Voetskrif was written in 1975 while the poet Breyten Breytenbach was awaiting trial in Pretoria. The anthology itself was published in 1976 and reflects the poet's seclusion in space and time. As such, the theme of exile once again comes to the fore in the work of this Afrikaans poet. Estranged from all immediate contact with the outside world, the poet looks inwards. In order to fill the void, he relies on his memory to conceptualize a world in terms of a reality of words. The exploration of space-time is done through the medium of imagination. Dreams and memories must suffice to reach beyond the boundaries of imprisonment. The poet's imagination also enables him to "mark time". He needs to breathe in death's house - the prison - and this is done by manipulating the word. The absence of time in the prison is transformed into the timelessness of thought as the poet strives through one poem after the other, to adapt himself and alleviate his distress. Each poem can be seen as an interlude delaying the flow of time. The typography of the poems may suggest that the lyric moment abolishes time. However, Breytenbach's existence in time and space cannot be ignored and the "here and now" always refers to the prison-cell. The use of the Zen-Buddhistic concept of time and the "here and now" may convey a sense of apathy to the Western mind, yet the poet is clearly preoccupied with time and space.

No description available.

Bibliography: pages 142-149. / Dit is lank reeds 'n aanvaarde feit dat poësie nie 'n spontane uiting van emosie deur middel van ritmiese taal is nie; die aard van poësie skakel juis spontane!teit uit. Die tradisionele definisie van poësie, naamlik die beskouing daarvan as nie-mimetiese genre teenoor prosa wat mimeties is, is onvoldoende. In stede hiervan kan poësie as genre beskou word in die konteks van die reoriëntasie wat plaasgevind het in literatuur- en taalstudie. Die moderne literere teorieë het as doel die omskrywing van literatuur as stelsel, en die konvensies onderliggend daaraan wat betekening moontlik maak. Ook in moderne literatuur word die klem geplaas op die taal- en literatuursisteem, en op die skeppende teenwoordigheid in die teks. Binne hierdie beskouing van literatuur verval die opposisie tussen poësie en prosa tot 'n groot mate. Modernistiese literatuur is 'n selfbewuste gebruik van taal, geskep deur 'n auteur wat kennis het van die onderliggende konvensies. Hierdie definisie van poësie word getoets aan die hand van kinderpoësie, aangesien die tradisionele beskouing van poësie 'n geskiktheid vir kinders impliseer. Die kind se ontwikkeling word kortliks bespreek en daar word aangedui dat die .kind se denkprosesse en belewing van die wereld poësie onbegrypbaar maak. Die kind se ontwikkeling word bespreek met verwysing na Jean Piaget se genetiese epistemologie en Heinz Remplein se samevattende beskouing. Die kind beskik nie oor die kennis in verband met die konvensionele aard van literatuur en taal wat benodig word om poësie te begryp nie; nog is kinders in staat om dit aan te leer. Die aard van die konvensies is abstrak, terwyl die kind konkreetheid vereis ten opsigte van die taalgebruik en die inhoud van literatuur. Ten slotte word verwys na volkspoësie, wat dikwels as primitief en ongevormd beskou word. Die "Klipwerk"-siklus van N P van Wyk Louw en Komas uit 'n Bamboesstok van D J Opperman word bespreek. Daar word aangetoon dat die vermoë om nostalgies te skryf oor die primitiewe 'n hoë mate van selfbewustheid en taalbewustheid vereis. Die auteur in hierdie verse is selfreflekterend en skep 'n werk wat die konvensies van literatuur uitwys, en terselfdertyd bevraagteken. Poësie is dus in wese 'n konvensionele gebruik van taal, waarvan die selfreflekterende aard spontane!teit en eenvoud ontken.

Die moeilikhede waarvoor 'n mens by die studie van so 'n groot kunstenaar stuit, is veelvuldig. Die bron van Nijhoff se poësie is sy worsteling met belangrike lewens- en sielsprobleme, wat by deur middel van 'n verskeidenheid van telkens terugkerende motiewe tot uiting bring. Soos by alle groot digters, vorm Nijhoff se werk egter so 'n hegte eenheid dat dit feitlik onmoontlik is om een van die motiewe afsonderlik te bespreek, sonder om ook al die ander aan te raak, want hulle word gedurig in- en deurmekaar gevleg en oorvleuel mekaar telkens om 'n harmoniese geheel te skep. Wat ek dus probeer doen het, is om eers 'n begrip van sy probleme in 't geheel te gee, en dan die moeder- en kindmotief, wat as 't ware as leidraad dwarsdeur sy "oeuvre" loop, te bespreek.

Bibliography: leaves 141-149. / The researcher of this thesis reflects upon and analyses the nature and essence of a phenomenon within the context of the South African website environment: a socioliterary online discussion room reflecting the linguistics, the language and the thought processes of the postmodernism. As webmaster of the SêNet (http://www.mweb.co.zallitnet/senet) website - the online discussion group of the website LitNet (http://www.mweb.co.zallitnet) - the researcher examines the character and nature of this website within the context of the World Wide Web.

Bibliography: pages 235-244. / This study in literary semantics focuses primarily on aspects of the primordial. It proposes a functional description of the primordial, as well as a model to explain how language and linguistic processes are insufficient to bring about accurate communication in a social environment. Certain significant findings come to the fore in terms of the relationship between language, communication and the primordial reality. The study was begun with the basic premiss of a link between the specific symbols relating to mirrors and water, and the primordial dimension. The fact that there are general references to this concept over a fairly wide range of subjects and fields of study brought about the need to clarify somewhat the "grey area" that is called into question whenever such allusions are made. The reason for this confusion is that the idea of the primordial has been a very misunderstood concept. The term has in the past been used to a large extent as an academic buzzword, with users often not being aware of the full implications thereof. The little that is known about this subject often results in fairly serious misconceptions when the term is employed. The study attempts to describe and to define the concept of the primordial, with reference to two key aspects of this idea: the primordial dimension as a base for universal meaning and reference, and the primordial concept as the actual reference point for the related linguistic term. In this way it is shown that all referential and interpretative systems, such as language, are based loosely on the primordial.

Summary in English.|Bibliography: leaves 155-166. / Anthie Krog's poetry from the beginning caused a stir in the educational, church and academic circles. This was not only because of her forthrightness about sensitive issues, but also because of the new manner in which she used Afrikaans. Dissonance which continually manifests itself in her poetry, reflects the fact that, as a feminist poet in a strongly patriarchal society, she rejects the marginal position of women in a phallogocentric world.

Includes bibliographical references (leaves 139-143). / This study considers a range of literature resulting from research in non-English computer-mediated communication and compares the findings with observations of Afrikaans computer-mediated communication. Case studies in Arabic, Japanese, Swiss, Catalan, Greek and Portuguese computer-mediated communication are drawn upon to determine broad characteristics of non-English computer-mediated communication. Examples of Afrikaans computer-mediated communication, sourced from several synchronous and asynchronous digital environments, are then compared to these general characteristics. The study concludes with a proposed set of general characteristics of Afrikaans computer-mediated communication.

Bibliography: leaves 240-254. / Die werk van Johann de Lange word as vertrekpunt in hierdie studie gebruik, maar die poësie van ander digters soos Sheila Cussons, N.P. van Wyk Louw, Ina Rousseau en Joan Hambidge, wat almal op een of ander wyse 'n invloed op De Lange uitgeoefen het, sal ook betrek word.

Includes bibliographical references (leaves 293-309). / The title of the study explicates the hypotheses for the research. Through five focuses interactionis revealed. Firstly: By the use of three different "texts", perspectives are opened on the processes of elemental pain as viewed through four lenses, namely the literary, psychoanalytical, theological and anthropological-philosophical lenses. Secondly the Prometheus figure and "Diep Rivier" (Eugene Marais) are used to focus on the creative energy of pain in meaning seeking and primordial pain in the writer. Pathos, thirdly, is portrayed through two literary works, "Vaslav in die Sneeu: 'n Col/age" (Hennie Aucamp) and Die Dood in Venesie (Thomas Mann). Aschenbach, as Romantic Writer and as Romantic Image (Frank Kermode), or as metafictional (Patricia Waugh and Linda Hutcheon) thinker on the roots of the creative process demonstrates tension, suffering, the interaction between fiction and reality, irony, parody, and also distance and involvement to facilitate pathos. Concluding from the texts, a theoretical perspective on pathos is given. The creative force of pain for the reader is fourthlypresented through the diverging use of the Aristotelian catharsis concept demonstrated by the contrasting interaction between two European texts Jacob the Liar (Jurek Becker) and Kreettegang (Gunter Grass) as well as two South African texts, Kanna Hv KG Hvstoe (Adam Small) and A Change of Tongue (Antjie Krog). Fifthly, the interactive process of the creative force of pain from the writer presented in the text and encountered by the reader, is discussed by using an Aristotelian statement. The process is finally demonstrated by a discussion of Die Seemeeu (Chekov). The word striving to create beauty from elemental pain closes the circle to present and substantiate meaning. Through the word the "closed room" of beauty is opened in the text for writer and reader alike to "redeem them from this earthly load o.f certitude and pain". Literary and theoretical texts stretching over centuries are used to explicate how pain is working to create meaning, to read the text of life creatively and to approach life with pathos by which this way of reading literary texts is enhanced.