Academic literature on the topic 'Theses – Afrikaans literature'

Wrestling with identity: some black Afrikaans writersNotions of identity are major themes in black Afrikaans writing. This phenomenon is caused by the imperative for these writers to articulate a particular community's struggles, but is also caused by the critics' inclination to read the coloured community in these texts. This article looks at the constructs of identity in the work of three leading figures: S.V. Petersen, Adam Small and Patrick Petersen. The following trends are identified: adherence to the Afrikaner, Black Consciousness, communality with Afrikaans speakers, identifying with the rainbow nation. The article draws on post-colonial theory and current debates in South African society to evaluate these constructs.

To date literary historians have not reported extensively on the connection between Dutch and early Afrikaans prose texts of the nineteenth century. This paper endeavours to verify definite intertextual links between an Afrikaans prose text, “Die geldduiwel” (1882-1889) by Jan Lion Cachet and two comparable Flemish and Dutch texts, namely De geldduivel (1856) by Hendrik Conscience, and “De familie Kegge” (1839) by Hildebrand. The most important characteristics of nineteenth century Realism serve as basis for comparison. The resemblances extend far beyond the common themes exhibited by these texts and also include the tendency of artistic texts to approximate reality by representing a total and objective view of particular the bourgeois-centered orientation of the prose in general and the representation of a specific society in particular. The paper opens up a perspective on the mode of representation in prose during the period dominated by Realism, and also illustrates and defines the close relationship that existed between nineteenth century Dutch, Flemish and Afrikaans prose art.

South Africans have migrated to New Zealand either deliberately abandoning their country of birth or drawn to New Zealand as a country opening its arms to them to begin a new life. Leaving home means many do wait for their souls to arrive in their newly adopted home. Many have suffered grief and loss, while adapting and settling into a new country and culture. Most of the families that have come to New Zealand are either of English or Afrikaans background. They bring skills needed in New Zealand and while many have readily adapted there are many who have struggled with the change. This paper addresses the issue of culture shock and other associated tensions experienced by South African mi- grants with Afrikaans as their first language. Themes addressed in this article emerged from a review of the literature and in the course of a research project. They represent issues of importance for New Zealand teachers, social workers, counsellors, mental health workers and all who work with migrants.

Quality service delivery to the consumer of health is a legal reality as it is emphasised in the White Paper on the Transformation of Public Service delivery (South Africa, 1997). The guiding philosophy adopted within this framework is that of Batho Pele, which means placing the consumer at the centre of healthcare service delivery. Increasing attention has been paid to hospital processes from a quality perspective. By analogy, outpatient departments can be viewed as industrial plants where technological know-how is transferred to patients through service delivery, which is a cornerstone of a hospital’s business. Outpatients, as consumers of healthcare, draw conclusions about the quality of service delivery based on their experiences of such services. In this vein, an outpatient’s experience of a particular service is an indicator of his/her level of satisfaction with the quality of that service. No South African study can be found in the literature on out-patients’ experiences of quality service delivery. This study’s purpose is to explore and describe outpatients’ experiences of the quality of service delivery at a teaching hospital in Gauteng. A qualitative, explorative, descriptive study that was contextual in nature was conducted to achieve this aim. Focus group interviews were conducted with outpatients who met the selection criteria. Open coding was used to analyse the contents from the transcripts and field notes typed verbatim. Strategies for trustworthiness, namely co-coding, prolonged engagement, triangulation and adequate referencing, were employed to ensure the credibility of the study and research findings. The results reflect themes that were reduced into two main categories, namely positive and negative experiences. The positive experiences reflect outpatients’ experience of their relationship with medical staff and their satisfaction with the quality of medical care. Negative experiences relate predominantly to a lack of service commitments, unethical context, and inter-personal relationship difficulties that render them powerless and dehumanised. Recommendations are made to improve the quality of service delivery at outpatient departments. Opsomming Gehalte dienslewering aan die verbruiker van gesondheidsorg is ‘n wetlike realiteit wat in die Witskrif op die Transformasie van die Openbare Dienste (South Africa, 1997) beklemtoon word. Die rigtinggewende filosofie wat in hierdie raamwerk aangeneem word is die van Batho Pele, wat beteken dat die verbruiker van gesondheidsorg op die voorgrond geplaas word. Vanuit ‘n gehalte perspektief word daar toenemend aandag aan hospitaalprosesse gegee. Analogies, kan ‘n buite-pasiëntdepartement gesien word as ‘n industriële area waar die tegnologiese kennis aan pasiënte oorgedra word deur dienslewering, wat ‘n hoeksteen van die besigheid van ‘n hospitaal is. Buitepasiënte as verbruikers van gesondheidsorg maak gevolgtrekkings oor gehaltedienslewering op die basis van hulle belewenisse van sodanige dienste. In dié opsig, is ‘n pasiënt se belewenis van ‘n bepaalde diens ‘n aanwysing van sy/haar vlak van tevredenheid met die gehalte van daardie diens. Geen Suid-Afrikaanse studie oor buite-pasiënte se belewenisse van gehaltedienslewering kon in die literatuur gevind word nie. Die doelstelling van die studie is om buite-pasiënte se belewenisse van die gehalte van dienslewering by ‘n opleidingshospitaal te verken en te beskryf. ‘n Kwalitatiewe, verkennende, beskrywende studie wat binne ‘n spesifieke konteks plaasvind, is uitgevoer. Fokusgroeponderhoude is gevoer met buite-pasiënte wat aan die seleksie-kriteria voldoen het. Oop-kodering is gebruik om die inhoud van die verbatim getranskribeerde transkripsies en veldnotas te analiseer. Strategieë vir vertrouenswaardigheid, naamlik mede-kodering, verlengde betrokkenheid, kruisvalidasie en voldoende verwysing is toegepas om die geloofwaardigheid van die studie en navorsingsbevin- dinge te verseker. Resultate reflekteer temas wat binne twee hoofkategorieë gereduseer is, naamlik positiewe en negatiewe belewenisse. Positiewe belewenisse reflekteer buite-pasiënte se belewenisse van hulle verhoudings met mediese personeel asook hulle tevredenheid met die gehalte van mediesesorg. Negatiewe belewenisse hou hoofsaaklik verband met ‘n gebrek aan diensleweringverbintenisse, ‘n onetiese konteks, asook interpersoonlike verhoudings-probleme wat hulle magteloos en verontmenslik laat voel. Aanbevelings word gemaak om die gehalte van dienslewering binne buite-pasiënte-afdelings te verbeter.

Close-knitted coherence or iconic ‘co-communicativity’ is an outstanding characteristic of 20th–century poetry, and the oeuvre of Afrikaans poet T.T. Cloete. This characteristic, which has also become a dominant literary reading convention, is not only manifested on the micro- and intermediate textual levels, but also on the macrotextual (on the level of poetry volume construction). In Afrikaans, compared to what has happened in a language like Dutch, relatively vibrant and profound theorising on poetry volume construction has occurred. Raidt’s 1962 dissertation and Strydom’s 1976 thesis serve as two of the landmarks in the Afrikaans literary field in this regard. T.T. Cloete, apparently, has played a mediating role in this theorising process. In this article, an overview was given of the manifestation of ‘co-communicativity’ on the micro-, intermediate and macro-textual levels of Cloete’s own poetry oeuvre. It is viewed as a poetic iconisation of the way in which God makes himself known through the phenomenon of dynamic earthly and cosmic unityin- diversity (as perceived by Cloete). The focus was on characteristic ways of poetry volume construction by Cloete. It is concluded that his poetry oeuvre primarily takes on a series construction character, and that it is provisionally to be divided into three groups of three volumes each – but which, seen as a three-deckered whole, also showed a certain cyclic nature because of the ‘narrative’ it thereby embodies.

Liturgy and Literature � An Autumn liturgy for Easter in the Southern Hemisphere. The aim of this article was to explore possibilities regarding the liturgical inculturation of the Easter liturgy in the Southern Hemisphere. The Easter liturgy originated in the Northern Hemisphere, where it was and is celebrated during Spring with all its concomitant symbolism of new life. That symbolism seems to be lacking in the Easter liturgy in the Southern Hemisphere, where Easter occurs during Autumn. In order to address this issue an interdisciplinary exploration of the themes of both the Easter liturgy and the liturgical ordo was undertaken, as well as a study of Afrikaans poems about Autumn. An example of a liturgy making use of the ecumenical-protestant fourfold order of worship [ordinarium] and enriched with liturgical elements based on the poems studied here as well as some traditions relating to the Easter liturgy [proprium] is presented. As a whole this article serves as an example of how Liturgical Studies can seek alliances with other disciplines in order to address its own questions and for its own purposes.

The purpose of the study was to describe and reflect on the lived experiences of the South African nurses residing and working in the Kingdom of Saudi Arabia. A qualitative, exploratory, descriptive and contextual design with a phenomenological approach was adopted. Data were collected by means of individual interviews and the personal journals of the nurses who met the sampling criteria. The data analysis was done according to Tesch’s descriptive method (in Creswell 1994). The main theme that emerged was one of ‘cultural diversity’. Sub-themes related to the nurses’ religious/spiritual, environmental, emotional/psychological and professional experiences were also identified. A literature control was undertaken to verify the results. Limitations were highlighted, conclusions were drawn and recommendations relating to nursing research, education and practice were made.OpsommingDie doel van die studie was om die lewenservarings van Suid-Afrikaanse verpleegkundiges wat in die Koningkryk van Saoedi-Arabië werksaam en woonagtig is, te beskryf en daaroor te besin. 'n Kwalitatiewe, verkennende, beskrywende en kontekstuele navorsingsontwerp of strategie van ondersoek, vanuit 'n fenomenologiese benadering, is vir die doel ingespan. Data is ingesamel aan die hand van individuele onderhoude met deelnemers wat aan die kriteria vir insluiting by die steekproef voldoen het en persoonlike joernale wat deur hierdie deelnemers bygehou is. Data- ontleding is volgens die beskrywende metode van Tesch (in Creswell 1994) gedoen. Die hooftema voortspruitend uit die navorsing was dié van ‘kulturele diversiteit’. Verdere temas ten opsigte van verpleegkundiges se godsdienstige/geestelike, omgewings-, emosionele/psigiese en professionele ervarings is ook geïdentifseer. 'n Literatuurkontrole is onderneem om die navorsingsbevindinge te verifieer. Beperkings is uitgelig, en gevolgtrekkings en aanbevelings gerig op verpleegkundige navorsing, onderrig en praktyk is gemaak.

Despite the well-documented health benefits of breastfeeding and recommendations by the Department of Health for women to exclusively breastfeed for approximately the first six months of life and continuation beyond one year, a large percentage of South African women do not breastfeed their infants, or only do so for a short period of time. No national South African statistics are available but figures emerging from the attendance of mothers at a baby clinic on the West Rand in Gauteng indicated the following: 64% of the mothers breastfeed up to six weeks, after which the figure rapidly declines to less than 20% at three months (Truter 2007). Several studies have assessed the attitudes of health care personnel towards breastfeeding, but little is known of the type of information given to breastfeeding mothers by private medical practitioners who are the frontline of contact with clients and who may convey information that either promotes or discourages breastfeeding. The following question was thus formulated: With regard to breastfeeding, what are the constraints to breastfeeding in private practice?Therefore, in order to understand the constraints to breastfeeding, the purpose of this study was to assess the breastfeeding information given to pregnant women by health professionals in private practice. The specific objectives of the study were to determine the breastfeeding recommendations made by private health professionals during pregnancy, to describe the management of breastfeeding in the consulting rooms of private medical practitioners, and to describe women’s experiences of breastfeeding in private hospitals. In Phase 1 of the study the population comprised all mothers who attended a support group for new mothers at a private post-natal clinic In Phase 2 the population comprised all mothers who attended a community baby clinic or support group. The sample consisted of all primigravidae who breastfed or attempted to breastfeed in the first six weeks.Purposive convenient sampling, as described by Babbie and Mouton (2002:166), was used in both phases of the study. All participants chose a gynaecologist as the primary care giver and delivered in various private hospitals in Johannesburg. Data were collected by means of an anonymous questionnaire, compiled from national and international literature, as well as personal interviews. Data from the questionnaires were analysed by hand. Descriptive statistics were applied. The interviews were analysed according to the descriptive analysis suggested by Tesch (in Creswell, 1994:155). Themes that emerged were clustered and coded. A co-coder, experienced in the field of qualitative research, assisted with the analysis of the transcripts of the interviews. A literature control was conducted to validate the findings. Ethical considerations were based on the DENOSA Ethical Standards for Nurse Researchers (1998:2.3.2–2.3.4). Themes and sub-themes were identified.OpsommingTen spyte van die goed gedokumenteerde gesondheidsvoordele van borsvoeding en die aanbevelings van die Departement van Gesondheid dat vroue vir ongeveer die eerste ses weke tot een jaar uitsluitlik moet borsvoed, word gevind dat 'n groot aantal Suid-Afrikaanse vroue hul babas nie borsvoed nie, of slegs vir 'n kort tydperk borsvoed. Geen nasionale Suid-Afrikaanse statistiek is beskikbaar nie, maar 64% van moeders wat 'n babakliniek besoek het op die Wes Rand in Gauteng borsvoed steeds op ses weke, waarna die aantal borsvoedende moeders verminder tot minder as 20% op drie maande (Truter 2007). Verskeie studies het die houding van gesondheidspersoneel ten opsigte van borsvoeding bepaal, maar min is bekend oor die tipe inligting wat deur die mediese praktisyn aangebied word. Hierdie praktisyn het eerstehandse kontak met die kliente en mag inligting aanbied wat borsvoeding kan bevorder of belemmer. Die volgende vraag is dus geformuleer: Met betrekking tot borsvoeding, wat is die beperkinge in privaat praktyk?Die doel van hierdie studie was om vas te stel watter borsvoedinginligting deur gesondheidspersoneel in privaatpraktyk aan swanger vroue oorgedra word. Die doelwitte van die studie was om die aanbevelings om te borsvoed te bepaal, om die behandeling en sorg in die spreekkamer van die geneesheer te beraam, en om die vroue se belewenisse van borsvoeding in privaat hospitale te ondersoek. In Fase 1 van die studie het die populasie bestaan uit alle moeders wat 'n ondersteuningsgroep by 'n privaat nageboortekliniek bygewoon het. In Fase 2 was die populasie alle moeders wat 'n ondersteuningsgroep bygewoon het en 'n babakliniek besoek het. Die steekproef het bestaan uit alle primigravidae wat borsvoed of probeer het om te borsvoed gedurende die eerste ses weke.Doelgerigte gerieflikheidssteekproefneming, soos beskryf deur Babbie and Mouton (2002:166), is in albei fases van die studie gebruik. Alle deelnemers het 'n ginekoloog as primêre sorggewer gebruik en het in verskillende Johannesburgse hospitale gekraam. Data is deur middel van anonieme vraelyste, saamgestel uit nasionale en internasionale literatuur, ingesamel sowel as deur middel van persoonlike onderhoude. Data vanaf die vraelyste is deur die navorser ontleed en beskrywende statistiek is toegepas. Die onderhoude is ontleed volgens die beskrywende analise voorgestel deur Tesch (in Creswell, 1994:155). Temas is saamgevoeg en gekodeer.'n Mede-kodeerder was behulpsaam met die ontleding van die transkripsies van die onderhoude. Literatuur is aangewend as kontrole om die bevindinge te valideer. Etiese oorwegings is gebaseer op die DENOSA Etiese Standaarde vir Verpleegnavorsers (1998:2.3.2–2.3.4). Temas en subtemas is geïdentifiseer.

Thesis (MA)-- Stellenbosch University, 2000.
ENGLISH ABSTRACT: The creative component of the thesis deals with Coba, the disillusioned and traumatised wife of a young academic who returns from the Netherlands to her home town, Wellington, where she is confronted with the diary of her grandmother and letters from the local museum. The letters and diary then become an introduction to encounters with different women from the past of her hometown. Recorded in the diary of her grandmother is, amongst other fragments from the past, the remarkable story of the marginalised Martha Solomon(s), a coloured woman of slave descent with little schooling at a mission school in Bovlei, district of Wellington. Through a dramatic sequence of events Martha benefits through her involvement and marriage to a remitted English gentleman, enabling her to eventually donate land for the erection of a schoolbuilding in Wynberg, later known as Battswood College. Writing down and recreating the story of Martha Solomon(s) and her (Martha's) encounter with contemporary women from different social levels, has a salutary effect on Coba. Her home surroundings also contribute to this healing effect. She gains insight and through this manages to cross certain psychological barriers, her "Limit Mountains" - the name of the mountains surrounding Wellington which becomes the main metaphor sustained throughout the story. To date the story of Martha Solomon(s) has remained unexplored in the history of Wellington, and can be regarded as a "little narrative." Parallel to the history of Martha Solomon(s), runs the mainstream history of Wellington of the 1870's, a period in which the first Christian School for Girls was founded by Dr Andrew Murray, Abbie Ferguson and Anna Bliss. To date (2000) the ironic parallel between Abbie Ferguson's dynamic initiatives and Martha's later initiatives in Wynberg to relieve the educational needs of her people, has not been fully explored. By fictionalising and foregrounding the little narrative of Martha Solomon(s), new perspectives on mainstream history are brought to the fore and historic ironies highlighted. The inclusion of letters, fragments from diaries and photo material as part of the text creates a defictionalising illusion. The historic component of the thesis gives, as far as possible, a chronological account of the different versions of the story of Martha and its sources; also of historic events which are fictionalised in Limietberge. Inthe component concerning literary theory an account is given of the meaning of historic trivia in this particular investigation. There is a brief allusion to New Historicism, a view on history which points out the complicated relationship between history and fiction, and the subjectivity of all records of historical events. Certain postmodern techniques are given account of in an otherwise conventional story with a linear sequence of events.
AFRIKAANSE OPSOMMING: Die skeppende komponent van die tesis handeloor Coba, die ontnugterde en getraumatiseerde vrou van 'njong akademikus wat uit Nederland terugkeer na haar tuisdorp, Wellington, waar sy deur die navorsing van haar moeder met die dagboek van haar ouma en ou briewe uit die plaaslike museum gekonfronteer word. Dié briewe en dagboek word die aanknopingspunte vir haar ontmoeting met enkele vrouefigure uit die verlede van haar tuisdorp. Ingeskrewe in die dagboek van haar ouma, is onder andere die merkwaardige verhaal van die gemarginaliseerde Martha Solomons, 'n bruin vrou van slaweherkoms en met geringe skoling aan 'n sendingskool in die Bovlei, distrik Wellington. Die historiese figuur Martha Solomon(s) word deur 'n dramatiese verwikkeling dermate bevoordeel deur haar verbintenis met 'n Engelse edelman wat deur sy familie verwerp is, dat sy in staat is om grond te skenk vir 'n skool wat later ontwikkel in die Battswood Kollege, Wynberg. Die neerskryf en herskepping van dié verhaal van Martha Solomon( s) en van laasgenoemde se ontmoeting met ander vroue uit verskillende sosiale sfere van die tyd, werk mettertyd genesend op Coba in. Hiertoe dra ook die salwende invloed by van haar tuisomgewing. Sy kom tot insig en deurbreek daarmee sekere psigologiese versperrings, haar "Limietberge" - die naam van die berge rondom Wellington wat deurgaans as metafoor gebruik word. Die verhaal van Martha Solomon( s)/Grey het tot dusver min aandag in die geskiedenisoptekening van Wellington gekry, en kan as "kleingeskiedenis"gesien word. Parallel met die kleingeskiedenis van Martha Solomon( s), loop die Victoriaanse hoofstroom-geskiedenis van Wellington van die sewentigerjare van die negentiende eeu; 'n tydperk waarin daar met die eerste Christelike hoërskool vir dogters onder aanvoering van dr.Andrew Murray en die Amerikaners Abbie Ferguson en Anna Bliss begin is. Ingebou in die ondersoek maar nog onontgin, is die ironiese parallelle tussen Abbie se dinamiese inisiatiewe met die uitbou van die Seminarium, en Martha se latere inisiatiewe by die onderwysnood onder haar mense. Deur die kleingeskiedenis van Martha Solomon(s) te fiksionaliseer,word nuwe lig op die hoofstroom geplaas, en historiese ironieë uitgewys. Deur die plasing van briewe, :fragmenteuit dagboeke en fotomateriaal as integrale deel van die teks, word de:fiksionalisering bewerkstellig. Die historiese komponent van die tesis gee sover moontlik chronologies verslag van alle weergawes van die Martha-verhaaJ en sy bronne, asook van historiese gebeure uit die Wellingtongeskiedenis wat in Limietberge gefiksionaliseer is. In die literêr-teoretiese komponent word verslag gegee van die betekenis van die kleingeskiedenis- optekening van die ondersoek, en van die Nuwe Historisisme - 'n siening omtrent geskiedenis wat onder andere die ingewikkelde verhouding tussen geskiedenis en fiksie, asook die subjektiewe aard van geskiedenis-optekening uitwys. Sekere postmoderne tegnieke word in dié afdeling ook uitgewys en verantwoord.

Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This dissertation investigates the increase in Afrikaans novels set in the future at the time of publication in the period after 1999. The following seven Afrikaans futuristic novels were published in this time: Oemkontoe van die nasie (2001) by P.J. Haasbroek, Hotel Atlantis (2002) and Raka die roman (2005) by Koos Kombuis, Miskruier (2005) by Jaco Botha, Die nege kerse van Magriet (2006) by Barend P.J. Erasmus, Horrelpoot (2006) by Eben Venter and Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009) by Louis Krüger. These novels are discussed within the framework of dystopian literature since they all portray a future South Africa that is worse off than it was at the time of the novels’ publication. It is discussed whether the socio-political climate in South Africa after 1999 contributed to the increasing popularity of the dystopian genre in Afrikaans in this time. Dystopian literature in general comments on the present rather than the future. The social commentary in these novels is therefore also discussed. The following aspects of dystopian literature, as identified by critics such as Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent and Brian Stableford, is focused on in the analysis of the seven novels: the typical narrative in dystopian works; the distinction between the classical dystopia, critical dystopia and pseudo-dystopia; the connection between dystopian literature and apocalyptic literature, and common themes within dystopian literature (for example the control of language and the media, history and ecological issues). This dissertation highlights the similarities to as well as differences between the seven Afrikaans dystopian novels and typical dystopian works. It is also discussed how the context of a postcolonial and post-apartheid South Africa makes these novels unique.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die toename van Afrikaanse romans in die tydperk ná 1999 wat ten tyde van publikasie in ʼn toekomstige Suid-Afrika afspeel. Die volgende toekomsromans verskyn in hierdie tyd: P.J. Haasbroek se Oemkontoe van die nasie (2001), Hotel Atlantis (2002) en Raka die roman (2005) deur Koos Kombuis, Miskruier (2005) deur Jaco Botha, Eben Venter se Horrelpoot (2006), Die nege kerse van Magriet (2006) deur Barend P.J. Erasmus en Louis Krüger se Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009). Dié sewe romans word binne die raamwerk van distopiese literatuur bespreek omdat hulle voldoen aan Lyman Tower Sargent se definisie van ʼn literêre distopie: hulle beeld almal ʼn toekomstige Suid-Afrika uit waarin dit slegter gaan as die tyd waarin die romans gepubliseer is. Daar word ondersoek of die sosio-politiese konteks waarin die toekomsromans van ná 1999 verskyn, moontlik ʼn bydrae gelewer het tot die toename van hierdie tipe roman in die tydperk. Toekomsvoorstellings binne distopiese literatuur lewer dikwels eerder kommentaar op die tyd waarin die werke verskyn as op die toekoms. Daar word ondersoek of dit ook die geval is met die Afrikaanse distopiese toekomsromans van ná 1999. Na aanleiding van teorieë rondom distopiese literatuur deur kritici soos Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent en Brian Stableford word daar op die volgende aspekte van distopiese literatuur gefokus in die analise van die sewe romans: die handeling in tipiese distopiese werke; die onderskeid tussen die klassieke distopie, kritiese distopie en pseudo-distopie; die verband tussen apokaliptiese en distopiese literatuur en algemene temas binne distopiese literatuur (byvoorbeeld die beheer van die taal en media, die geskiedenis en ekologiese vraagstukke). In die bespreking word daar gewys op die ooreenkomste, maar ook die verskille, tussen die sewe Afrikaanse distopiese romans en tipiese distopiese werke. Daar word ook bespreek hoe die konteks van ʼn postkoloniale en postapartheid Suid-Afrika ʼn uniekheid verleen aan dié werke.

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.

Thesis (MA)--Stellenbosch University, 2012.
Two separate texts are submitted towards the degree of MA in Creative Writing. The first is this essay, A Reading of Blood Meridian. The second is a novel, The Book of War. Essay The general focus of the essay is the theme of free will in Blood Meridian and the techniques with which the narrative elements of character, story, style and voice are deployed to focus the reader's mind on this theme. The central question: is the meaning, the final message, of Blood Meridian that as individuals human beings lack agency and that as groups they are shackled to a common destiny? The hypothesis is that Blood Meridian contains significant patterns, oppositions and dialectics, designed to place arguments for and against agency in the mind of the reader, but that the book's response to the theme is inherently and structurally ambiguous. Novel The novel was written before the essay. It was written in direct response to Blood Meridian and to the realization that Blood Meridian was a text rooted in history. Like Blood Meridian, The Book of War is based on, grows out of, first person accounts, specifically Stephen Bartlett Lakeman's What I saw in Kaffir-Land (1880) and William Ross King's Campaigning in Kaffirland: Or Scenes and Adventures in The Kaffir War of 1851- 1852 (1853). The novel takes characters devolved from Lakeman and places them in King’s journey through the war. These characters create, around a child called the kid, the social backdrop of a coming of age tale. The novel uses its source texts as a lens through which to view, and tell the story of, the War of The Prophet (Eight Frontier War 1850-53). Readers seeking to answer the question: Why is South Africa a violent society? might find at least part of the answer in the nature of, and the relationships between, English, Xhosa, Dutch, Khoi and Mfengu cultures in the 19th Century.

Thesis (PhD)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: At the start of the twentieth century Afrikaans humour was researched quite intensively. Since then, however, such research has been relatively sporadic and has concentrated on related sub-genres of humour, such as satire, irony and wit. This dissertation investigates anew the phenomenon of humour as manifested in Afrikaans short story texts, from the dual starting points of a current context and of the extensive theoretical studies done by other researchers worldwide. In the process, humour is viewed as a communicative strategy, a combination of codes which writers utilize within a specific socio-political context in order to create humorous effects and elicit resultant reactions from readers. One of the primary aims of this investigation into the codes and strategies employed by Afrikaans writers in the humorous short story genre, is to determine whether they coincide with universal tendencies or whether they have certain unique features. After a broad exposition of the historical background and of the evolution of the continually changing concept humour, attention is paid to theories regarding its nature and effect. The creative interaction between related modi, like comedy, satire, irony, wit, burlesque, travesty, parody, caricature, grotesque, absurd and black humour and their contribution to one's experience of humour are all researched. Initially, the Afrikaans humour-tradition is set against its historical background. Following this, a more detailed investigation considers strategies of humour selected from Afrikaans short story texts from 1884 to 2001. These are selected for their variety of types of humour and according to criteria relating to structure, style and convention. The major emphasis is placed on short stories of the past two decades, in an attempt to measure the era-relatedness of humour and the interaction with the prevailing socio-political context. These various stylistic strategies are contextualized in writers' deliberate attempts to create a humorous outcome. Along with generally universal characteristics - like the interaction of humorous and non-humorous texts, with time-bound trends (in common with other literatures) - it is concluded that the Afrikaans humorous short story is strongly ancho.ed both in relevance and contextuality. Humour remains a vibrant aspect of the Afrikaans short story and, by keeping this tradition alive, it also remains popular with the reading public.
AFRIKAANSE OPSOMMING: Nadat daar aan die begin van die twintigste eeu betreklik intensiewe navorsing oor humor in Afrikaans gepubliseer is, het sedertdien slegs sporadiese studies verskyn oor verwante humormodi soos satire, ironie en geestigheid. Hierdie proefskrif wil gevolglik vanuit 'n huidige konteks, en na aanleiding van die uitgebreide teoretisering en navorsing elders ter wêreld, die verskynsel humor opnuut ondersoek, soos gemanifesteer in Afrikaanse kortverhaaltekste. Humor word in die proses benader as 'n kommunikatiewe strategie, 'n versameling kodes wat skrywers binne 'n bepaalde sosio-politieke konteks aanwend, met die oogmerk om humoristiese effekte te bewerkstellig en bepaalde reaksies by lesers uit te lok. Dié studie wil veral vasstel watter kodes en strategieë Afrikaanse humoristiese kortverhaalskrywers hierby gebruik, of dit ooreenstem met breë tendense elders of eie is aan Afrikaans. Na 'n oorsigtelike uiteensetting van die historiese grondslae en die evolusie van die steeds veranderende begrip humor, word aandag bestee aan teorieë oor die aard en effek daarvan. Die vrugbare interaksie tussen verwante modi soos die komedie, satire, ironie, geestigheid, die burleske, travestie, parodie, karikatuur, die groteske, die absurde en swart humor, asook die bydrae daarvan tot die humorbelewing, word vervolgens ondersoek. Die Afrikaanse humortradisie word eers oorsigtelik histories nagespeur, waarna nadere ondersoek ingestel word na humorstrategieë aan die hand van Afrikaanse kortverhaaltekste wat dateer van 1884 tot 2001, geselekteer op grond van sowel verskeidenheid met betrekking tot die tipe humor as kriteria soos struktuur, styl en konvensie. Die klem val op kortverhale uit die afgelope twee dekades, ten einde aspekte soos die tydgebondenheid van humor en die interaksie met die heersende sosiopolitieke konteks te probeer bepaal. Die verskillende stylstrategieë wat geïdentifiseer is, word in verband gebring met die skrywers se berekende opset om 'n humoristiese uitkoms te bewerkstellig. Naas meer universele kenmerke, soos die wisselwerking tussen humor en erns in dié tipe tekste en tydspesifieke neigings (in ooreenstemming met ander letterkundes), soos die toename in groteske en absurde tipe verhale, word bevind dat die Afrikaanse humor- en humoristiese verhaal sterk kontekstueel veranker is. Humor in die Afrikaanse kortverhaal word steeds op 'n lewenskragtige wyse beoefen deur skrywers en bly gewild by lesers.

Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: Since the sixties many short story collections referred to as ‘eenheidsbundels’ (‘unified volumes’) have appeared in Afrikaans. Especially those collections published since the eighties and nineties prominently display an overall unity suggestive of the greater unity found in the novel. These collections are usually characterised by the recurring appearance of characters beyond the borders of the individual stories and the use of themes and recurring motifs that run through the collection. Sometimes the separate stories within a collection share the same time period or geographical space. The same narrator may also appear throughout the collection. Although the individual stories within a volume may be regarded in isolation (or even published in isolation), they will inevitably be deprived of possible interpretations that would otherwise have been evident in relation to the collection as a whole. As a result, it would seem that the boundary between the short story volume and the novel becomes blurred in these unified collections. The main objective of this thesis is to try to determine whether the short story collections under discussion represent a new genre or subgenre or whether they could possibly constitute a continuation of an existing genre. The point of departure is the suggestion by J.P. Smuts (1989: 23) that the phenomenon is linked to the writers of the sixties’ rebellion against stereotyped literary forms and that these collections appear to represent an intermediate form, something that lies between the traditional short story collection and the novel. Chapter 2 serves as the theoretical foundation of the research: the traditional characteristics of the short story and novel are investigated. Postmodernism as school of thought associated with the problematisation of the boundaries between genres is also investigated. In Chapters 3 and 4 two unified collections from the nineties are analysed: Jaco Botha’s Sweisbril (1999) and S.P. Benjamin’s Die lewe is ’n halwe roman (1999). The purpose of these analyses is to determine the extent to which the extensive unity in these collections can be compared to the unity found in the novel. The secondary goal of the thesis is to suggest (in response to Maritha Snyman’s appeal (2011)) a more suitable Afrikaans name for the study object (“eenheidsbundel”). Neil Cochrane and Nina Botes’s proposed term “kortverhaalsiklus” (“short story cycle”) (2011) is considered, but Andr P. Brink’s reference to “’n soort kortverhaal-roman” (“a kind of short story novel”) finally takes precedence. The conclusion finds that the type of collection under discussion does represent a hybrid intermediary form located somewhere between the traditional short story collection and the novel, a form the development of which was probably influenced by postmodernism. The form seems to be a continuation of the tradition of the short story collection, one that has evolved towards the novel. Cochrane and Botes’s term “kortverhaalsiklus” is rejected in favour of the proposed term “kortverhaal-roman” (with some qualifications). This term can co-exist with terms such as “hibridiese bundel” (“hybrid volume”) or the more vague “eenheidsbundel”. The observation that the term “kortverhaalsiklus” does not convey the hybrid quality of the form, and the fact that Suzanne Ferguson (2003) points out that not all unified volumes are necessarily cycles, was decisive.
AFRIKAANSE OPSOMMING: Van die sestigerjare af het daar verskeie kortverhaalbundels in Afrikaans verskyn waarna literatore as ‘eenheidsbundels’ verwys. Veral di sedert die tagtiger- en ne ntigerjare toon ’n opvallende hegtheid wat selfs aan die groter eenheid van die roman herinner. Hierdie bundels word byvoorbeeld gekenmerk deur karakteroorvleuelings oor die grense van die verskillende verhale heen, die gebruik van oorkoepelende temas en die deurgaanse herhaling van motiewe. Soms deel die verskillende verhale in ’n bundel dieselfde tydvak of geografiese ruimte. Dieselfde vertellende instansie kan ook regdeur die bundel voorkom. Alhoewel die aparte bundelverhale in isolasie beskou (of selfs gepubliseer) kan word, word hulle so van interpretasiemoontlikhede ontneem wat slegs binne bundelverband waargeneem kan word. Dit wil gevolglik voorkom of die grens tussen die kortverhaalbundel en die roman in die eenheidsbundel vervaag. Die hoofdoelwit van hierdie tesis is om te probeer vasstel of die hegte eenheidsbundel van veral sedert die tagtigerjare in Afrikaans ’n nuwe genre of subgenre verteenwoordig en of dit moontlik ’n voortbouing op ’n bestaande genre is. Daar word uitgegaan van J.P. Smuts (1989: 23) se stelling dat die betrokke verskynsel aan die jare sestig se opstand teen geykte liter re vorme te koppel is en dat hierdie bundels ’n tussenvorm is, iets wat tussen die tradisionele kortverhaalbundel en die roman l . Hoofstuk 2 dien as die teoretiese basis van die ondersoek: die algemene kenmerke van die tradisionele kortverhaal en roman word ondersoek. Die postmodernisme as denkrigting wat met die opheffing van genregrense geassosieer word, word ook kortliks ondersoek. In hoofstukke 3 en 4 word twee hegte eenheidsbundels uit die ne ntigerjare breedvoerig bespreek: Jaco Botha se Sweisbril (1999) en S.P. Benjamin se Die lewe is ’n halwe roman (1999). Die oogmerk is om vas te stel in hoeverre die uitgebreide eenheid in hierdie bundels aan die hegte eenheid van die roman herinner. Die sekond re doelwit van die tesis is om, na aanleiding van Maritha Snyman (2011) se pleidooi, ’n meer geskikte benaming vir die studieobjek (“eenheidsbundel”) te probeer voorstel. Neil Cochrane en Nina Botes (2011) se keuse van die term “kortverhaalsiklus” vir die hegter soort eenheidsbundel word bekyk, maar Andr P. Brink se verwysing na “’n soort kortverhaal-roman” geniet voorlopige voorkeur. In die konklusie word bevind dat die bespreekte bundels wel ’n hibridiese tussenvorm verteenwoordig wat iewers tussen die tradisionele kortverhaalbundel en die roman gele is en waarvan die ontstaan en ontwikkeling waarskynlik deur die postmodernisme be nvloed is. Die vorm blyk ’n voortsetting van die kortverhaalbundeltradisie te wees wat in die rigting van die roman ge volueer het. Cochrane en Botes se term “kortverhaalsiklus” word afgewys ten gunste van die voorgestelde term “kortverhaal-roman” (met voorbehoude) wat naas terme soos “hibridiese bundel” en die vaer “eenheidsbundel” sou kon bestaan. Die waarneming dat die term “kortverhaalsiklus” niks oor die romanagtigheid of die hibriditeit van die vorm oordra nie, terwyl Suzanne Ferguson (2003) onder andere daarop wys dat nie alle eenheidsbundels noodwendig siklusse is nie, was hier deurslaggewend.

Thesis (MA)- Stellenbosch University, 2003.
ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled Sirkus (Circus) is presented in which the main character figures as an idiot. It is accompanied by a perspicacious formal essay which maintains the relationship between theory and novel. The essay titled "Die idioot: spieël en skadu" (The idiot: mirror and shadow) reflects on the problematics concerning the representation of the idiot in literary texts. The essay investigates the phenomenon of the idiot in literature according to well-known literary texts presenting idiots. What these texts have in common is that the narrator acts on behalf of a character who does not have the ability nor the will to narrate himself. The problematics is viewed from a thematic as well as writing technique niveaux, according to insights gleaned from literature, philosophy, narratology and psychology. The argument concludes by reflecting on the responsibility of the author and the ethics of creating an effigy of the idiot. The novel Sirkus, (Circus), focuses on an idiot character with webbed hands and feet, Siegfried Landman. It is an exposition of his journey to hell starting on a farm in the Karoo. It takes him through a grotesque urban landscape where he eventually ends up in a circus of freaks. The text starts with the death of Siegfried's father and is in the form of a quest narrative, a quest for the vague image of his uncle Fischer. The tale emanates predominantly from Siegfried's consciousness. During the course of the text he is accompanied by varioius travelling companions who each fmd a voice in the text.
AFRIKAANSE OPSOMMING Ter vervulling van die graad van Magister in Kreatiewe Afrikaanse skryfkunde is 'n roman getiteld Sirkus voorgelê waarin die hoofkarakter 'n idiotefiguur is. Dit word vergesel met 'n verbandhoudende beskoulike werkstuk: "Die idioot: spieël en skadu", wat die vorm aanneem van 'n essay oar die problematiek rondom die representasie van die idioot in literêre tekste. In die werkstuk word die verskynsel van die idioot in die letterkunde ondersoek aan die hand van bekende literêre tekste waarin idiotefigure gerepresenteer word. Hierdie tekste het dit gemeen dat die verteller optree namens 'n karakter wat nie die vermoë óf die wil het om self te vertel nie. Die problematiek word beskou op tematiese sowel as skryftegniese vlakke aan die hand van insigte uit die letterkunde, filosofie, narratologie en sielkunde. Die argument sluit uiteindelik af met 'n besinning oor die skrywerlike verantwoordelikheid en 'n skrywerlike etiek ten opsigte van die uitbeelding van die idioot. Die roman Sirkus fokus op 'n idiote-karakter met gewebde hande en voete, Siegfried Landman. Dit is 'n uitbeelding van sy hellevaart wat begin op 'n plaas in die Karoo en hom voer deur 'n groteske stadslandskap voor hy uiteindelik opeindig in 'n sirkus van fratse. Die teks begin met die dood van Siegfried se vader en is in die vorm van 'n soektognarratief, 'n soektog na die vae beeld van sy oom Fischer. Die verhaal word grotendeels vanuit Siegfried se bewussyn vertel. Hy word deur die verloop van die teks vergesel deur verskeie reisgenote wat elk ook 'n eie stem in die teks verkry.

Thesis (MA)-- Stellenbosch University, 2013.
AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis is ʼn opstel met die titel Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners en die tweede deel is ʼn roman getiteld ʼn Duisend stories oor Johannesburg. Die roman en die opstel hou tematies met mekaar verband. Soos die roman, speel al drie bekroonde werke in Johannesburg af met Afrikaners as sentrale karakters. Die bepaalde historiese konteks waarin elkeen van die drie pryswenners verskyn het, dikteer die invalshoek van die opstel, hoe die werk krities ontvang is, sowel as die rol en waarde wat deur die Afrikaner-instelling daaraan toegeken is. Daar sal verder in die bespreking getoon word watter rol die Hertzogprys in die skepping van die Afrikaner-instelling gespeel het. Die gebruik van die begrip en eienaam “Afrikaner” in hierdie bespreking verwys na die wit, Afrikaanssprekende, Christelike gemeenskap in Suid-Afrika, in die sin dat dit ooreenstem met die (uiters aanvegbare) stelling dat alle wit Afrikaanssprekers saamgevoeg kan word in ʼn organiese “volkseenheid”. Hierdie voorveronderstelling aanvaar ook dat hierdie “Afrikanerdom” tradisionele, konserwatiewe volkswaardes deel, en altyd beskikbaar is vir mobilisering ter wille van gedeelde Afrikaner-belange, soos deur Dan O‟Meara gedefinieer in sy Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). Hierdie kwessies word, onder meer, deur die polisisteemteorie van die Israeliese kultuurnavorser, Itamar Even-Zohar, asook J.B. Thompson se kritiese teorie van ideologie gedoen. Daar word ook na Jacques Rancière se teorie oor “die verspreiding van die waarneembare” (the distribution of the sensible) verwys. Daar word tot die gevolgtrekking gekom dat die Hertzogprys van meet af aan in diens van die Afrikaner-instelling gestaan het en ten spyte van ʼn veranderende ideologiese landskap, ʼn voortgesette rol gespeel het in die daarstelling van die Afrikaner-repertoire. Binne die polisisteemteorie is die “repertoire” die versameling reëls en elemente wat die produksie van tekste bepaal. Die term “instelling” verwys na die faktore wat betrokke is by die instandhouding van die letterkunde as ʼn sosio-kulturele aktiwiteit. Die roman speel af in ʼn klein Johannesburgse hotelletjie, genaamd Mei Villa, in die buurt Belgravia, tydens ʼn uitbarsting van xenofobiese geweld in 2008. Binne ʼn raamverhaalstruktuur fokus die roman op twee karakters, naamlik die ontheemde argitek, Zweig van Niekerk, wat na 40 jaar na Johannesburg terugkeer, asook die hoteleienaar, die bekroonde maar mindere digter, Bosman Hiemstra. Omring deur hotelgaste en personeel met hulle uiteenlopende verhale, soek Zweig van Niekerk tevergeefs na die Johannesburg van sy jeug, terwyl Bosman Hiemstra met ewe min sukses ʼn tweede digbundel probeer skryf. Aan die einde van die boek begin die digter ʼn roman te skryf met sy gas se lewensverhaal as gegewe dalk ook die boek wat die leser pas klaar gelees het.
ENGLISH ABSTRACT: The first part of this thesis is an essay titled Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners (From farm yard to back yard: The depiction of Afrikaners in Johannesburg in three Hertzog Prize winners) and the second part is a novel called ʼn Duisend stories oor Johannesburg (A thousand tales of Johannesburg). The novel and the essay are thematically linked. Like the novel, the three Hertzog Prize winners takes place in Johannesburg with Afrikaners as central characters. The point of departure of the essay is the historical context in which the three literary works were published, the critical reception thereof and what role and value was attributed to it by the Afrikaner institution. The role played by the Hertzog Prize in the creation of the Afrikaner institution will also be discussed. The term “Afrikaner” in this discussion refers to the white Afrikaans-speaking, Christian community in South Africa, in the sense that it correlates with the (highly debatable) contention that all white Afrikaans-speakers can be combined in an organic “volkseenheid”. This use of the term assumes that “Afrikanerdom” also shares traditional, conservative national values, and is always available for mobilisation in service of shared Afrikaner interests, as defined by Dan O'Meara in his Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). To examine these issues, the polysystem theory of the Israeli cultural researcher, Itamar Even-Zohar, as well as J.B. Thompson's critical theory of ideology, will be used. Reference is also made to Jacques Rancière's theory around “the distribution of the sensible”. The conclusion is reached that despite a continuously changing ideological landscape, the Hertzog Prize served the interests of the Afrikaner institution from the very start and played an ongoing role in the Afrikaner repertoire. Within the polysystem theory the “repertoire” is the aggregate of rules and elements which determine the production of texts. The term “institution” refers to the factors involved in the maintenance of literature as a socio-cultural activity. The novel is set in a small hotel, Mei Villa, in the Belgravia neighbourhood in Johannesburg during an outbreak of xenophobic violence in 2008. Within the story structure it focuses on two characters, the displaced architect, Zweig van Niekerk, who returns to Johannesburg after 40 years, and the hotel owner and award-winning, but lesser poet, Bosman Hiemstra. Surrounded by other hotel guests and staff with their own stories, Zweig van Niekerk searches in vain for the Johannesburg of his youth, while Bosman Hiemstra attempts with equal lack of success, to write a second book of poetry. At the end of the book the poet starts to write a novel using his guest's life as material; that could be the book that the reader has just completed.

The democratic dispensation elevated teacher trade unionism to unparalleled and unprecedented levels in the South African education system. The education laws of South Africa recognize teacher unions which meet the South African labor-related requirements. The three powerful teacher unions that recognize and represent thousands of teachers are the South African Democratic Teachers Union (SADTU), the National Professional Teachers' Organisation of South Africa (NAPTOSA), and the Suid Afrikaanse Onderwysersunie (SAOU). These recognized teacher unions represent their members in decision making processes and not teachers who are non-union members. This chapter is based on an in-depth evaluation of extant literature, and further, it is interpretive in approach and employs social justice as the theoretical and conceptual framework.

The democratic dispensation elevated teacher trade unionism to unparalleled and unprecedented levels in the South African education system. The education laws of South Africa recognize teacher unions which meet the South African labor-related requirements. The three powerful teacher unions that recognize and represent thousands of teachers are the South African Democratic Teachers Union (SADTU), the National Professional Teachers' Organisation of South Africa (NAPTOSA), and the Suid Afrikaanse Onderwysersunie (SAOU). These recognized teacher unions represent their members in decision making processes and not teachers who are non-union members. This chapter is based on an in-depth evaluation of extant literature, and further, it is interpretive in approach and employs social justice as the theoretical and conceptual framework.