Dissertations / Theses: 'Theses – Afrikaans literature'

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Rust, Winnie. "Limietberge : die fiksionalisering van die kleingeskiedenisse van enkele vrouefigure van Wellington." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51818.

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

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Barendse, Joan-Mari. "Distopiese toekomsromans in die Afrikaanse literatuur na 1999." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79916.

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

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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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Whyle, James. "A reading of Blood Meridian (Essay) and The Book Of War (Novel)." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20324.

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

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Vosloo, Jan 1934. "Die manifestering van humor in geselekteerde Afrikaanse kortverhaaltekste." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53382.

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

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Uys, Hendrik-Muller. "Die problematiese afbakening tussen sommige kortverhaalbundels en die roman in Afrikaans, aan die hand van geselekteerde tekste." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20201.

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

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Anker, Willem P. P. "Die idioot : spieël en skadu ; Sirkus (roman)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53373.

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

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Kalmer, Harold. "Van plaas tot agterplaas : die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners, en, 'n Duisend stories oor Johannesburg : 'n stadsroman." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85872.

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

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Grobler, Lizette. "Verby Komatipoort? Rasseproblematiek in die Portugees-Afrikaanse reisverhale van Elsa Joubert." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21212.

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Kemp, Christiaan Theodorus. "Skool." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/6894.

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Oosthuizen, Mia Magriet. "'n Polisistemiese ondersoek na veranderinge in die Afrikaanse kinderliteratuur-sisteem sedert 1990." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4252.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: Afrikaans children's literature has long been neglected in the Afrikaans literary polysystem and has been considered inferior by numerous figures, especially litterateurs. The negative effect of this attitude has been a shortage of academic studies on Afrikaans children's literature, the marginalised position of the genre in the Afrikaans literary canon and the absence of a general literary definition of "children's literature". The 1990’s see the dawn of a new democratic era in South Africa and a subsequent revival of the system of Afrikaans children's literature. However, despite this revival and growth, there is still a shortage of dedicated research into this genre. This thesis details the changes in the children's literature system that has occurred since 1990, by way of a polysystemic approach. The polysystem theory, as developed by Itamar-Even Zohar, serves as foundation for this study. Questions around genres, subgenres and problems surrounding the umbrella term "youth literature" are addressed. The age group of the readers of children's book are defined and a general definition of the children's literature genre is formulated. Based on this definition, ten academic studies since 1990, all of which are devoted specifically to children's literature, are identified and discussed. A historical overview of the development of Afrikaans children's literature is presented to support the choice of 1990 in the scope of the literature review. It is shown that the events that lead to the changes since 1990 are generally attributable to the political changes in South Africa that lead to the first democratic election in 1994. These changes in the different social and political systems are related to the changes in the children's literature system. It is further shown that these changes are reflected in the children's book itself, and are discussed in terms of the clear trends that emerge in children's literature and children's books since 1990. These trends are illustrated by an examination of six relevant publications. A literary definition of the term "children’s literature" is presented.
AFRIKAANSE OPSOMMING: Afrikaanse kinderliteratuur is vir lank as die stiefkind in die Afrikaanse literêre polisisteem behandel en is deur verskeie rolspelers, veral literatore, as minderwaardig beskou. Negatiewe gevolge wat hieruit spruit, is onder andere 'n tekort aan akademiese studies oor Afrikaanse kinderliteratuur, die genre se marginale posisie in die literêre kanon en gebrek aan 'n algemene en letterkundige definisie van die term "kinderliteratuur." Teen die 1990's breek daar 'n nuwe era van demokrasie in Suid-Afrika aan en is daar gepaardgaande herlewing in die Afrikaanse kinderliteratuur-sisteem. Ten spyte van hierdie herlewing en groei wat by Afrikaanse kinderliteratuur plaasvind, is daar steeds 'n tekort aan navorsing wat spesifiek oor hierdie genre gedoen word. In hierdie tesis word die veranderinge wat sedert 1990 in die kinderliteratuur-sisteem plaasgevind het, ondersoek aan die hand van die polisisteem-benadering. Die polisisteemteorie, soos ontwikkel deur Itamar Even-Zohar, dien as teoretiese grondslag van hierdie studie. Kwessies omtrent genres, subgenres en probleme rakende die gebruik van die sambreelterm "jeugliteratuur" word bespreek. Die ouderdomsgroep van die kinderboek-lesers word afgebaken en 'n algemene definisie vir die genre kinderliteratuur word geformuleer. Na aanleiding van die algemene definisie van kinderliteratuur word tien akademiese studies geïdentifiseer en bespreek wat sedert 1990 verskyn het en spesifiek handel oor kinderliteratuur. As deel van die motivering vir die gebruik van 1990 as afbakening van die ondersoeksveld, word 'n historiese oorsig oor die ontwikkeling van Afrikaanse kinderliteratuur ook gebied. Daar word getoon dat die gebeure wat aanleiding gegee het tot die veranderinge wat sedert 1990 plaasgevind het, grootliks gekoppel kan word aan die politieke veranderinge wat tot die eerste demokratiese verkiesing in 1994 in Suid-Afrika gelei het. Hierdie veranderinge in die verskillende sosiale en politieke sisteme word in verband gebring met die veranderinge in die kinderliteratuur-sisteem. Daar word ook getoon dat die verskillende veranderinge neerslag vind in die kinderboek. Hierdie veranderinge word bespreek na aanleiding van die tendense wat in die Afrikaanse kinderboek waargeneem kan word. Die tendense word aan die hand van 'n steekproef van 6 kinderboeke geïllustreer. 'n Letterkundige definisie van die genre kinderliteratuur word aangebied.

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Victor, Madri. "Die funksie van 'landskap' binne Lettie Viljoen se roman 'Landskap met vroue en slang'." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52772.

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Thesis (MA)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: Landskap met vroue en slang, Lettie Viljoen's fifth novel, differ substantionally from her previous novel Karolina Feirrera. Landskap met vroue en slang concentrates on the inner processes of the main character rather than a series of external happenings. Because of the fragmentary presentation, wide reference field and many intertexts critics saw the novel as difficult, complex and challenging. It is clear that the title and cover of Landskap met vroue en slang "landscape," emphasize. In my opinion this serve as a point of orientation for the reader. Landscape not only plays an important roll in the text but also functions as a medium to make the text more accessible. With this research I focus on the function of the different landscapes in the novel. Almost all the reviews of Landskap met vroue en slang focus on the input of Nicolas Poussin, a seventeenth century artist, within the novel. On the cover of the novel is an illustration of two landscape paintings of Poussin. The title also call to mind one of Poussin's landscape paintings, "Landscape with two nymphs and a snake". By looking into the sublime landscape paintings of Poussin, one can come to a better understanding of Lena Bergh, the main character's, inner development. In addition to the sublime landscape as found in landscape paintings of Poussin, the domesticated landscape of gardens and parks, and the body as a landscape also plays an important roll to make the text more accessible. Lena's development during her psychological journey is clearly portrayed through her perception of and association with her garden while in parks and cemeteries she is confronted with issues of her past which she has to work through during her psychological journey. She uses bodily metaphors to get a better understanding of the landscape. The opposite also takes place. Lena uses the landscape to get a better understanding of her own changing body and sexuality. Her psychological journey is completed during the autopsy. Furthermore, one can draw interesting conclusions with regards to Lena's development by looking as how the colonel, a character that can be seen as the opposite of Lena, experience the landscape. In my opinion by focusing on landscape readers can gain a better understanding of this challenging and complex text.
AFRIKAANSE OPSOMMING: Landskap met vroue en slang (1996), Lettie Viljoen se vyfde roman, verskil grondig van sy voorloper Karolina Feirrera, deurdat die roman eerder op die hoofkarakter se innerlike prosesse as 'n reeks uiterlike gebeure konsentreer. Dit, tesame met die fragmentariese aanbod en wye verwysingsvelde en intertekste wat deur die teks opgeroep word, het veroorsaak dat die roman deur verskeie resensente as moeilik, kompleks en uitdagend beskou is. Uit die titel en buiteblad van Landskap met vroue en slang is dit duidelik dat "landskap" in hierdie roman vooropgestel word. Volgens my bied die titel en buiteblad 'n oriëntasiepunt vir die leser: landskap speel nie net 'n belangrike rol in die roman nie, maar dien ook as sleutel om die teks te ontsluit. In hierdie ondersoek fokus ek op die funksie van landskap in die roman en probeer sodoende die teks vir die leser meer toeganklik maak. In byna al die resensies oor Landskap met vroue en slang, word gewys op die belangrike rol wat Nicolas Poussin, 'n sewentiende eeuse skilder, binne die roman speel. Op die buiteblad van die roman is 'n afbeelding van twee landskapskilderye deur Poussin. Die titel herinner ook aan een van Poussin se landskapskilderye, Landskap met twee vroue en 'n slang. Deur die sublieme landskapskilderye van Poussin te ondersoek, kan belangrike insigte ten opsigte van die hoofkarakter Lena Bergh se innerlike ontwikkeling verkry word. Behalwe die sublieme landskappe soos dit in Poussin se landskapskilderye voorkom, speel die gedomestikeerde landskap van tuine en parke en die liggaam as landskap ook 'n belangrike rol om die teks meer toeganklik te maak. Lena se ontwikkeling tydens haar psigiese reis word duidelik uitgebeeld in haar persepsie van en omgang met haar tuin terwyl sy in parke en begraafplase met inhoude uit haar verlede gekonfronteer word wat sy op hierdie psigiese reis moet deurwerk. Sy gebruik liggaammetafore om 'n beter begrip van en greep op die vreemde Natalse landskap te kry. Die omgekeerde vind egter ook plaas: Lena gebruik die landskap om 'n beter begrip van haar eie veranderende liggaam en seksualiteit te kry. Haar psigiese reis word voltrek deur haar konfrontasie met die liggaam as landskap tydens 'n lykskouing. Deur verder die landskapsbelewing van die kolonel te ondersoek, 'n karakter wat as keersky van Lena beskou kan word, kan insiggewende kommentaar op Lena se beskouing van die landskap en psigiese reis gelewer word. Deur die verskillende landskappe te ondersoek, kan die leser myns insiens 'n beter greep op hierdie uitdagende en komplekse teks kry.

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Lotter, Jacoba Catharina (Karin). "Die retoriese rol van literêre feeste, met toespitsing US Woordfees en die Amsterdamse Weerwoordfestival." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20063.

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Thesis (MA)-- Stellenbosch University, 2012.
ENGLISH ABSTRACT: The establishment of literary festivals as a type of event that is presented both nationally and internationally has expanded tremendously in recent years, but it has not as yet received the necessary attention to fully understand its impact on and sociocultural function in a host community. This thesis attempts to formulate a working definition for the phenomenon, in order to gain more insight in its sociocultural function and impact in a host community and thus to contribute towards a more substantial discourse on the subject. The hypothesis is firstly that literary festivals come into existence due to specific needs in the host society and secondly that the strategic application of rhetorical strategies have a positive sociocultural impact. It is argumented that literary festivals function according to the principles of Aristotle’s rhetoric, by convincing festival visitors that books, reading, writing, debating and freedom of speech are of great aesthetic, moral and educational value. The eventual aim is to cause festival visitors to show greater appreciation for literary texts, as illustrated by their increased participation in reading, writing and other literary activities. The following theories serve as points of departure: the system theory as expounded by Itamar Even-Zohar, Gerard Hauser’s application of rhetorics to the public sphere, the ritual theories of Victor Turner and Jeremy Boissevain, as well as festival theories by Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch and Michael Kamp. The programmes, festival contents and other relevant texts that form part of two selected literary festivals, i.e. the Stellenbosch University’s (SU) Wordfest (Woordfees) and the Amsterdam Weerwoordfestival, are scrutinised in order to prove that these festivals are strategically constructed to have a persuasive effect on festivalgoers. A festival’s survival and sustainability is determinated by its establishment of a strong own character; good management (also in times of crisis); effective networks; and the persuasion of both target groups and interest groups that supporting the festival is to their own advantage.
AFRIKAANSE OPSOMMING: Die literêre fees, as tipe gebeurtenis wat toenemend nasionaal én internasionaal aangebied word, het tot dusver min aandag van navorsers geniet. Ten einde die sosio-kulturele funksie en krag daarvan in ’n gasheergemeenskap te probeer vasstel en te omskryf, asook om by te dra tot ’n meer omvangryke diskoers oor hierdie fenomeen, word bestaande teorieë oor feeste in die algemeen dus in hierdie studie as vertrekpunt gebruik en aangepas by literêre feeste. Die hipotese is eerstens dat literêre feeste ontstaan in reaksie op behoeftes in die gasheergemeenskap en tweedens dat die aanwending van retoriese strategieë in literêre feeste ’n positiewe sosio-kulturele impak tot gevolg kan hê. Na aanleiding van Aristoteles se uitgangspunte oor die retorika word voorgestel dat die funksie en werking van literêre feeste retories van aard is: Die organiseerders wil feesdeelnemers oorreed dat lees, skryf, debattering en vrye meningswisseling esteties, opvoedkundig en moreel waardevol is, om sodoende ’n groter belangstelling in en deelname aan literêre aktiwiteite te probeer bewerkstellig. Die volgende teoretici se uitgangspunte word veral gebruik: dié van Itamar Even-Zohar oor die sisteemteorie, Gerard Hauser se toepassing van die retorika op ’n openbare sfeer, ritueelteorieë deur Victor Turner en Jeremy Boissevain, sowel as feesteorieë van Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch en Michael Kamp. Deur ’n vergelykende studie van die ruimer konteks, feesprogramme en ander relevante tekste wat deel uitmaak van twee literêre feeste, naamlik die Universiteit Stellenbosch Woordfees en die Amsterdamse Weerwoordfestival, word nagegaan hoe hierdie feeste strategies en oorredend funksioneer deurdat beide literêre én nie-literêre elemente geselekteer (inventio) en gekombineer (dispositio) is om ’n sterker positiewe eventiserende betekenis oor te dra as in die alledaagse lewe. Die gevolgtrekking is dat effektiewe retoriese strategieë sterk afhanklik is van die konteks waarbinne feeste plaasvind. Die voortbestaan en volhoubaarbaarheid van literêre feeste word veral bepaal deur die vestiging van ’n sterk eie identiteit; goeie bestuur (ook in krisisse); doeltreffende netwerke, asook deur die oorreding van beide teikengroepe én belanghebbers dat hulle wen deur die fees te ondersteun.

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Van, den Heever Aletta Jacoba. "Toevalligheid in Ingrid Winterbach se "Die boek van toeval en toeverlaat" : interpretasies van die roman met die fokus op die tema van kontingensie." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4220.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This thesis is a study of Ingrid Winterbach‟s novel, Die boek van toeval en toeverlaat. The premise of the thesis is that a study of the theme of contingency or chance can lead to a heightened insight into the novel. The novel is approached from different perspectives, but in each perspective the way in which the theme of chance is developed in the novel, is illuminated. By way of introduction the history of the term “contingency” in the Afrikaans language and Western philosophy is broadly traced. This is the background to a reading of the novel as a reaction to contingency. This is followed by a reading of the novel from the perspective of the sociology of religion. The focus is on the nominizing function of religion; the role of language in this process and the way in which Helena Verbloem‟s shells become symbol of man‟s search for meaning and order. In the third chapter the novel is read from the perspective of popular science with the focus on the part of chance in the history of evolutionary thought and the way the novel interprets this. A reading of the novel from the perspective of the philosophy of language follows: the arbitrary and contingent nature of language is discussed and the way the novel underlines this, is brougth to the attention. In the last chapter the novel is read from the perspective of literary theory, focusing on the traditional narrative structure and the way in which it is undermined, undermining also in the process a teleological reading of the novel. Following the reading of the novel from these different perspectives, the conclusion is made that Ingrid Winterbach acknowledges contingency and makes it her own to such an extent that she meets Nietzsche‟s criteria for a “brave poet”. She is indeed a brave and poetic novelist.
AFRIKAANSE OPSOMMING: Hierdie tesis is ‟n studie van Ingrid Winterbach se roman, Die boek van toeval en toeverlaat. In die studie word die tema van kontingensie of toeval sentraal gestel. Die roman word dan ook vanuit verskillende perspektiewe benader; binne elkeen word die wyse waarop die toeval as tema in die roman uitgewerk word, duideliker. Daar word eerstens ‟n gebruiksgeskiedenis van die term “kontingensie” in die Afrikaanse taal en die Westerse filosofie gegee. Hiermee word die agtergrond geskets waarteen die roman as reaksie op die kontingensie gelees moet word. Daarna word die roman vanuit ‟n godsdiens-sosiologiese perspektief benader: die rol wat die tradisionele toeverlaat steeds in die hoofkarakter, Helena Verbloem, se lewe speel, word in oënskou geneem. Die fokus val op die nomiserende werking van godsdiens; die rol van taal in hierdie proses en die wyse waarop Helena se skulpe simbool word van die mens se soeke na betekenis en orde. In die derde hoofstuk word die roman vanuit ‟n populêr-wetenskaplike hoek gelees: die aandag word gerig op die rol van toeval in die geskiedenis van evolusionêre denke en die wyse waarop die roman hiermee in gesprek tree. ‟n Taalfilosofiese perspektief kom vervolgens aan die beurt: die arbitrêre en toevallige aard van taal word bespreek en die wyse waarop hierdie idees in die roman teruggevind word, word uitgelig. In die laaste hoofstuk word die roman vanuit ‟n literêr-teoretiese perspektief gelees met die fokus op die tradisionele narratiewe struktuur en hoe die wyse waarop daarvan afgewyk word, ‟n teleologiese lees ondermyn. Na aanleiding van die bespreking van die roman vanuit hierdie verskillende hoeke, word tot die gevolgtrekking gekom dat Ingrid Winterbach die kontingensie erken en haar eie maak en daarom aan Nietzsche se kriteria vir ‟n “brawe digter” voldoen. Sy is inderdaad ‟n brawe en digterlike romanskrywer.

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Smit, Helena. "Postkoloniale terugskrywing : verset teen of verbond met kolonialisme ; Tweespoor (Kortprosa)." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/239.

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16

Hough, Simone. "'n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme, en, Die nalatenis (roman)." Thesis, Stellenbosch : Stellenbosch University, 2010. http://hdl.handle.net/10019.1/4278.

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Thesis (MA)--Stellenbosch University, 2010.
ENGLISH ABSTRACT: Two separate texts are submitted towards the degree MA in Kreatiewe Afrikaanse Skryfkunde. Firstly, a thesis with the title ‘’n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme’, and secondly a novel titled Die nalatenis. The novel and the thesis are thematically related. The focus of the thesis is the ideological character of the Afrikaner cattle as a cultural phenomenon within the context of Afrikaner nationalism. The novel tells the story of a certain family’s fate and their special connection to the breeding of Afrikaner cattle in the Free State. Firstly I need to make it clear that the theme of this thesis was not lightly chosen, but that I do have a personal interest in the material. My uncle and aunt were well-know Afrikaner cattle breeders, each from families who have been renowned for their association with the stud breeding of these cattle for many generations. Since my aunt was an enthusiastic collector of family history, I have since childhood been familiar with the stories about certain family personalities and their love for their cattle. In my version of the stories, and my research on the subject, I wanted to explore the connection between this cattle breed and the Afrikaner culture. I aim to demythologize the histories to a certain extent and give a critical commentary on certain constructions of these histories. To examine these issues, J.B Thompson’s (1990) critical theory of ideology will be used as main theoretical tool. Thompson identifies certain ideological practices and strategies of symbolic construction through which relations of domination are established and sustained in the social world. These concepts will be used to examine the ideological character of the Afrikaner cattle breed as symbolic form and the strategies that were used to establish it as such. Through an analysis of a number of texts I will identify the different meanings and values that were associated with the Afrikaner cattle within the context of Afrikaner nationalism. I will aim to establish if and how these values served to sustain the relations of domination associated with Afrikaner nationalism. The novel tells the story of Ragel, ’n young photographer, who is her late uncle and aunt’s only heir. She inherits the farm and needs to decide what to do with it. She is also the last keeper of a family secret. She and her boyfriend are relocating to London and he has proposed to her. The news of her uncle’s death also triggers the pain of previous losses – especially her own mother traumatic death. Where she sits locked in her darkroom in this liminal state, the larger family saga is played out: the story of the patriarg Rooi Jakob, who blessed the wrong child; of Anna who had to flee during the war with her children and cattle; of Magriet who rejected her younger son and the resulting rivalry between the two brothers, Louis and Jakob; and of course the small love story of Beth and Louis, whose fateful relationship brought everything to a bitter end. The novel is based on the theory that a family photo album can also be a self-portrait in which one can (re)discover oneself.
AFRIKAANSE OPSOMMING: Twee afsonderlike werkstukke word hier ingehandig ter verkryging van die graad MA in Kreatiewe Afrikaanse Skryfkunde. Eerstens, ’n tesis met die titel: “’n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme”. Tweedens ’n roman getiteld Die nalatenis. Die roman en tesis hou tematies met mekaar verband. Die fokus van die navorsing is die ideologiese aard van die Afrikanerbees as gekontekstualiseerde fenomeen gedurende, en ná, die opkoms van Afrikanernasionalisme. Die roman handel oor ’n sekere familie se lot en spesiale verbintenis met die teel van Afrikanerbeeste in die Vrystaat. Ek wil dit graag aan die begin van die betoog stel dat die tematiek van die tesis nie lukraak gekies is as studie-onderwerp nie, maar dat ek ’n persoonlike belang het in die stof waarmee ek hier omgaan. My oom en tannie was bekende Afrikanerbeestelers, elk uit families wat vir geslagte reeds geassosieer is met die stoet teling van dié beesras. Aangesien my tannie ’n entoesiastiese versamelaar van die familiegeskiedenis was, is ek van kleins af bekend met vertellings oor sekere familiepersoonlikhede en hul liefde vir hul beeste. In my weergawe van die verhale, en navorsing oor die onderwerp, wou ek die besondere verhouding tussen dié beesras en die Afrikanerkultuur ondersoek. In hierdie tesis poog ek om die geskiedenis tot ’n mate te ontmitologiseer en kritiese kommentaar te lewer op sekere konstruksies daarvan. Vir dié ondersoek sal J.B Thompson (1990) se kritiese teorie oor ideologie as belangrikste teoretiese gereedskap gebruik word. Thompson identifiseer sekere ideologiese praktyke en strategieë van simboliese konstruksie waardeur magsverhoudinge in stand gehou word in die sosiale wêreld. Aan die hand hiervan sal daar ondersoek ingestel word na die ideologiese aard van die Afrikanerbees as simboliese vorm en die strategieë wat gebruik is om dit te vestig. Deur die analise van enkele tekste sal daar gekyk word na die verskillende betekeniswaardes wat binne die konteks van Afrikanernasionalisme aan die Afrikanerbees toegeken is. Daar sal vasgestel word of en hoe hierdie betekenisse kon dien om die magsverhoudinge wat Afrikanernasionalisme gekenmerk het, te konstrueer en te ondersteun. Die roman vertel die verhaal van Ragel, ’n effens labiele jong fotograaf, wat die enigste erfgenaam is van haar pas oorlede oom en tante. Sy erf die plaas en beeskuddes, en moet besluit wat sy daarmee sal doen. Sy is ook die laaste bewaarder van ’n familiegeheim. Sy en haar kêrel staan op die punt om na Londen te verhuis en hy het haar gevra om te trou. Die nuus van haar oom se dood, die laaste van haar familie, roep vir Ragel alle vorige verliese op – veral ook die traumatiese dood van haar ma. Waar Ragel toegesluit in haar donkerkamer in hierdie liminale toestand verkeer, speel ook die groter familieverhaal homself af: die verhaal van familievader Rooi Jakob wat die verkeerde kind geseën het; van Anna wat in die oorlog moes vlug met haar kinders en beeste; van Magriet wat haar jonger seun verwerp het en die gevolglike wedywering tussen die twee broers, Louis en Jakob; en dan natuurlik ook die klein liefdesgeskiedenis van Beth en Louis, ’n lotsverbintenis wat alles tot ’n bitter einde gevoer het. Die verhaal is gevorm op die teorie dat ’n familie-fotoalbum ook ’n soort selfportret kan wees waarin ’n mens jouself kan (her)ontdek.

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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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Kemp, Christiaan Theodorus. "Deur die sleutelgat : ’n ondersoek na die voyeuristiese elemente in die poesie van Johann de Lange." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/8571.

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Thesis (MA)--University of Stellenbosch, 2000.
Blog by Johann de Lange: http://johanndelange.blogspot.com/
AFRIKAANSE OPSOMMING: Die term voyeurisme hoort normaalweg tuis binne die sielkunde, waar dit dui op 'n seksuele abnormaliteit en afwyking. Hierdie siening stigmatiseer egter die fenomeen voyeurisme as 'n perverse handeling. In die eerste hoofstuk van hierdie studie word 'n poging aangewend om die begrip voyeurisme te verruim. Die voyeurisme wys nie net op 'n seksuele afwyking nie, maar vorm 'n sentrale deel van die eietydse samelewing. Die voyeurisme is dus ook van kardinale belang vir die letterkunde. In hierdie tesis word die voyeuristiese elemente in die poësie van Johann de Lange ondersoek. Aan die hand van tekste uit De Lange se oeuvre word die hipotese getoets dat die voyeurisme 'n voorwaarde vir die letterkunde is. Voorts word daar beweer dat die voyeurisme 'n onmisbare funksie in die skryf-en-lees-proses vervul; dat nie net die digter nie, maar sowel die teks as die leser noodwendig deel in die voyeuristiese handeling. Die letterkunde is dus, volgens hierdie hipotese, te danke aan die perspektiwiese kompleksiteit van die voyeurisme. Om die sprong van die sielkunde na die letterkunde te maak, word daar eerstens aandag bestee aan die werk van die teoretici Jean-Paul Sartre, Jacques Lacan en Michel Foucault en die bydraes wat hulle tot die teoretisering oor persepsie lewer. Voorts word vier gedigte geanaliseer met konsentrasie op aspekte van die voyeurisme soos wat dit in De Lange se oeuvre manifesteer en funksioneer, naamlik: die skilderkuns, die fotografie, die religie en die verhouding tussen vader en seun. Hoewel hierdie tesis uitsluitlik oor die werk van Johann de Lange handel, wil dit 'n gesprek oor die voyeurisme in die Afrikaanse letterkunde tot stand bring.
ENGLISH ABSTRACT: The term voyeurism normally belongs to the field of psychology, where it is used to describe a sexual abnormality and deviation. However, this view stigmatises the phenomenon of voyeurism as a perverse act. In the first chapter of this study the author attempts to broaden the notion of voyeurism. Voyeurism not only indicates sexual deviation, it also forms a central part of contemporary society. Voyeurism is therefore also of the utmost importance in literature. In this thesis the voyeuristic elements in the poetry of Johann de Lange are examined. Using texts from De Lange's oeuvre the hypothesis that voyeurism is a condition for literature is tested. It is further argued that voyeurism fulfils an essential function in the reading and writing process; that, not only the poet, but both the text and the reader inevitably share in the voyeuristic action. Literature according to this hypothesis, has its origins in the perspective complexity of voyeurism. To explain the connection between psychology and literature attention is firstly devoted to the works of the theorists Jean-Paul Sartre, Jacques Lacan and Michel Foucault and the contributions they made on perception. Further four poems are analysed in detail, with emphasis on aspects of voyeurism as they manifest and function in De Lange's oeuvre, namely: the art of painting, photography, religion and the relationship between father and son. Although this thesis deals exclusively with the work of Johann de Lange, it wants to bring about a discussion on voyeurism in the Afrikaans literature.

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Crous, Matthys Lourens. "Die diskoers van Antjie Krog se Lady Anne (1989)." Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/16085.

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Thesis (DLitt)--University of Stellenbosch, 2002
AFRIKAANSE OPSOMMING: Die ondersoek in hierdie studie sentreer random die diskoers in Antjie Krog se sewende digbundel, Lady Anne (1989). Die ondersoekprableem is die vraag na die wyse waarop die diskoers van hierdie teks georden en' geproduseer word. Foucault se teorie oor diskoersanalise word as kritiese werktuig gebruik by die beantwoording van hierdie vraag. Foucault (1981) omskryf diskoers onder meer as die sosiale gebruik van taal gesitueer binne bepaalde kontekste en verbonde aan spesifieke instansies. Volgens Foucault vertoon diskoers 'n innerlike orde of formasie wat argeologies opgediep kan word; dit het 'n regulerende funksie wat nie net betekenis afbaken nie, maar betekenis praduseer in die positiewe sin van die woord (Foucault, 1981). Wanneer hierdie regulerende funksie genealogies ontleed word, blyk dit dat diskoers mag uitoefen deur die meganismes van kennis, waarheid en self (Foucault, 1980), Diskoers artikuleer kennis wat die self die waarheid oor die self toe-eien. Dit roep op sy beurt weer die prableem van vryheid en politieke verset op. Die ondersoek fokus op die volgende vraagstukke random die diskoers in Lady Anne: die diskursiewe patrone in die teks; die beperkinge wat op die diskoers geplaas word (Foucault, 1981); die outeursfunksie soos beskryf deur Foucault (1979); die fiksionalisering van die lady Anne Barnard-geskiedenis aan die hand van die genealogiese benadering (Foucault, 1970; 1972). Daar sal ook ingegaan word op die verestetisering van die politieke diskoers in Suid-Afrika, asook op die kwessie in watter mate daar sprake is van stemgewing aan die Ander. Die sentrale vraagstuk wat ondersoek word, is: wat is die posisie van die wit skeppende vrau in Suid-Afrika en hoe word hierdie posisie ingeskryf in die diskoers van die Afrikaanse letterkunde? In samehang hiermee word gelet op kwessies soos subjektiwiteit, beskrywing van die objek, asook die subjek se posisie met betrekking tot die tradisie waarin sy die teks inskryf.
ENGLISH ABSTRACT: This dissertation centers on the discourse in Antjie Krog's seventh volume of poetry, Lady Anne (1989). The central thesis of the dissertation is to analyse the way in which the discourse of the text under discussion is being ordered and produced. The theoretical approach is based on Foucault's discourse analysis. Foucault (1981) defines discourse as, among others, the social usage of language within specific contexts and as part of specific institutions. According to Foucault, discourse has an internal order or formation which one can reveal by way of an archaeological approach; it also has a regulatory function which not only delineates meaning, but produces meaning in the more positive sense of the word (Foucault, 1981). If one analyses this regulatory function by way of a genealogical approach, it appears as if discourse exercises power over mechanisms such as knowledge, truth and self (Foucault, 1980). Discourse articulates knowledge that the self claims as a particular truth. This calls to mind issues such as the problem of freedom and political resistance. This dissertation focuses on the following issues pertaining to the discourse in Lady Anne: the discursive patterns in the text, the limitations placed on the production of discourse (Foucault, 1981), the author function as used by Foucault (1979), the fictionalization of the history of Lady Anne Barnard by means of a genealogical approach (Foucault, 1970; 1972). Another pertinent issue that will be analysed is the aestheticisation of the political discourse in South Africa, as well as the manner in which a voice is given to the so-called Other. The central issue of this investigation is the following: What is the position of white creative women in South Africa and how is this position being inscribed into the discourse of Afrikaans literature? Concomitantly, issues such as subjectivity, the description of the object, as well as the subject's position within the literary tradition will be analysed.

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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2024.

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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005.
The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images. Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution. I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself. This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.

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Wasserman, Herman 1969. "Postkoloniale kulturele identiteit in Afrikaanse kortverhale na 1994." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51879.

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Thesis (PhD)--Stellenbosch University, 2000.
ENGLISH ABSTRACT: This thesis contains the results of an investigation into constructions of cultural identity in recent works of short fiction written in Afrikaans. The investigation was conducted within the framework of postcolonial literary theory, with specific reference to the work ofHomi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra and Bob Hodge. The conceptual apparatus concerning postcolonial reconstruction of cultural identities in reaction to the discourse of colonialism were applied to certain Afrikaans short stories to establish to what extent these texts could be considered a 'AFRIKAANSE OPSOMMING: Hierdie proefskrif bevat die resultate van 'n ondersoek na konstruksies van kulturele identiteit in onlangse kortverhale in Afrikaans. Die ondersoek is gedoen binne die raamwerk van die postkoloniale literêre teorie, met spesifieke verwysing na die werk van Homi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra en Bob Hodge. Konseptuele apparatuur rakende postkoloniale herkonstruksie van kulturele identiteit in reaksie op diskoerse van kolonialisme, is toegepas op bepaalde Afrikaanse kortverhale om vas te stel in watter mate hierdie tekste beskou kon word as 'n terugskrywing teen die koloniale diskoers van Afrikanernasionalisme en apartheid. Die navorsing het gefokus op tekste wat gepubliseer is na 1994, die datum van die eerste demokratiese verkiesings in Suid- Afrika, maar het ook hul verhouding ondersoek tot sekere literêre tradisies wat hierdie datum voorafgegaan het. Uit die Afrikaanse kortverhale wat gelees is binne 'n postkoloniale raamwerk, is daar tot die gevolgtrekking gekom dat die Afrikaanse letterkunde na 1994 steeds gelees kan word in terme van wat Mishra en Hodge (1994) 'n "saamgestelde postkolonialisme" genoem het, 'n tipering wat volgens Viljoen (1996) toepasbaar was op die Afrikaanse letterkunde van voor 1994. Die kulturele identiteit wat gekonstrueer is in hierdie tekste toon ooreenkomste met die twee momente van kulturele herkonstruksie waarna Hall (1992) verwys, naamlik enersyds 'n strategiese essensialisme van die gekoloniseerde subjek en andersyds 'n gehibridiseerde kulturele identiteit as die gevolg van 'n voortgaande, dinamiese proses van onderhandeling in wat Bhabha (1994) 'n Derde Ruimte genoem het. 'n Diskoers van weerstand teen wat ervaar word as nuwe vorme van kulturele imperialisme, voortspruitend uit 'n breër ontnugtering met wat beskou word as 'n distopiese post-koloniale Suid-Afrika, kon ook afgelei word uit sekere Afrikaanse kortverhale wat sedert 1994 verskyn het. Wat betref 'n hernieude ondermyning van imperialiserende tendense kan hierdie tekste daarom gesien word as 'n voortsetting van die tradisie van weerstand wat die Afrikaanse literatuur dekades lank reeds kenmerk.

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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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Jordaan, Margarethé Maria. "Die representasie van slaafskap in 'Die kremetartekspedisie' deur Wilma Stockenström : die voorstelling van die onvoorstelbare." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51721.

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Thesis (MA)--Stellenbosch Universiteit, 2000.
ENGLISH ABSTRACT: In this study the role played by literature or fiction in historiography is investigated. Firstly, the problem of representing an "objective reality" is outlined, and subsequently applied to the domain of historiography by questioning terms such as "objectivity", "reality" and "truth". Due attention is given to changing perceptions about the nature of history writing. It is indicated that historiography cannot render or recreate the past as something which is present here-and-now and, therefore, that history writing is of necessity always an interpreted and subjectively construed representation of an ephemeral "reality". Against this background the thesis focuses on that part of South African history (slavery) which for a variety of reasons lacks a formalised historiography. It is indicated how the "gaps" created by the failures of formalised historiography can be "filled" by the suggestive power of the literary imagination. Wilma Stockenstrëm's Die kremetartekspedisie (1981) is used to exemplify the above claims by specifically noting how the personal slave experience is described through the literary imagination in Die kremetartekspedisie.
AFRIKAANSE OPSOMMING: In hierdie studie word daar ondersoek ingestel na die moontlike rol wat letterkunde of fiksie kan speel in die geskiedskrywingsproses. As agtergrond word die problematiek rondom die bestaan en voorstelling van 'n 'objektiewe werklikheid' bespreek en uitgebrei na die terrein van die historiografie deur die bevraagtekening van terme soos 'objektiwiteit', 'werklikheid' en 'waarheid'. Daar word aandag geskenk aan verskuiwende persepsies oor die aard van geskiedskrywing en aangedui dat historiografie nooit die verlede teenwoordig kan stel nie en dat geskiedskrywing altyd 'n geïnterpreteerde en subjektief-gekonstrueerde representasie van 'n verbygegane 'werklikheid' is. Teen hierdie agtergrond word daar spesifiek gelet op 'n gedeelte van die Suid-Afrikaanse geskiedenis wat, as gevolg van verskeie redes, 'ontbreek' in formele geskiedskrywing, naamlik slawerny. Daar word aangedui hoe hierdie gapings op suggestiewe wyse deur die literêre verbeelding 'gevul' kan word. Die kremetartekspedisie deur Wilma Stockenstr6m dien as voorbeeldteks om bogenoemde punt te illustreer deur spesifiek te let op die wyse waarop 'n slavin moontlik haar persoonlike ervaring van haar slaafskap sou kon verwoord soos dit in Die kremetartekspedisie deur die literêre verbeelding gedoen word.

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Henn, Maryke. "'n Strukturele en verteltegniese ondersoek na die representasie van die vroulike subjek in Marlene van Niekerk se Agaat." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4248.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This study investigates the representation of the female subject in Marlene van Niekerk’s novel, Agaat (2004). The female subjects, Milla and Agaat, are the focus of this study. Both women are subjected to drastic situations, which not only influence their relationship, but also their respective identities. This turn of events lead up to a power struggle between Milla and Agaat, which eventually gets reversed throughout the course of the narrative. The focus is essentially on the complex structure of the novel, where a prologue and epilogue serve as a framework for the four different story lines, each with its own narrative technique. A number of theoretical approaches will be employed in order to explore the discussion of the female subject. The novel, which is presented throughout by a single narrator, leads the study to concepts such as representation, subjectivity and identity. In an attempt to understand “the other”, the central role of language and mirrors with regard to representation is explored. Van Niekerk’s reinvention and even subversion of the farm novel of the late twentieth century involves ideologies of the Afrikaner such as land and religion, gender, politics and culture. This strategy results in the focus on concepts like subjectivity and identity. Both these processes will be explored in an attempt to gain insight into the characters. Key elements such as displacement, substitution and revenge give momentum to the chain of events in the story and lead up to introspection by both women. It is especially Milla’s terminal illness that induces introspection and preparation, for both Milla and Agaat, towards death. The influence of all these events, Milla and Agaat’s mutual dependence on each other, as well as the way in which they position themselves in the face of death, prompt this study. This study explores the influence of these events on women, the power struggle that developed out of this and the way in which their respective roles are reversed.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die representasie van die vroulike subjek in Marlene van Niekerk se roman Agaat (2004). Daar word gefokus op die twee vroue in die verhaal, Milla en Agaat. Beide vroue word aan ingrypende situasies onderwerp, wat ŉ invloed op hulle verhouding sowel as hulle onderskeie identiteite het. Hierdie gebeure lei tot ŉ magspel tussen Milla en Agaat, wat tydens die verloop van die verhaalgebeure volledig omgekeer word. Die fokus val eerstens op die roman se ingewikkelde vertelstruktuur waarin daar sprake is van ŉ pro- en epiloog as raamwerk waarbinne vier verhaallyne, elk met sy eie verteltegniek, gebruik word. ŉ Verskeidenheid teoretiese uitgangspunte word nagegaan ten einde die representasie van die vroulike subjek te ondersoek. Die roman, wat deurentyd uit die perspektief van een verteller aangebied word, lei die studie na ondersoekterreine soos representasie, subjektiwiteit en identiteit. Die sentrale rol van taal en spieëls ten opsigte van representasie en in die poging om die “ander” te kan verstaan, word nagegaan. Van Niekerk se herskrywing van die plaasroman in die laat twintigste eeu betrek op subtiele wyse die ideologieë van die Afrikaner rondom grond en religie, gender, politiek en kultuur. Dit lei tot die fokus op subjektiwiteit en identiteit. Beide hierdie prosesse word in die studie ondersoek ten einde begrip vir die karakters te probeer vind. Elemente soos verplasing, plaasvervangerskap en vergelding gee stukrag aan die verhaalgebeure en lei tot besinning by albei vroue. Dit is veral Milla se terminale siekte wat aanleiding gee tot bestekopname en voorbereiding op die dood. Die invloed van al dié gebeure en hoe twee vroue wat op mekaar aangewese is, hulleself posisioneer ten opsigte van die dood, gee aanleiding tot hierdie studie. Die studie onderneem om ondersoek in te stel na die invloed van gebeure by beide vroue, die magspel wat hieruit ontwikkel en hoe die rolle stelselmatig omruil in die verhaalgebeure.

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Bezuidenhout, Zandra. "Sosio-literêre perspektiewe op die eietydse digkuns van vroue in die Afrikaanse en Nederlandse taalgebiede." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50451.

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Thesis (PhD)-- Stellenbosch University, 2005.
ENGLISH ABSTRACT: A study of poetry by six contemporary women in the Afrikaans and Dutch-speaking worlds points toward a multi-focal approach. While texts by poets of a marked diversity are presented as aesthetic objects, the scope of my research has been determined by considerations of gender, language and culture. The central line of investigation concerns the interplay between the poem as an artefact and the changing socio-cultural contexts by which the respective poets have been informed. My dissertation was inspired by Pierre Bourdieu's argument in favour of a fusion between the close reading practices of the New Critics (and in this case, their Dutch counterparts, the Merlinists) and the contextual approach advocated by literature sociologists. Concomitantly the art philosophical standpoint of Marcia Eaton and the views on the écriture féminine or "women's style of writing" held by Helene Cixous are applied to poetry. By incorporating insights from adjacent disciplines and thereby decentering the relative autonomy of the poetic text, I hope to demonstrate how the study of literature could acquire new relevance, either by expanding its own parameters, or by enriching the field of cultural and gender studies. In conclusion I regard the poetry written by contemporary women as a polyphonic discourse voicing women's newly-found position as subjects and challenging notions such as a monolithic "female identity" and the marginalization of "women's poetry". From this perspective, the aesthetic value of the poetic genre is paralleled by its function as a source of knowledge and a cultural agency.
AFRIKAANSE OPSOMMING: 'n Ondersoek na die poësie van ses eietydse vroue in die Afrikaanse en Nederlandse taalgebiede veronderstel reeds 'n multifokale invalshoek. Nie alleen word tekste van uiteenlopende digters as estetiese objekte aan die orde gestel nie, maar staan oorwegings soos geslag, taal en kultuur sentraal by die afbakening van die ondersoeksterrein. Daarby vorm die wisselwerking tussen die gedig as artefak en die veranderende sosio-kulturele konteks die riglyn van die betoog. Pierre Bourdieu se aandrang op 'n fusie tussen die stipleesmetode van die New Critics (in Nederland nagevolg deur die Merlinisten) en die kontekstuele benadering van literatuur wat deur literatuursosioloë voorgestaan word, het as aanset tot hierdie studie gedien. Terselfdertyd word die kunsfilosofiese standpunte van Marcia Eaton en die siening van Héléne Cixous omtrent die écriture féminine ("vroulike skryfwyse") op die poësie betrek. Deur insigte uit naasliggende dissiplines te betrek en die outonomie van die poësieteks te relativeer, wil die ondersoek aantoon dat literatuurstudie 'n nuwe relevansie verkry wanneer die parameters van die vakgebied versit, of kultuur- en genderstudies daardeur verryk word. Uiteindelik beskou ek die digkuns van eietydse vroue as In polifoniese diskoers waarin vroue op uiteenlopende wyses stem gee aan hul nuutverworwe subjekposisie, en wat daarmee die nosie van In monolitiese "vroulike identiteit" en dié van "damespoësie" as afsonderlike en gemarginaliseerde kategorie dekonstrueer. Naas die estetiese waarde daarvan, verkry die poësie uit hierdie perspektief ook In nuts- of instrumentele waarde as 'n alternatiewe bron van kennis en In kultuurskeppende agens.

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Foster, Petronella Hermina 1980. "Marginale en liminale karakters in die werk van Lettie Viljoen/Ingrid Winterbach : sosiale kommentaar en die ondermyning van grense." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/50010.

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Thesis (MA)--Stellenbosch University, 2004.
ENGLISH ABSTRACT: In this thesis the possibility of reading the work of Lettie Viljoen/Ingrid Winterbach as extensive social commentary and criticism on a conformist, normative South African society, is investigated. This investigation will be conducted with the aid of theories about marginality and liminality. In an attempt to determine whether Viljoen/Winterbach's work can indeed be read as social commentary and criticism, a number of characters from her whole oeuvre are classified as either marginal, liminal or a combination of both these characteristics. The concepts marginality and liminality are described in chapter 1. In chapter 2 the classification system on which this investigation is built, will be discussed and attention will also be given to problems with the classification system (and problems with classification systems in general). In chapters 3 to 5 Viljoen/Winterbach's work will be discussed, with a chapter devoted to each of the following broad categories: marginal characters (the homeless, the proletariat, the mentally retarded and the insane), characters who are both marginal and liminal (mystics) and liminal characters (fortune tellers, temporary intermediaries, shamans and tricksters). The salient points will be gathered together in the conclusion.
AFRIKAANSE OPSOMMING: In hierdie verhandeling word die moontlikheid ondersoek om die werk van Lettie Viljoen/Ingrid Winterbach te lees as uitgebreide sosiale kommentaar en kritiek op 'n konformistiese, normatiewe Suid-Afrikaanse samelewing. Hierdie ondersoek sal verrig word aan die hand van teorieë omtrent marginaliteit en liminaliteit. In 'n poging om te bepaal of Viljoen/Winterbach se werk wél as sosiale kommentaar en kritiek gelees kan word, word 'n aantal karakters uit haar hele oeuvre geklassifiseer as marginaal, liminaal, óf 'n kombinasie van beide hierdie kenmerke. Die konsepte marginaliteit en liminaliteit word in hoofstuk lomskryf. In hoofstuk 2 word die klassifikasiesisteem waarop hierdie ondersoek berus, bespreek en word daar ook aandag geskenk aan probleme rondom die klassifikasiesisteem (en rondom klassifikasiesisteme in die algemeen). In hoofstukke 3 tot 5 word Viljoen/Winterbach se werk bespreek, met 'n hoofstuk afgestaan aan elkeen van die volgende breë kategorieë: marginale karakters (haweloses, die proletariaat, swaksinniges en gekke), karakters wat sowel marginaal as liminaal is (mistici) en liminale karakters (sieners, tydelike bemiddelaars, sjamane en trieksters). Die hoofpunte word byeengebring in die samevatting.

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Smith, Mathilda C. (Mathilda Cecilia). "Die reise van Isobelle (1995) van Elsa Joubert : reise deur 'n eeu Suider-Afrikaanse geskiedenis." Thesis, Stellenbosch : Stellenbosch University, 1998. http://hdl.handle.net/10019.1/55863.

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Thesis (MA)--Stellenbosch University, 1998.
ENGLISH ABSTRACT: Elsa Joubert initially acquired her reputation for her travel writing which is mainly about Africa during the fifties. In her texts she not only focusses on the curiosities and visually attractive sites of the countries she tours, but also conveys her extensive knowledge of the history and her special interest in the intimate human aspects of the people. Ons wag op die kaptein (1963) established her name as startling novelist of Southern-African themes. Missionaris (1988) and Die reise van Isobelle (1995) are based on identifiable SouthernAfrican historical information and subtly place historiography under scrutiny. In these texts Joubert thematizes and problematizes historiography, which she finds lacking in its ability to convey a true representation of events. Photo's, recorded visions or other images of an experience of reality still only remain representations of that "reality". Through the process of fictionalization (as in a novel) "a truth" comes to the light, but at the same time the one-sided and relative nature of canonised history is exposed. Through this critical glance at the status quo and canonised white history, which originated under the pressure of anti-colonialism, Joubert has sided with writers such as Jan Rabie and Andre P. Brink in their opposition to Apartheid and desire to contribute toward the constitution of a new South-Africa. In Die reise van Isobel/e Joubert comments, through the use of characters in a family cronicle, on the manner in which people are affected and shaped by their context. The author, through the use of Leonora as sceptical narrator, focalisator and manipulator, ironises for example the steadfast convictions of the patriotic Josias and Agnes, and thereby confers a critical view of politicalideological problems. The romance between Belle, as group bound Afrikaner girl, and the interesting foreign Indian Hussein Badir, which ends in his death, illustrates the discord when racist prejudice clashes with personal experience. Leo serves as a model of freedom and hope which coincides with detachment from conventional political convictions. Different kinds of journeys can be identified in coherence with the characters, e.g. physical, literal journeys, religious journeys and political journeys. The family chronicle eventually becomes an example of Afrikaner society's emancipation or journey from a patriarchal to a free independent way oflife.
AFRIKAANSE OPSOMMING: Elsa Joubert het aanvanklik bekendheid verwerf vir haar reisverhale oor veral Afrika uit die vyftigetjare. Sy is in die tekste nie slegs toeristies ingestel op die wetens- en besienswaardighede van die Iande wat sy besoek nie, maar toon, naas 'n omvattende kennis van die geskiedenis, ook aandag vir die intiem menslike doen en late. Ons wag op die kaptein (1963) het haar naam gevestig as opspraakwekkende romanskrywer oor Suider-Afrikaanse temas. Ook Missionaris (1988) en Die reise van Isobelle (1995) is op herkenbare gegewens gebaseer en plaas geskiedskrywing op 'n subtiele manier in die soeklig. In hierdie tekste tematiseer en problematiseer Joubert die geskiedskrywing, wat volgens haar tekortskiet om 'n oortuigende beeld te gee. Foto's, opgetekende visioene of andersoortige weergawes van 'n werklikheidsbelewing bly steeds representasies. Deur die_ proses van fiksionalisering (soos in 'n roman) kom minstens "'n waarheid" aan die lig, maar dit bevestig terselfdertyd die eensydige en relatiewe aard van die gekanoniseerde geskiedenis. Deur hierdie kritiese blik op die status quo en die gekanoniseerde wit geskiedenis, wat onder andere weens die druk van die anti-kolonialisme ontstaan bet, sluit Joubert haar aan by skrywers soos Jan Rabie en Andre P Brink se opposisie teen Apartheid en versugting om by te dra tot die totstandkoming van 'n miwe Suid-Afrika. In Die reise van lsobelle lewer Joubert, deur die gebruik van karakters in 'n familiegeskiedenis, kommentaar oor die wyse waarop mense geraak en gevorm word deur bulle konteks. Die skryfster ironiseer deur die gebruik van Leonora as skeptiese verteller, fokalisator en manipuleerder, byvoorbeeld die vaste oortuigings van die patriotiese Josias en Agnes en gee sodoende 'n kritiese blik op polities-ideologiese vraagstukke. Die liefdesverhouding tussen Belle as groepsgebonde Afrikanermeisie en die vir haar interessant-vreemde Indiese Hussein Badir wat op sy dood uitloop, illustreer die tweespalt wanneer rassistiese vooroordele bots met eie ervaring. Leo dien as voorbeeld van vryheid en hoop wat gepaardgaan met die losbreek uit konvensionele politieke oortuigings. Verskillende soorte reise kan in samehang met die · karakters onderskei word, naamlik fisiese, letterlike reise, geestelik-godsdienstige reise en politieke reise. Hierdie familiegeskiedenis word uiteindelik eksemplaries van die Afrikanersamelewitig se emansipasie of reis van 'n patriargale tot 'n vrye, onafhanklike tipe leefwyse.

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29

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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Klopper, Annie Elizabeth. "Die opkoms van Afrikaanse rock en die literêre status van lirieke, met spesifieke verwysing na Fokofpolisiekar." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2201.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009.
The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.

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Rheeder, A. O. I. "Bitterkomix : teks, konteks, interteks, en die literere strokies van Conrad Botes en Anton Kannemeyer." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/930.

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Thesis (M.Phil) -- University of Stellenbosch, 2000
230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner.
ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine, for nearly a decade in South Africa. These comics are a structured satyrical attack on the South African and specifically Afrikaans culture. Both artists employ different narrative strategies to convey their sometimes shocking message. The reaction on their writing and drawing shows an unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix has drawn very little academic attention. This unwillingness is a product of the modernist approach to the comic as "low" literature. Modernists didn't regard comics as worthy material for critical analyses. The literary paradigm shift towards popular culture, and therefore comics, and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach towards this previously ill-treated art form. This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African underground comics magazine. As a backdrop the study looks at the development of comics in general, as well as the changes that took place in the traditional approach strategies to the modem comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how Bitterlwmix functions as an underground comic in the changing South African society. The writers draw upon methods and strategies used by underground comix artists in the United States during the sixties. Their specific employment of the drawing styles and narrative contents of artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative strategies gives Bitterlwmix a literary value that requires an academic approach.
AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is 'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae" literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk. Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n akademiese benaderingswyse vra.
Instituut vir Navorsingsontwikkeling van die Raad vir Geesteswetenskaplike Navorsing

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Hough, Lucelle. "Taal en kulturele identiteit in Mamma Medea van Tom Lanoye (2001) en Antjie Krog (2002)." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20134.

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Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This study examines the construction of cultural identity in Mamma Medea by Tom Lanoye (2001) and it’s translation by Antjie Krog (2002) by employing various theories as well as exhausting binary oppositions, and analysing the way it relates to the difference in language use between the conflicting individuals and groups in the drama. Mamma Medea is based predominantly on two versions of the Greek myth of Medea and her shocking tale of infanticide in order to wound her deceitful spouse, Jason. It follows the long tradition in literature and art wherein Medea is used to comment on the subjugation and oppression of women and non-dominant groups, as well as on the formation of the Other. Lanoye uses the details of the Ancient account, but broadens the spectrum to include commentary on contemporary themes in order to seek an alternative motivation for her premeditated infanticide. The drama does not stay within the details of the intertexts, however, and is altered so that both Medea and Jason each kill one of their children. A context-relevant approach is followed to examine how Lanoye’s drama challenges modern myths surrounding cultural identity in the Flemish-Dutch context. The latter interpretation is warranted by linking Flemish en Dutch with the groups in the drama, in accordance with the real language tension between the two language regions. In contrast to this Krog makes use of much more dialectal forms of Afrikaans reflecting the multicultural and multilingual South-African context. Her translation is not studied from a purely translational, theoretical perspective, considering that the focus of the study is on differences in cultural identity and on the differences in context wherein the respective drama and translation is produced.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die konstruksie van kulturele identiteit in Mamma Medea van Tom Lanoye (2001) en in die vertaling daarvan deur Antjie Krog (2002) aan die hand van verskeie teorieë, asook met behulp van binêre opposisies, en analiseer die wyse waarop dit onder meer saamhang met die verskille in taalgebruik tussen konflikterende individue en groepe in die drama. Mamma Medea ontgin veral twee weergawes van Griekse mites oor Medea, wat haar twee seuns op skokkende wyse vermoor om haar verraderlike eggenoot, Jason, leed aan te doen, in aansluiting by ’n lang tradisie in die literatuur en kunste waarin dié figuur veral gebruik is om kommentaar te lewer op die uitbuiting en onderdrukking van vroue en nie-dominante groepe, asook die formasie van die die Ander in verhoudinge. Lanoye verruim in sy drama die onderwerp van die konvensionele huweliksdrama en betrek hedendaagse kwessies ten einde ’n geldige eietydse motivering te verskaf vir Medea se optrede. Hy wyk onder meer doelbewus af van die brontekste deurdat hy Medea en Jason elk ’n seun laat vermoor. ’n Gemeenskapsrelevante benadering word gevolg om na te gaan hoe Lanoye se drama in die proses moderne mites rondom kulturele identiteit uitdaag binne ’n Vlaamse-Nederlandse konteks. Laasgenoemde interpretasie word ondersteun deur onderskeidelik Vlaams en Nederlands te verbind met die hoofgroepe in die drama, in ooreenstemming met reële taalspanninge tussen die twee taalgebiede. Hierteenoor maak Krog van veel meer dialektiese taalvorme gebruik in aansluiting by die multikulturele Suid-Afrikaanse konteks. Haar vertaling word nie soseer vanuit ŉ vertaalwetenskaplike perspektief nagevors nie, aangesien die hooffokus val op sowel die verskille in kulturele identiteit as op verskille rakende die konteks waarin onderskeidelik die drama en die vertaling geproduseer is.

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Feng, Lei. "Two English translations of the Chinese epic novel Sanguo yanyi : a descriptive and functionalist study." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71732.

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Thesis (PhD)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: This comparative study investigates the English translations of China’s first novel, Sanguo yanyi. The focus is firstly on describing the factors that affect the production of each of the translations and secondly on identifying and determining the approaches and strategies used by the two translators. The primary objective of the study is to gain a better understanding of literary translation between two distinctly different languages by objectively describing and analyzing the factors relevant to the production of the two translations. The secondary objective is to evaluate the two translations by using the functionalist approach to translation. To this end, the study determines which of the two translations better serves the purpose of providing South African students of Chinese with insight into and appreciation of some aspects of Chinese culture which would enhance their Chinese studies. The key theories and models that are introduced and applied are Descriptive Translation Studies (DTS), which was mainly established by Gideon Toury in the 1980s and the Functionalist Approach, which was established by Vermeer and Reiss also in the 1980s and further developed by Nord. DTS focuses on pragmatic aspects, such as social, cultural and communicative practices instead of only on linguistic units. Within this framework, decisionmaking processes and translational norms of the two translators of Sanguo yanyi are examined. Three representative chapters of the source text and their translations are selected as the focus of the investigation. Furthermore, a description of the entire translation process is provided – from the translators’ original planning and agents acting as patrons of the project to the approaches and strategies that the translators are considered to have adopted in the process of translating. Within Functionalism the function of the target text in the target culture determines which aspects of the source text should be transferred to the target text. From this theoretical approach the findings regarding the translation strategies and processes in the translations of Sanguo yanyi are used to ultimately determine the extent to which the translators succeed in conveying the collective memory of some of the cultural-historical issues in China to the target texts, while at the same time making the texts accessible to Western (South African) students.
AFRIKAANSE OPSOMMING: In hierdie studie word daar ’n vergelykende ondersoek na twee Engelse vertalings van China se eerste roman, Sanguo yanyi, onderneem. Daar word eerstens gefokus op ’n beskrywing van die faktore wat die produksie van elk van die vertalings beïnvloed en daarna word die benaderings en strategieë geïdentifiseer wat deur die twee vertalers gebruik is. Die primêre doel van die studie is om ’n beter begrip van literêre vertaling tussen twee beduidend verskillende tale te verkry deur die faktore wat ’n rol in die betrokke vertaalprosesse speel op ’n objektiewe wyse te beskryf en te ondersoek. As sekondêre doelstelling word die twee vertalings binne die raamwerk van die funksionalistiese benadering tot vertaling geëvalueer. Daar word naamlik ondersoek watter een van die vertalings die beste slaag in die doel om aan Suid-Afrikaanse studente ’n dieper insig in en groter waardering vir sekere aspekte van die Chinese kultuur te verskaf ten einde hulle studie van die Chinese taal aan te vul. Die belangrikste teorieë en modelle wat gebruik word, is deskriptiewe vertaalstudie (DTS), wat as navorsingsrigting binne vertaling hoofsaaklik deur Gideon Toury in die tagtigerjare gevestig is, en funksionalisme, wat ook in die tagtigerjare deur Vermeer en Reiss ontwikkel is en later deur Nord uitgebrei is. DTS fokus op pragmatiese aspekte soos sosiale, kulturele en kommunikatiewe praktyke eerder as bloot op linguistiese eenhede, en die besluitnemingsprosesse en vertaalnorme van die twee vertalers van Sanguo yanyi word binne hierdie raamwerk ondersoek. Drie verteenwoordigende hoofstukke van die bronteks en hulle vertalings word as die fokus van die ondersoek gebruik. Verder kom ’n bespreking van die vertaalprosesse in die geheel aan bod – vanaf die vertalers se aanvanklike beplanning en agente wat as patronate van die projek optree tot die resepsie en invloed van die doeltekste in die Engelssprekende wêreld. Binne die funksionalisme bepaal die funksie van die doelteks binne die doelkultuur watter aspekte van die bronteks na die doelteks oorgedra word. Vanuit hierdie teoretiese benadering word die bevindinge rakende die vertaalstrategieë en –prosesse in die vertalings van Sanguo yanyi gebruik om uiteindelik te bepaal in watter mate die vertalers daarin slaag om die herinnering aan kultuurhistoriese kwessies in China in die doeltekste behoue te laat bly en die tekste terselfdertyd vir Westerse (Suid-Afrikaanse) studente toeganklik te maak.

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Vorster, Carla. ""Hoe vertel jy op papier wie jy was en wie jy nou is?" Die konstruksie van die vroulike subjek in twee bildungsromane : annerkant die longdrop van Anoeschka von Meck en De vriendschap van Connie Palmen." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80355.

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Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: In this study the genre-theory of the ‘female’ Bildungsroman is utilised as a theoretical lens in the analysis of Annerkant die longdrop [Beyond sanity] by Anoeschka von Meck (1998) and De vriendschap [The friendship] by Connie Palmen. Differences and similarities between these narratives of female development, in comparison to the traditional Bildungsroman and ‘female’ Bildungsroman, are identified. This procédé leads to new insights regarding the female characters and their journeys to selfhood in Annerkant die longdrop and De vriendschap. The ‘female’ Bildungsroman is distinguished from her patriarchal counterpart by the central motifs of the developing female body and sexuality which are inscribed in the discourse. These motifs and the subversion of the traditional Bildungsroman are linked with French feminists’ concept of écriture féminine. By comparing Annerkant die longdrop and De vriendschap as ‘female’ Bildungsromane and examples of écriture féminine new derivations can be made about the genre and narratives of female development. The difference between male and female development is one of the aspects highlighted when the ‘female’ Bildungsroman is utilised as theoretical lens. Furthermore the fluidity and instability of the female subject and of the texts in which she comes to life are emphasized. This study raises new questions about the development and emancipation of the female character in Afrikaans literature from 1960 onwards. Furthermore it demonstrates that the theory of the Bildungsroman opens up new research possibilities, especially regarding identity, and can be utilised in the reading of a variety of Afrikaans texts.
AFRIKAANSE OPSOMMING: Die genre-teorie van die ‘vroulike’ Bildungsroman dien in hierdie studie as primêre teoretiese bril of lens by die analise van Annerkant die longdrop (1998) deur Anoeschka von Meck en De vriendschap (1995) deur Connie Palmen. Die ontwikkeling van vroulike protagoniste in hierdie romans word met die eienskappe van beide die tradisionele Bildungsroman én die ‘vroulike’ Bildungsroman in verband gebring en vergelyk. Dié procédé bring nuwe aspekte oor die ontwikkelende vrouekarakters en ontwikkelingsreise in Annerkant die longdrop en De vriendschap na vore. Die wyse waarop die ‘vroulike’ Bildungsroman die literêre grense van die tradisionele Bildungsroman ondermyn en die ontwikkelende vroulike liggaam en seksualiteit inskryf in die diskoers, word met Franse feministe se teoretiese konsep van écriture féminine in verband gebring. Uit die vergelyking van Annerkant die longdrop en De vriendschap blyk dit dat die genre-teorie van die ‘vroulike’ Bildungsroman en die feministiese tradisie van die écriture féminine nuwe aspekte oor narratiewe van vroulike ontwikkeling na vore bring. So beklemtoon hierdie teorie byvoorbeeld die verskil tussen manlike en vroulike ontwikkeling en wys op sowel die vloeiende, onvaste aard van hedendaagse vroulike subjekte as op die tekste wat die ontwikkeling van hierdie vroulike subjekte verwoord. Nuwe vrae oor die mate waarin Afrikaanse vrouekarakters sedert die sestigerjare ontwikkel het, kan na aanleiding van hierdie studie gestel word. Verder wys die ondersoek op nuwe navorsingsmoontlikhede, veral in terme van die soeke na identiteit, wat die Bildungsroman inhou by die bestudering van die Afrikaanse literatuur.

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Loots, Maria Johanna. "Gotiese elemente in Francois Bloemhof se debuutroman, Die nag het net een oog." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/2316.

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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007.
In this thesis I examine the Gothic elements in François Bloemof’s debut novel, Die nag het net een oog (1991). There are two reasons this novel can be seen as an exemplary text in Afrikaans: firstly, it contributes to a genre of which there are very few examples in Afrikaans, namely the Gothic novel. Secondly, it leads to a reevaluation of texts of C.J. Langenhoven, C. Louis Leipoldt and Marius Gie (pseudonym of Martha C Gieseke). Apart from a discussion of the Gothic novel in general and specifically Bloemhof’s novel, this thesis also examines his large oeuvre, constant focus on renewal and his position in the Afrikaans literary system. The Gothic novel is generally regarded as a form of popular literature. This aspect, together with the history, function, development and characteristics of the Gothic novel, is also looked at in the thesis in an attempt to contribute to the minimal theoretization on this subject in Afrikaans. Lastly I will discuss the Gothic elements in Bloemhof’ s debut novel. Die nag het net een oog has many of the characteristics of the earlier Gothic novels, but Bloemhof renews them by crossing over conventional boundaries. The heroine being the rescuer instead of the rescuee, is one such example. The study is concluded with short summarizing comments and suggestions for further study.

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De, Roubaix Lelanie. "Alice se avonture in Afrikaans : 'n vertaalteoretiese beskouing van geskiktheid, aanvaarbaarheid en gepastheid." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4307.

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Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: Lewis Carroll’s classic children’s tale Alice’s Adventures in Wonderland, as well as its sequel, Through the Looking-Glass and What Alice Found There, have the reputation of being the most quoted and translated texts of all time, after the Bible and Shakespeare. The status of the Alice books as timeless classics is confirmed by the numerous translations and adaptations of the texts that have already been made and is still being made. In this study, a descriptive investigation of André P. Brink’s Afrikaans translation of Carroll’s classic children’s books is undertaken in order to investigate whether the translation is still suitable for Afrikaans readers today. Brink’s Afrikaans translation of Alice’s Adventures in Wonderland was published in 1965, and his translation of Through the Looking-Glass and What Alice Found There in 1968. Firstly, an overview of the most important theoretical contributions to translation studies since the nineteen-eighties is given to provide a foundation for the investigation and description of translations. Relevant terminology, such as adequacy and acceptability, will be explained. Emphasis will especially be placed on the interaction between the theoretical contributions, which will serve as a basis for the conclusion drawn regarding the suitability of the translation. The conclusion will be based on an application where the translation will be investigated. The translation is studied from a theoretical point of view on macrostructural as well as microstructural level. In the macrostructural analysis, references to the title, cover pages, illustrations, chapter titles, and the (in)visibility of the translator will be made. The microstructural analysis comprises an investigation of how Brink dealt with translation problems that arose during the particular translation. As a result of the investigation of the translation, conclusions can be drawn regarding the suitability of the translation for current readers. A recommendation on the possibility of a retranslation is also offered.
AFRIKAANSE OPSOMMING: Lewis Carroll se klassieke kinderverhaal Alice’s Adventures in Wonderland en die opvolg Through the Looking-Glass and What Alice Found There, het die reputasie as die tekste wat, naas die Bybel en Shakespeare, die meeste aangehaal word en vertaal word van alle tekste. Die status van die Alice-verhale as tydlose, klassieke verhale word bevestig deur die verskeie vertalings en verwerkings daarvan wat reeds gedoen is en steeds onderneem word. In hierdie studie word ’n beskrywende ondersoek van André P. Brink se Afrikaanse vertaling van Carroll se verhale onderneem om vas te stel of die vertalings vir huidige lesers steeds gepas is. Brink se Afrikaanse vertaling van Alice’s Adventures in Wonderland is reeds in 1965 gepubliseer en die vertaling van Through the Looking-Glass and What Alice Found There in 1968. ’n Oorsig oor die vernaamste vertaalteoretiese bydraes sedert die tagtigerjare word eerstens gebied as gronding vir die bestudering en beskrywing van vertalings. Relevante terminologie, waaronder geskiktheid en aanvaarbaarheid, kom ook aan bod. Daar word veral klem gelê op die interaksie tussen die teoretiese bydraes, wat gesamentlik dien as ’n grondslag vir die gevolgtrekking wat gemaak word oor die gepastheid van die vertaling. Die oordeel oor die gepastheid, al dan nie, van die vertaling word gegrond op ’n toepassing waar die vertaling bestudeer word. Die vertaling word vanuit ’n vertaalteoretiese oogpunt op makro- sowel as mikrovlak bestudeer. Op makrovlak word daar onder andere verwys na die titel, voorblaaie, illustrasies, hoofstuktitels en die (on)sigbaarheid van die vertaler. Die bestudering van die vertaling op mikrovlak behels ’n ondersoek na Brink se hantering van vertaalprobleme wat in die betrokke vertaalsituasie ontstaan. Na aanleiding van die bestudering van die vertaling kan daar afleidings gemaak word oor die gepastheid daarvan vir huidige lesers en word ’n aanbeveling gemaak oor die moontlikheid van ’n hervertaling.

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Bruwer, Naomi. "Landskap en identiteit in Tikoes deur Henk van Woerden." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53484.

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Thesis (MA)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: This study explores the way in which the construction of landscape interacts with the development of identity in Tikoes by Henk van Woerden. Taking the metaphor of traveling in Tikoes as vantage point, the coterminous development of the South African landscape and the characters' identities are explored. The study is placed in a theoretical framework by defining space, landscape and place, with specific reference to the interaction of landscape and identity, especially as portrayed in migrant literature. The difference between observation of space and the experiencing of landscape and place out of space through cultural processes are emphasized. It is postulated that these processes not only lead to the development of landscape and place out of space, but also contributes to the development of the characters' identities. Through an in-depth study of Tikoes, it is established that landscape and identity not only develop coterminously in this novel, but that these processes of development are actually interdependent. Tikoes, apparently a mere story about the journey of two lovers, is well constructed regarding the integration of themes and motives, which culminates in the cardinal interaction between observation and experience. The theme postulated by the motto is thus reflected in the structure of the novel: Let shallow people call me frivolous, when it comes to the point I have always been conscientiously precise.
AFRIKAANSE OPSOMMING: Die studie ondersoek die wyse waarop die konstruksie van landskap in wisselwerking tree met die ontwikkeling van identiteit in Tikoes deur Henk van Woerden. Met die reismetafoor binne Tikoes as uitgangspunt, word die samevallende ontwikkeling van die Suid-Afrikaanse landskap en die karakters se identiteite bestudeer. Die ondersoek word geplaas binne 'n teoretiese raamwerk oor ruimte, landskap en plek, met spesifieke verwysing na die verhouding tussen landskap en identiteit, soos veral verwoord in migranteliteratuur. Daar word onderskei tussen die waarneming van ruimte, en die gewaarwording van landskap en plek na aanleiding van die geografiese ruimte, deur kulturele prosesse. Dit word geponeer dat hierdie prosesse nie net lei tot die ontwikkeling van landskap en plek uit ruimte nie, maar ook bydra tot die ontwikkeling van die karakters se onderskeie identiteite. Deur 'n analise van Tikoes, word gevind dat landskap en identiteit nie net samevallend in dié roman ontwikkel nie, maar dat dié ontwikkelingsprosesse as't ware interafhanklik van mekaar staan. Tikoes, oënskynlik bloot 'n verhaaloor die reis van twee geliefdes, bied 'n deurgekomponeerdheid van temas en motiewe wat kulmineer in die kardinale wisselwerking tussen waarneming en gewaarwording, waardeur die roman die tema wat in die motto aangekondig word ook struktureel waar maak, naamlik: Laat de oppervlakkigen mij lichtzinnig noemen. Als het erop aankwam was ik altijd heel nauwgezet.

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Brink, Lucille. "Geskiedenis vasgevang in ’n net van fiksie : Harry Mulisch se Siegfried as postmodernistiese historiese roman." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1632.

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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2006.
During an interview, the author Rudolf Herter in Harry Mulisch’s novel Siegfried states that Hitler would only be comprehended if an imaginative experiment is conducted by capturing him in a net of fiction. This is indeed what Mulisch does in this novel. The combination of historical and fictional data resulting from this strategy is typical of the conventional historical novel, while Siegfried also manifests modernist characteristics. In this study, however, special attention is paid to aspects such as metafictionality, selfreflexivity, subjectivity and an emphasis on ideology which Siegfried shares with other postmodern historical novels, with specific reference to Linda Hutcheon’s view on historiographic metafiction and Lies Wesseling’s definition of uchronian fiction. The focus in this study lies, inter alia, on the ways in which Mulisch utilizes open spaces in history and fits the fictitious data like pieces into the puzzle of the history of the Second World War in general and specific events surrounding Hitler in particular. Mulisch’s play with autobiographical data in the novel further diminishes the boundaries between fact and fiction. Of particular importance is the metafictional statements about the nature of history which Mulisch delivers in the process. Not only the political side of history, but also its subjective and one-sided nature is emphasised. Finally a question is posed about Mulisch’s intentions and aspirations in writing another novel about Hitler, who as a character in this novel awakens sympathy on the one hand and on the other is demonized as inhuman with superhuman qualities. This demonstrates the problems involved in gaining insight into the real Hitler. My opinion is that, in the final instance, Mulisch intentionally magnifies the enigma surrounding Hitler in his characterization of the man who can be regarded as one of the most destructive people of the 20th century.

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Naude, Stephanus Jacobus. "Die uitbeelding van kreatiwiteit in die werk van J. M. Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71919.

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Thesis (MA)--Stellenbosch University, 2012.
AFRIKAANSE OPSOMMING: J. M. Coetzee se werke ondersoek dikwels op intense en ongewone wyse wat kreatiwiteit is en hoe dit werk, wat die bronne en oorspronge daarvan is, en verwonder sig aan die onvoorspelbaarheid van die voorwaardes en katalisators vir, en die aard en uitkomste van, die kreatiewe proses. Hierdie essay ondersoek eerstens die teoretisering van literêre kreatiwiteit deur veral Derek Attridge, wat hy hoofsaaklik baseer op Coetzee se werk. Tweedens word die komplekse uitbeeldings – of performance – van kreatiwiteit en die kreatiewe proses in Coetzee se oeuvre, spesifiek aan die hand van The Master of Petersburg en die post-Disgrace werke, ontleed. Daar word gefokus op skeppende karakters en alter ego’s, veral skrywers, wat toenemend hul verskyning in Coetzee se prosa maak. Kwessies van skrywerlike mag, die etiek van skryf, die konflik tussen werklikheidsvlakke binne fiksie asook tussen werklikheid en fiksie, soos dit uitspeel in die hibriede en eksperimentele laat werke, kom aan bod. Die essay maak dikwels van stipleestegnieke gebruik in die lees van die betrokke werke. Ander strategieë word egter ook ingespan, veral by die lees van die laat werke. Die siening van kreatiewe impuls wat aldus blyk, is ‘n radikale een. Kreatiwiteit is blind vir moraliteit en dalk selfs etiek. Dit word onder andere gelykgestel aan die epileptiese val. Dit gaan oor die oopstelling vir – en die eksklusiewe verantwoordelikheid teenoor – die onverwagse, die Beckettiaanse/Derridiaanse proses van ‘n produktiewe/onproduktiewe gewag. Dit word vergestalt deur ‘n gebeurtenis wat beslag vind in die onverminderbare eiesoortigheid van die literêre werk.
ENGLISH ABSTRACT: J. M. Coetzee’s work often investigates in an intense and unusual manner the nature of creativity and how it works, what the sources and origins of creativity are, and marvels at the unpredictability of the preconditions and catalysts for, and the nature and outcomes of, the creative process. This essay investigates, in the first place, the theorisation of literary creativity by especially Derek Attridge, which he mainly bases on Coetzee’s work. In the second instance, the complex portrayals – or performances – of creativity and the creative process in Coetzee’s oeuvre are analysed, particularly with reference to The Master of Petersburg and the post-Disgrace works. The focus is on creative characters, particularly authors, who are increasingly making an appearance in Coetzee’s prose. Questions of authorial power, the ethics of writing, the conflict of reality levels within fiction as well as between reality and fiction, as it plays out in the hybird and experimental late works, are presented. The essay often uses close reading in the reading of the mentioned works. Other strategies are also used, particularly in the reading of the late works. The view of the creative impulse thus crystallising, is a radical one. Creativity is blind to morality, and perhaps also ethics. It is equated, inter alia, to the epileptic fit. It is about the opening up – and the exclusive responsibility – to the unexpected, to the Beckettian/Derridian process of a productive/unproductive waiting. It is represented by a happening which precipitates in the irreducible singularity of the literary work.

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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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Stander, Aletta Sophia. "Taal wat stamel, stotter en struikel : Marlene van Niekerk se "Die sneeuslaper" (2010) as mineurletterkunde." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20061.

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Thesis (MA)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: The focus of this study will be on the unique way in which language is used in Marlene van Niekerk‟s collection of short stories, Die sneeuslaper (2010). When reading Die sneeuslaper it is impossible not noticing the number of Dutch words, as well as words and phrases from other foreign languages, as Bargoens, Rotwelsch, German, French, Italian, Hebrew, Greek and Maltese. Some of the characters‟ speech, as well as so called sound poems (or nonsense verses) are characterised by a number of newly invented words. However, the meaning of some of these words or phrases remains unclear. Other themes in the four short stories which will be analysed are the so called political responsibility of the artist, as well as music, rhythm and bird-noises. As a theoretical basis of this study, Deleuze and Guattari‟s Kafka Toward a Minor Literature will be used. In Kafka Toward a Minor Literature Deleuze en Guattari formulate their ideas regarding minor literature. They describe a major language as a language of dominance and power, while a minor language is a language without any power. According to them the three characteristics of minor literature are: the minor deterritorializes the major, minor literature is always political, and minor literature always has a collective function. Deleuze and Guattari‟s, as well as Bogue‟s writing regarding the territorialization and deterritorialization of the refrain, is also explored briefly. Deleuze en Guattari‟s theories regarding minor literature is used in this study to read Die sneeuslaper. In the end it is concluded that the unconventional use of language in this short story collection can be associated with the political nature of some of the stories. The unique usage of language in Die sneeuslaper, the way in which Afrikaans is transformed into a language that stammers, stutters and mumbles, can be seen as a subtle form of political protest. Therefore this collection of short stories can be seen as a form of minor literature.
AFRIKAANSE OPSOMMING: Hierdie studie fokus op die vreemde wyse waarop taal in Marlene van Niekerk se kortverhaalbundel, Die sneeuslaper (2010), aangewend word. Met die lees van Die sneeuslaper is die hoeveelheid Nederlandse woorde, asook enkele woorde en frases uit ander vreemde tale, soos Bargoens, Rotwelsch, Duits, Frans, Italiaans, Hebreeus, Grieks en Maltees, opvallend. Verder is daar in die karakters se spraak, sowel as in klankgedigte (of onsinverse), vele nuutskeppings waarvan die betekenis nie altyd so duidelik blyk nie, teenwoordig. Ander temas wat in die vier verhale figureer en ondersoek sal word is kunstenaarskap, die sogenaamde politieke verantwoordelikheid van die kunstenaar, asook musiek, ritme en voëlgeluide. As teoretiese vertrekpunt vir die studie word Deleuze en Guattari se Kafka Toward a Minor Literature, waarin hul idees oor mineurlettekunde geformuleer word, gebruik. Deleuze en Guattari onderskei tussen ‟n dominante majeurtaal en ‟n mineurtaal wat sonder mag is. Volgens Deleuze en Guattari is daar drie kenmerke van mineurletterkunde, naamlik dat die mineur die majeur deterritorialiseer, dat mineurletterkunde altyd polities is, en laastens dat mineurletterkunde altyd kollektief van aard is. Bykomend word daar ook kortliks gekyk na Deleuze en Guattari, sowel as Bogue, se skrywe oor territorialisering en deterritorialisering in die refrein. Deleuze en Guattari se teorie oor mineurletterkunde word in hierdie studie as ‟n agtergrond gebruik om Die sneeuslaper te lees. Daar word uiteindelik tot die gevolgtrekking gekom dat die onkonvensionele taalgebruik in die kortverhaalbundel wel geassosieer kan word met deterritorialisering en dat dit aansluit by die politieke aard van sommige van die verhale. Die wyse waarop Afrikaans in Die sneeuslaper getransformeer word na ‟n taal wat stamel, stotter en struikel, kan dus as subtiele, politieke protes gesien word en daarom kan dié kortverhaalbundel inderdaad as ‟n vorm van mineurletterkunde beskou word.

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42

Loubser, Henriette. "Erotiek, geweld en die dood in 'n Gelyke kans van Jeanne Goosen." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/1838.

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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005.
The aim of this study is to examine the relationship between eroticism, violence and death as it occurs in Jeanne Goosen's short story collection, ' n Gelyke kans. The research is based upon the hypothesis that these stories express in a particular manner the transgressive role of eroticism in breaking through social conventions and barriers. As a possible framework for discussion reference is made in the first place to George Bataille's theories on the subversive nature of eroticism, Julia Kristeva's semiotic and pre-Oedipal theories, and Mikhail Bakhtin's notion of the carnivalesque. Subsequently a reading strategy was designed by means of an in-depth analysis of ten stories from the collection in accordance with general formalistic principles. The conclusion is reached that Goosen with non-judgmental sympathy exposes man's inborn, continuous search for the illusion of perfect happiness. This state of bliss is sometimes achieved by the violent "incorporation" of the beloved/desired “other", and the final outcome is a concomitant and inevitable decline into an unwholesome, destructive, and fatal erotic power play.

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Swart, Marius. "Twee Afrikaanse romans in Engels : ’n ondersoek na die werkswyses van literere vertalers." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/3127.

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Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2009.
In this descriptive study, recent translations into English of two highly-regarded Afrikaans novels are investigated. The purpose of this is to describe these translations in a comparative manner, in order to arrive at conclusions about the differing modi operandi of diverse literary translators. The texts studied are Agaat by Marlene van Niekerk (2004) and Hierdie lewe by Karel Schoeman (1993), titled Agaat (2006) and This Life (2005) in English, and translated by Michiel Heyns and Elsa Silke, respectively. The two translators differ in that one is a creative writer in own right, though not being a formally-trained translation scholar, and translated with input from the source text author. The other is not a creative writer, translated without input from the author and has a formal translation-theoretical qualification. In this study, the target texts produced by these two translators are compared with their respective source texts, in order to determine whether there are differences or similarities in their modi operandi. A theoretical framework is compiled using relevant translation theories in order to systematise the comparison of the source texts and their translations. The novels are then compared to their translations in turn, on various levels, in order to describe the modus operandi of each translator. This results in certain conclusions being drawn about the different ways in which diverse translators work. These conclusions are linked to norms apparent in the decisions the translators make, or the lack thereof, as well as the role of the translation skopos. A number of topics for further research are also mentioned.

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Spies, Carla-Marie. "Die Agterhuis – Lina Spies se vertaling van Anne Frank se dagboek, Het Achterhuis, in Afrikaans : besluite, benaderings en strategieë." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4146.

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Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This study investigates the translation approaches and strategies used by Lina Spies in her translation of Anne Frank's diary, Het Achterhuis, from Dutch into Afrikaans (Die Agterhuis). The researcher mainly works descriptively to discuss the decisions made regarding translation approaches and strategies adopted and applied in this translation. However, when necessary, a critique of the translation is also offered. The first chapter deals with the background of, and rationale for, the study; it provides a hypothesis, problem statement, methodology and the research questions. The next chapter provides background information on the source text, as well as considering reasons why this source text was translated into Afrikaans. The translator (Spies) as an agent of power is discussed as well. In the third chapter, the literature review, the most prominent translation theories which are relevant to this study are discussed. There are amongst others focused on functionalism (Nord 1997), intercultural communication (Katan 200), descriptive translation studies (DTS) (Toury 1995), and foreignization and domestication (Venuti 1995). Chapters 4 and 5 present the practical application/empirical study. In the macro-analysis aspects such as genre, overall translation approach and the paratext are looked at. The micro-analysis investigates the translation strategies which were used on the micro-level in order to achieve the overall effect this translation has on macro-level. Pragmatic, intercultural, interlinguistic and text-specific translation problems/challenges and the way that Spies (possibly) resolved these in the target text are discussed. The conclusion is drawn that Spies adopts a functionalist approach towards the translation as she takes into consideration both Nord's (1995) yardsticks for a "good"/"adequate" translation, namely (1) the source text and source text author, as well as (2) the target text reader. The foreignization approach is the primary approach used in this translation and the translator is very faithful to the source text and loyal to the source text author. Domestication is used as a secondary approach as the target text is made accessible to the target text reader on a grammatical level. The thesis finds that the authenticity of the source text and the literary value of this text are preserved, and that the voice and style of the source text author are conveyed to the target text reader.
AFRIKAANSE OPSOMMING: In hierdie studie word ondersoek ingestel na die vertaalbenaderings en -strategieë wat Lina Spies gebruik in die vertaling van Anne Frank se dagboek, Het Achterhuis uit Nederlands in Afrikaans (Die Agterhuis). Die navorser gaan hoofsaaklik deskriptief te werk om die besluitneming ten opsigte van watter vertaalbenaderings en vertaalstrategieë wat gevolg en toegepas word, te beskryf. Kritiek word wel uitgespreek waar nodig. Die eerste hoofstuk behels die agtergrond en rasionaal vir die studie, 'n hipotese, probleemstelling en navorsingsvrae en beskryf die metodologie wat in die tesis gevolg word. Die volgende hoofstuk verskaf 'n agtergrond van die bronteks en redes vir die vertaling daarvan in Afrikaans. Daar word hier ook na die vertaler (Spies) as magsagent gekyk. In die daaropvolgende hoofstuk, die literatuurstudie, word die vernaamste vertaalteoretiese benaderings bespreek wat van toepassing is op hierdie studie. Belangrike teorieë waarop daar gefokus word, is funksionalisme (Nord 1997), interkulturele kommunikasie (Katan 2004), deskriptiewe vertaalstudies (Toury 1995) en vervreemding en domestikering (Venuti 1995). Hoofstuk 4 en 5 beslaan die praktiese toepassing/empiriese studie. In die makro-analise word aspekte soos die genre, oorkoepelende vertaalbenadering en parateks bespreek. In die mikroanalise word daar gekyk na die vertaalstrategieë wat op mikrovlak gevolg is om die effek wat die doelteks op makrovlak het, te bewerkstellig. Daar word gekyk na pragmatiese, interkulturele, intertalige en teksspesifieke vertaalprobleme/-uitdagings en Spies se oplossings (of pogings tot oplossings) daarvoor. Daar word na afloop van die studie tot die gevolgtrekking gekom dat Spies funksionalisties te werk gaan, aangesien sy albei Nord (1995) se maatstawwe vir 'n "goeie"/"voldoende" vertaling, naamlik, eerstens, die bronteks en bronteksouteur, sowel as, tweedens, die doelteksleser, in ag neem. Die vervreemdingsbenadering word hoofsaaklik in die vertaling gevolg en daar word baie lojaal aan die bronteksouteur en getrou aan die bronteks gebly. Domestikering word as sekondêre benadering gevolg, deurdat die doelteks meestal grammatikaal toeganklik vir die doelteksleser gemaak word. Daar word bevind dat die outentiekheid van die bronteks en die literêre waarde daarvan, sowel as om die stem en styl van die bronteksouteur in die doelteks behou word.

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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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Meyer, Deon. "'n Praktiese ondersoek na die struktuur van die speur- en spanningsroman met spesifieke verwysing na die werk van Michael Connelly, John le Carré, Ian Rankin, Lee Child en Frederick Forsyth." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/1814.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2005.
The primary objective of this thesis is to explore and analyse the structure of the crime novel / thriller in a practical manner – and subsequently develop an equally pragmatic, broad and useful guide which would potentially be of value to both reader and author of the genres. This tight and reductive focus has one important consequence: It will more or less ignore traditional literary theory, but the one obviously excludes the other.

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Symington, Cornelia Isabel. "Binêre opposisies en perspektiewe op die 'ander' in Pieternella van die Kaap deur Dalene Matthee." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/53728.

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Thesis (MA)--Stellenbosch University, 2004
ENGLISH ABSTRACT: This study investigates the binary oppositions in Dalene Matthee's historic novel, Pieternella van die Kaap, and the extent to which it correlates with the perspectives on "the other" and the influence of the spatial context on the two main characters, Eva-Krotoa and Pietemella. The study ascertains in which way Matthee's novel falls within the post-colonial framework; whether a tendency towards hybridity can be found and in which cases the binary opposition of "the self" versus "the other", is consequently suspended. Attention is also given to key concepts associated with this, like stereotyping and convention. After exploring the term post-colonial literature, a number of related elements are discussed, such as the post-colonial focus on identity. Via the focalisation of PietenelIa the novel firstly presents a general view of her experiences in the Cape, on Robben Island, on the ship the Boode, and on Mauritius. In the process it also foregrounds the life of her mother, Eva-Krotoa. Both of them are so much affected by the binary oppositions relating to their existence within different, contrasting spaces, that it is justified to call them "two-head" women. While Eva- Krotoa's life is torn apart by the binary oppositions, there are indications that Pietemella moves in the direction of a growing hybridity, that brings about a synthesis between the oppositions and allows her to reconcile herself with her own identity. This is even more pronounced in the case of her daughter, Maria. The study comes to the conclusion that stereotyping is based on convention and that time, place and circumstances determine whether and to what extent the binary opposition of "the self'/"the other" is suspended.
AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die binêre opposrsres in Dalene Matthee se historiese roman Pieternella van die Kaap en die mate waarin die perspektiewe op 'die ander' en die invloed van die ruimtelike konteks op die twee vernaamste karakters, Eva-Krotoa en Pieternella, hiermee in verband gebring kan word. Daar word vasgestel in watter mate hierdie roman binne 'n postkoloniale raamwerk val, in watter opsigte sprake is van hibriditeit en in watter gevalle die binêre opposisie van 'die ek'teenoor 'die ander' gevolglik opgehef word. Aandag word ook bestee aan sleutelbegrippe wat hiermee saamhang, soos stereotipering en konvensie. Na 'n verkenning van die term postkoloniale literatuur word verskeie elemente wat hiermee verband hou bespreek, soos die postkoloniale fokus op identiteit. Die roman bied eerstens, via die fokalisasie van Pieternella, 'n oorsig oor haar lotgevalle aan die Kaap, op Robbeneiland, op die skip die Baade en op Mauritius, maar stel in die proses ook die lewe van haar moeder Eva-Krotoa voorop. Beide word in so 'n mate geaffekteer deur binêre opposisies van hulle bestaan binne verskillende, kontrasterende ruimtes, dat hulle tereg 'tweekopvroue' genoem kan word. Waar Eva-Krotoa ten onder gaan aan die binêre opposisies is daar met betrekking tot Pieternella aanduidings van 'n groeiende hibriditeit wat 'n sintese bring tussen die opposisies en haar met haar eie identiteit laat versoen. Dit is in In nog groter mate die geval met haar dogter Maria. Die studie kom tot die slotsom dat stereotipering berus op konvensie en dat tyd, plek en omstandighede bepaal of en in watter mate die binêre opposisie van ekl'ander' opgehef word.

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48

Moon, Jihie. "Selfrepresentasie, selfkonstruksie en identiteitsvorming in enkele Suid-Afrikaanse outobiografiese tekste." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1237.

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Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2009.
Prior to 1990, autobiographical texts have received little attention within the cadre of South African literary science, because they, by tradition, have not been regarded as part of “high” literature or of the canon. In spite of this, autobiography has been claiming an increasingly important position in literary studies in postapartheid South Africa. This study focuses on the hybrid forms of South African autobiographical texts published since 1990 and on the manner in which the autobiographical self is represented and constructed in these texts. The following autobiographical texts are discussed in the study: Breyten Breytenbach‟s Return to Paradise and Dog Heart, Hennie Aucamp‟s triptych of diaries, Gekaapte Tyd, Allersiele and Skuinslig, Rian Malan‟s My Traitor‟s Heart, Antjie Krog‟s Country of My Skull and ‟n Ander Tongval, Abraham Phillips‟s Die Verdwaalde Land, and A.H.M. Scholtz‟s Vatmaar. Their self-referential texts are analysed on the basis of theoretical consideration of different autobiographical forms, such as travel writing, the diary, essay, memoire, testimonio, autoethnography and the autobiographical novel. The studied autobiographical texts resist categorisation under a single genre and thereby demonstrate their generic hybridity. These heterogeneous and hybrid autobiographical forms reflect the inner struggle of the autobiographers in their continuous search for an appropriate form of self-representation in the new South Africa. Through the self-representation of the South African autobiographers, the re-confirmation of their ethnic and cultural identities gives form to a strategic positioning of their own collective identity and a future agency for rehabilitating the collective self within the new South African community. They are seen to be manifesting their cultural identity on the one hand, while attempting to position this identity within the multicultural South African society on the other. The study presents the hybridity of identities, as well as of the genre, which characterises contemporary South African autobiographical writing as a measure of the dynamic process of change (at political, sociocultural and personal levels) in postapartheid South Africa.

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49

Haupt, Marlies. "Gender-ambivalensie : aspekte van beliggaming, performatiwiteit en ondermyning in Ek stamel ek sterwe van Eben Venter." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86680.

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Thesis (MA)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: In this thesis the potential of Eben Venter’s novel Ek stamel ek sterwe (1996) as a subversive text is investigated. The primary goal is to illustrate how Eben Venter depicts the stigmatisation of homosexuality, aids and death, but more specifically the death of a homosexual individual who has aids, in society. The secondary goal is to investigate the ways in which Venter depicts the impact that the heteronormative ideal has on homosexual individuals by means of the regulation of norms. Judith Butler’s theorisation of sex, gender, identity and performativity is used as a lens with which Ek stamel ek sterwe is read. The finding is that Ek stamel ek sterwe is a novel with subversive potential and the implications that this has is discussed.
AFRIKAANSE OPSOMMING: In hierdie tesis word die potensiaal van Eben Venter se roman Ek stamel ek sterwe (1996) as ’n ondermynende teks ondersoek met as primêre doel om die wyse na te gaan waarop Eben Venter die stigmatisering van homoseksualiteit, vigs en die dood, maar ook spesifiek die dood van ’n homoseksuele individu en ’n vigslyer, in die samelewing uitbeeld. Die sekondêre doel is om ondersoek in te stel na die maniere waarop Venter met die roman die impak van die heteronormatiewe ideaal se regulering van norme op veral homoseksuele individue uitwys. Judith Butler se teoretisering oor geslag, gender, identiteit en performatiwiteit, sowel as die ondermyning van heteronormatiewe norme, word as lens gebruik waarmee Ek stamel ek sterwe gelees kan word. Daar word uiteindelik tot die gevolgtrekking gekom dat Ek stamel ek sterwe wel as ’n ondermynende teks beskou kan word en die implikasies hiervan word bespreek.

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50

Conradie, Rachelle (Rachelle Willene). "Henk van Woerden se Een mond vol glas en die skep van 'n kultureel meerstemmige Suid-Afrikaanse geskiedenis." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52874.

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Thesis (MA)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: The aim of this study is to investigate Henk: van Woerden's Een mond vol glas (1998) (A Mouthful of glass (2000) translated by Dan Jacobson) as a contribution to the creation of a multi-voiced South African history. Een mond vol glas clearly contributes to such a project, because it recognises the histories of the Dutch immigrants, die Cape Muslims and especially the Cape "Coloured" community through the figure of Demitrios Tsafendas, better known as the murderer of Hendrik Verwoerd. The key concepts in this study are cultural diversity and a processing of the trauma caused by apartheid. Postcolonial theory will be used to explain cultural diversity as the result of transference and to contextualize the growing interest in the transnational histories of migrants in literature. Een mond vol glas cannot easily be described according to one specific genre or classification. This study will make use of the description "literature produced in a context of cultural diversity" to show the problematic nature of two classifications of Een mond vol glas that is currently being used. Processing the trauma caused by apartheid in literature, comes down to a resistance to the isolating force of trauma. This study uses the trauma theory of Judith Herman which states that the healing process or the processing of traumatic experiences can only take place in the sharing of people's stories in the connectedness with others. In South Africa this process begins to take place in a society where cultural multi-voicedness has become possible. In the end I will conclude that Een mond vol glas proves to be a reconstruction of history that is multi-voiced, making this part of South African history accessible for a larger audience.
AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is om ondersoek in te stel na Henk van Woerden se Een mond vol glas en hoe dit bydra tot die skepping van 'n kultureel meerstemmige Suid- Afrikaanse geskiedenis. Een mond vol glas lewer duidelik hierdie bydrae omdat die werk ook erkenning gee aan die geskiedenisse van die Nederlandse immigrante, die Kaapse Moslems en die Kaapse bruin mense in die besonder deur die figuur Demitrios Tsafendas, beter bekend as die moordenaar van Verwoerd. Die sleutelbegrippe in hierdie studie is kulturele meervoudigheid en verwerking van die trauma veroorsaak deur apartheid. Postkoloniale teorie word gebruik om kulturele meervoudigheid te verduidelik as die resultaat van verplasing sowel as om die toenemende fokus op die transnasionale geskiedenisse van migrante in die letterkunde te kontekstualiseer. Een mond vol glas kan nie volgens een erkende genre of klassifikasie beskryf word nie. Hierdie studie hanteer die omskrywing "letterkunde geproduseer in 'n konteks van kulturele meervoudigheid" waarbinne twee reeds erkende klassifikasies van Een mond vol glas geproblematiseer sal word. Die verwerking van die traumatiese gevolge van apartheid in die letterkunde kom neer op die teenwerking van die isolerende uitwerking daarvan. Hierdie studie gebruik die traumateorie van Judith Herman dat verwerking en herstel slegs kan begin deur die vertel van traumatiese verhale in die verbondenheid met ander. In Suid-Afrika het hierdie verwerking en herstel begin plaasvind in 'n samelewing waar kulturele meerstemmigheid moontlik geword het. Ek sal uiteindelik tot die slotsom kom dat Een mond vol glas 'n herkonstruksie van die geskiedenis bied wat kultureel meerstemmig is en ook toelaat dat die hierdie deel van die Suid-Afrikaanse geskiedenis vir 'n groter publiek toeganklik word.

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Dissertations / Theses on the topic 'Theses – Afrikaans literature'

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