This study is an investigation regarding the nature of the fantasy as a literary form, with special reference to children's literature. In Chapter 1 some recent theories on fantasy are examined in order to establish a theoretical basis for the study. A model is proposed in which the fantasy element is seen as the defining quality of the fantasy tale. This element consists of the depicting of events that are by nature "outside" of reality. In Chapter 2 the theory discussed in Chapter 1 is applied to three literary works traditionally regarded as fantasies. They are: the Chronicles of Narnia by C.S. Lewis; Huppel en sy maats by W.O. Kuhne and Ken jy die Kierangbos? by Freda Linde. Although these works do not all conform to the theories discussed in Chapter 1, it can be concluded that the fantasy element is central in each one and that they can therefore be defined as fantasies. In Chapter 3 the role of symbolism in the fantasy is considered. It is found that although symbolism is often used in this literary category, it is not a distinguishing quality of the fantasy. In Chapter 4 the specified works are examined as literature for children, with the aim of determining the relation between the fantasy and children's literature. It is concluded that the nature of the fantasy as a literary form makes it especially suitable for children because of the child's perception of reality. Chapter 5 consists of a summary of the findings in the previous three chapters. In conclusion the model proposed in Chapter 1 is re-examined. Fantasy is seen as a comprehensive literary category wi th sub-categories providing for the variety of literary works classified as fantasies according to the definition proposed.

In Afrikaans literature, the farm concept has a history of entanglement with ideals that are racist and nationalist. The early plaasroman (farm novel in Afrikaans) subgenre was a product of the 1920s and the 1930s, a period when Afrikaner nationalism was incipient. Later farm novelists brought new energy to the plaasroman during the second half of the twentieth century. In the modern plaasroman subgenre, challenges to racist-nationalist ideals are exhibited, along with ideals of the early plaasroman. The following study is an attempt to gauge whether, and the extent to which, three modern plaasromans are an expression of border thinking. These novels are Etienne Leroux's Seven Days at the Silbersteins, Etienne van Heerden's Ancestral Voices and Nadine Gordimer's The Conservationist. The paradigm of border thinking is chosen due to the similarities between its objectives, on the one hand, and the critical stance of the modern plaasroman, on the other hand. Both border thinking and the modern plaasroman can be described as a response to racial injustice and inequality. For this reason, it would seem that a study of modern plaasromans is well-suited as a context for the application of border thinking. Given that previous studies addressed challenges by modern plaasromans to racist and nationalist ideals, moreover, a study that deploys border thinking (focusing on racial injustice) is considered to be a valuable critical contribution. In order to determine whether these three novels are expressions of border thinking, this study first formulates three templates of ‘literary border thinking' (border thinking that is expressed in literature). Criteria that are derived from these templates are then used to determine whether, and the extent to which, these novels represent literary border thinking.

In this dissertation I analyse the last two forest novels by Dalene Matthee, namely Moerbeibos (The mulberry forest) (1987) and Toorbos (Dreamforest) (2003), from the perspectives of postcolonial ecocriticism and specifically whiteness studies. This dissertation firstly investigates the intertwined identity of human subjects in South Africa as portrayed in both novels. Furthermore, the influence of colonialism on nonhuman entities, as well as the representation of various relationships between humans and nonhuman entities, are also examined. The analysis of the connection between the oppression of a poor white, Afrikaner community, and the oppression of the nonhuman is guided by the question: How is the specifically poor white, Afrikaner community portrayed as intertwined with the nonhuman in Matthee’s last two forest novels, The mulberry forest and Dreamforest? I especially rely on theories in postcolonial ecocriticism as conceptualised by Graham Huggan, Helen Tiffin, Elizabeth DeLoughrey, George Handley and Cara Cilano. Furthermore, I also draw from Tiffany Willoughby-Herard’s work on whiteness studies, where she analyses the Carnegie Commission’s research into the so-called poor white phenomenon in South Africa. I argue that The mulberry forest portrays the human-nonhuman-relationship and emphasises the specific relationship between a poor white, Afrikaner community and the Knysna forest as an African landscape. In Dreamforest, the human-nonhuman-relationship is also portrayed, but, unlike the critical reconceptualisation of homogenous, monolithic white racial classifications portrayed in The mulberry forest, Dreamforest supports and perpetuates these racial classifications. As a result, the nonhuman in Dreamforest is not conceptualised as an entity with intrinsic value but is rather presented as an instrument in service of the poor white Afrikaner woman’s economic and social upliftment. / Afrikaans: In hierdie verhandeling analiseer ek Dalene Matthee se laaste twee bosromans, Moerbeibos (1987) en Toorbos (2003), vanuit die postkoloniale ekokritiek, en meer spesifiek witheidstudies. Hierdie studie ondersoek eerstens die verwikkelde identiteit van menslike subjekte in Suid-Afrika soos uitgebeeld word in beide romans. Daarbenewens word die invloed van kolonialisme op die niemenslike, sowel as die uitbeelding van verskillende soorte verbintenisse tussen die mens en die niemenslike ondersoek. Die analise van die verbintenisse in die romans tussen die onderdrukking van die arm, wit menslike gemeenskap en die onderdrukking van die niemenslike word gerig deur die hoofnavorsingsvraag: Hoe word spesifiek die arm, wit Afrikanergemeenskap uitgebeeld as verstrengel met die niemenslike in Matthee se laaste twee bosromans, Moerbeibos en Toorbos? Ek steun veral op teorieë in die postkoloniale ekokritiek soos gekonseptualiseer deur Graham Huggan, Helen Tiffin, Elizabeth DeLoughrey, George Handley en Cara Cilano. Ek steun ook spesifiek op Tiffany Willoughby-Herard se teoretisering van witheidstudies, veral wat haar analise van die Carnegie-kommissie se ondersoek na die sogenaamde armblankevraagstuk in Suid-Afrika betref. Ek argumenteer dat beide Moerbeibos en Toorbos die verbintenis tussen die mens en die niemenslike uitbeeld, met die klem op die verbintenis tussen ʼn arm, wit Afrikanergemeenskap en die Knysnabos as Afrikalandskap. Ek voer aan dat Moerbeibos die hegemoniese siening van witheid as homogene, monolitiese rasseklassifikasie uitdaag. Hierteenoor ondersteun en hou Toorbos hierdie rasseklassifikasie in stand. Gevolglik word die niemenslike in Toorbos voorgehou as ʼn instrument tot die arm, wit Afrikanervrou se vooruitgang, eerder as ʼn entiteit met intrinsieke waarde. / Dissertation (MA)--University of Pretoria, 2020. / University of Pretoria Postgraduate bursary / South African Academy for Science and Arts / Afrikaans / MA / Unrestricted

Verhandeling ingelewer vir die graad Magister in die Lettere en Wysbegeerte aan die Universiteit van Zululand, 2000. / Eng =: In this thesis I report the results of a survey that I made of the contributions that linguists had made in the course of the previous century regarding the description of the Afrikaans prepositional phrase construction. My research revealed that the first generation of Afrikaans linguists for ideological reasons were preoccupied with the origin and development of Afrikaans, and that Afrikaans prepositions were only referred to during discussions regarding the extent to which Afrikaans was considered to be a pure Germanic language, or a creolised language that obtained its characteristic features at the southern tip of Africa under the influence of contact languages such as Malay-Portuguese and Khoe. My research further revealed that De Villiers and Raidt were the first of the second generation Afrikaans linguists that understood that prepositions were constituents of a grammatical construction, the prepositional phrase construc¬tion. My main finding was that Ponelis is the central figure in the description of the grammar of Afrikaans, and that he made the biggest contribution to the description of the Afrikaans prepositional phrase construction in that capacity. Finally I concluded that De Wet and De Stadler are transitional figures to a new approach, according to which prepositions are characterised as elements of case grammar. Of De Stadler I concluded that his work on the Afrikaans partitative construction and the Afrikaans dative construction have created a bridge for analysing the Afrikaans prepositional phase construction within an emerging new approach, Cognitive Grammar. Afri: = In hierdie verhandeling doen ek verslag oor 'n bestekoJlname wat ek gemaak het van die bydraes wat taalkundiges in die loop van die vorige eeu gemaak het t.o.v. die beskrywing van die Afrikaanse setselgroep. My navorsing het aan die lig gebring dat die eerste generasie Afrikaanse talkumliges om ideologiese redes gemoeid was met die ontstaansgeskiedenis van Afrikaans, en dat Afrikaanse setsels slegs ter sprake gekom het tydens besprekings oor die mate waarin Mrikaans 'n suiwer Germaanse taal sou wees, of 'n gekreoliseerde taal wat aan die suidpunt van Afrika onder invloed van kontaktale soos Maleis-Portugees en Khoekoens sy kenmerkende taaleienskappe gekry het. Verder het my navoring aan die lig gebring dat De Villiers en Raidt die eerste taalkundiges van die tweede generasie was wat getoon het dat setsels as konstituente van 'n bepaalde grammatikale struktuur,die setselgroep, gebruik word. My hootbevinding is dat Ponelis die hooffiguur in die beskrywing van die grammatika van Afrikaans is en dat hy in daardie hoedanigheid die grootste bydrae gelewer het tot die beskrywing van die Mrikaanse setselgroep. Laastens het ek bevind dat De Wet en De Stadler oorgangsfigure is na 'n nuwe benadering waarvolgens setseIgroepe as deel van die kasusgrammatika beskryf word. Gor De Stadler het ek bevind dat sy werk oor die Afrikaanse partitietkonstruksie en die Afrikaanse datietkonstruksie 'n brug skep vir die bestudering van die Mrikaanse setselgroep binne 'n ontwikkelende nuwe benadering, die Kognitiewe Grammatika. / National Research Foundation (NRF),

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Bibliography: pages 327-337. / The hypothesis of this thesis is that the prose text is a means of communication, a linguistic utterance (message) produced by a person, the speaker or narrator, and addressed to another person (the reader or narratee). In such a text the utterance has meaning in a given context, this context is created by the speaker or narrator and the reader reconstructs this context by the interpretation of the speaker's reference to person, place and time the deictic elements. This thesis has tried to determine in which way the deictic context in prose is given structure in the text. By reconstructing and interpreting the deictic context in eight shorter Afrikaans prose texts and a novel we determined that this deictic context is a given structure in the text and released from the text by the reader's interpretation of the narrator's references to the speaker, persons, the spatiotemporal context and activities. The reader determines this deictic context by: a) identifying the egocentric speaker; b) identifying and localizing references to the spatiotemporal context; c) identifying all references to person and d) the interpretation of implications in the linguistic utterance. The reader's interpretation of this deictic context leads to an interpretation of the implicated message of the text, thus completing the communication process of the literary text. It has become evident that while reading prose it is of the utmost importance to make a difference be tween narrator and focalizer to determine the egocentric speaker; that references to persons and the spatiotemporal context are to be interpreted from the viewpoint of the egocentric speaker and that implications in the text can be devided into three categories: implications in the preliminary text (title, motto, etc.), deictic implications and standard linguistic implications. The defining and restructuring of this deictic context in prose texts is valuable in that it is a method for the critical reading of prose; leads to an interpretation of the text; accentuates the integration of text elements; gives lead to a metatextual reading of the text; is a method to differentiate between genres; establishes the communication process between text and reader and is of importance when evaluating the text.

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This study investigates the representation of the business world in the oeuvre of Willem Elsschot. Firstly Elsschot as businessman levels criticism at a capitalistic economic system of which he himself was part. An ambivalence, namely humanitarianism versus profit, emerge through the sober style in which Elsschot's writes. Style was very important to Elsschot. Secondly, Elsschot illuminates the ideological tension between capitalism and socialism present in his oeuvre. Thirdly Elsschot provides the reader with insight into his fiction by incorporating in a realistic manner the historical, economic and social background of the society of his time. His representation of the business world implies social commentary on the civilian life of which he was part and from which he never really escaped. He seeks through his portrayal of capitalism a more moral society where the weak would no longer be seen as objects through whose usefulness more profit could be gained for capitalism. In this way he tacitly supports socialistic notions without ever actually practising or choosing socialist party politics. Fourthly, the autobiographical aspect of Elsschot's representation of the business world deserves mention. Although the characters in his oeuvre refer back to historical figures, and he draws from his own experience to create the business world about which he writes, it would be dangerous to assume that his writing is merely a realistic representation of Elsschot's own life. Fifthly, Elsschot examines the church as an instrument in the hands of capitalism. His representation of the church serves as criticism against the Roman Catholic Church which dominated many facets of Belgian society. Elsschot considers it as hypocracy when the church and the business world are seen to behave similarly. Elsschot uses different techniques to describe the business world. Style, being the first one captures Elsschot's choice of words, his overaccentuation and his use of language. Characterization is the second technique that requires consideration. Elsschot's characters act in pairs, an outward representation of the duality, humanitarianism is profit making, ("droom versus werklikheid") that is present in his characters. Even Elsschot as successful businessman himself, Alfons de Ridder, experiences this conflict and writes under the pseudonym Willem Elsschot. The last technique that contributes to the description of the business world is the evocation of unusual worlds with which to compare the real business world. The juxtaposition of everyday occurrences with biblical events for example strengthens the irony and humour in his style. Finally, this study determines Elsschot's motivation in representing the business world in the way that he does; to what extent he is influenced by the history, the ideologies and the society of his time and to what extent he was influenced by the conventions of his time. Although Elsschot has been dead for 38 years, the vitality and realism in his oeuvre are still strong and he still has many readers.

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Thesis (MA)--Stellenbosch University, 1951. / INLEIDING: Die doel van hierdie studie is om na te gaan wat die Afr. verbale hendiadis is, hoe dit gebruik word en, indien moontlik, wat die herkoms daarvan is. My uitgangspunt is dus deurgaans die algemene omgangstaal, ter aanvulling waarvan ook die skryftaal nagegaan is. Ek besef daarby dat daar baie gevalle kan wees waarvan ek geen kennis dra nie. My uitsprake geld dus (moontlik) net van my materiaal, Hierdie werk is suiwer arialities-deskriptief van aard: ek beskryf aan die hand van versamelde voorbeelde die Afr. taal soos ek dit in horisontale perspektief 1) waarneem. Aan die einde word die vertikale 2) egter daarby betrek om die herkoms enigsins in oenskou te neem.