wet's dramatic-oeuvre, and their yearning to escape from unacceptable circumstances. Chapter 1 deals with the historical background of the changing position of women in South African history, and indicates De Wet's dramatic oeuvre as the climax of this genre in the eighties. Chapters 2 and 3 deal with the female characters of Vrystaat-trilogie and Trits: Mis, Mirakel, Drif. Within the central problem, this study focuses on an ongoing liberation process which reaches its climax in Trits. Chapter 4 (A Russian trilogy) investigates the inner liberation process of female characters before and after the Russian Revolution, and focuses on their yearning for a better future. The conclusion of this thesis is that De Wet, by making use of concepts like intertextuality and fantasy, succeeded in deconstructing the image of a mythical Afrikaans countryside portrayed in earlier literature. Simultaneously the ongoing theme of an inner liberation takes place in the lives of most of the female characters throughout De Wet's dramatic oeuvre
Afrikaans & Theory of Literature
M.A. (Afrikaans)

Text in Afrikaans
The concepts of parody and pastiche are oftell employed by leading theoreticians to offer definitions of the elusive term "Postmodernism". One is led to conclude that parody and pastiche are direct1y linked to Postmodernism. This is especially valid in the case of pastiche. Indeed, it appears, therefore, that the continllous assumption of the appellation "pastiche" in the Postmodernist discourse could reveal its link to Postmodernism and Postmodernity in general. While parody and pastiche are not new phenomena, the question is why, ill our time, these concepts should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernis! texts. However, an investigation of the studies done on Postmodernist drama/theatre reveals a distinct lack of reflection about the role of parody and pastiche and a disturbing absence of publication on the the subject. This state of affairs reveals a conspicuous delay in terms of theoretical deliberation when compared to other investigat1ve practices, i.e. literary criticism and philosophy. This study, then, is essentially interested in transposing the present emphasis on parody and pastiche found in contemporary literary theory to Postmodernist drama/theatre. The final objective of this study is to explore the impact of the concepts of parody and pastiche on twentieth century drama/theatre and their possible contribution to a better understanding of the elusive term "Postmodemist drama/theatre".
Afrikaans and Theory of Literature
D. Litt. et Phil. (Literature)

This study was prompted and justified by the great number of Afrikaans dramas that were written in the early eighties. A study of the dramas of the past decade ensures the topicality of the undertaking. Not only is the object of this study of current interest, but even more so the subject, i.e. the Christian-religious. The crux of the study is rooted in the three prominent words of the title: manifestation, Christian-religious and eighty. After clarification of these terms a hypothesis could be worded as follows: The manifestation of the Christian-religious (a radical and totalitarian relationship between man and the God of the Bible) within the Afrikaans dramas of the eighties (termed as such because of common dominant entities) would be revealed in different ways to the author of this study. It was also assumed that the Christian-religious, the most determining force in all human activity, would feature in the Afrikaans dramas of the eighties, a product of man's artistic expression. While this study is primarily a literary analysis of the dramatic texts of the eighties, it was assumed that the Christian-religious would embody itself in conventional dramatic literary ways such as the drama tis personae, dramatic time and place, dramatic events, structure and language. However, it was also anticipated that the Christian-religious would be fore grounded in the didascalia. To verify the hypothesis a modus operandi in which the potential theatrical performance of the text was taken into account, would be followed. The term eighty, meaning a literary system, needed explanation before the manifestation of the Christian-religious could be explored. In chapter 2 the conclusion is reached that eighty is an open literary system in interaction with its immediate reality. Because of several common dominant entities, which could be abstracted from the relevant dramatic texts of the eighties, intertextual conversation is possible.
Thesis (MA)--PU vir CHO, 1992

This thesis examines ways in which identities have been represented in new South African play texts. It begins by exploring various ways in which identity has been described from various philosophical, psychological and anthropological perspectives. In particular, the thesis describes its methodology in terms of Gilles Deleuze's definition of "rhizomatic" structures. The introduction also elaborates ways in which drama is uniquely suited to represent ¨C as well as to effect ¨C transformations of identity. The thesis then moves on to an examination of specific texts in terms of four broad areas of investigation ¨C gender, political affiliation, ethnicity and syncretism. In these chapters a number of play texts are investigated from different points of view. Firstly, in a chapter on gender, the thesis focuses specifically on issues of masculinity and exile in plays by Athol Fugard, Anthony Akerman and Zakes Mda. This chapter explores orientations of the masculine which have become embedded within notions of nationalism and patriotism. In terms of political affiliations, the thesis looks at what Loren Kruger has called "post-anti-apartheid theatre" (2002: 233) and considers the trend away from protest theatre. With reference to the plays of Mike van Graan it also examines new forms of protest theatre. This chapter also explores plays which were inspired by the Truth and Reconciliation Commission (TRC) and looks in more detail at Ubu and the Truth Commission by Jane Taylor. When considering ethnicities, the thesis reflects on how identity in terms of an ethnic collective is most often premised on laws of exclusion, and on the construction of what Benedict Anderson refers to as an "imagined community" (1991: 15). Representations of ethnic identities are then analysed in Happy Natives by Greig Coetzee. Syncretism seems to present a preferable description of how South African identities can be constructed and the thesis then elaborates attempts to forge a new identity in terms of amalgamation and a creative fusion of cultural resources, with particular reference to the plays of Brett Bailey and Reza de Wet. In the conclusion of this thesis, the thorny issue of racial identities is considered, and in particular the trope of the "rainbow nation", which many writers regard as a problematic blanketing description which cancels out difference. Instead, Ashraf Jamal's "radical syncretism", which does not seek to subsume heterogeneous identities, is suggested as a viable means of approaching definitions of identity. The final chapter also briefly touches on the development of physical theatre in South Africa and describes how the body can be used as a tool for transformation, relying principally on the writings of Mark Fleishman and Eugenio Barba in this regard. Finally, again resorting to a Deleuzian vocabulary which describes identity as constructed in terms of lines operating on particular planes, the thesis considers whether it may not be more beneficial in the post-apartheid context to favour paradoxical processes which relinquish identities, instead of those which attempt to consolidate them. @ 2008 Author Please cite as follows: Krueger, AR 2008, Experiments in freedom : representations of identity in new South African drama : an investigation into identity formations in some post-apartheid play-texts published in English by South African writers, from 1994 - 2007, DLitt thesis, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-10282008-141823/ > D497/gm
Thesis (DLitt)--University of Pretoria, 2008.
English
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