The growing interest in South African cabaret together with the unavailability of relevant information persuaded me that this part of South African theatre life and literature is a neglected phenomena. It needs urgent attention, not only for the literary importance, but also for the social relevance. Towards this end the assistance of Hennie Aucamp, who gave me access to his entire extensive cabaret collection, was of invaluable importance. Other information was collected in Europe in 1991. Cabaret performances in different countries were attended, libraries and museums visited and television programmes viewed, all in an attempt to experience at first hand and analyse the differences and similarities. One of the conclusions was that "cabaret", "music hall", "musical", "chanson", "revue", etcetera, have a lot in common, but are definitely not the same. Many people associate cabaret with almost naked girls with fish net tights. This idea was brought about by inter alia the film Cabaret, but is not what cabaret really is about. South African cabaret, especially our literary cabaret, is based on German "Kabarett". Literary cabaret works with literary conventions and is therefore important to South African literature and theatre. We are experiencing similar political and social changes to those in Europe during the fin-de-siècle. Cabaret in South Africa is growing because of these uncertainties. For example, the Dutch cabaret artist finds himself in a position where there is social welfare and political peace - and nothing is sacred anymore. It is very difficult for him then to make a statement in a climate where everything is allowed and possible. Germany is experiencing political uncertainties and cabaret is flourishing. This tendency can also be seen in other unstable countries, also in South Africa. This proves that, for cabaret to thrive, there must be specific political and social circumstances. Cabaret is the perfect way to remind us of our original reason for living: to love, to accept one another and to live in peace. While this is not possible, there will always be something to say and statements to make.

Bibliography: pages 360-374. / This thesis is, in a sense, a continuation of the literary theories of the Prague school, especially those of Jakobson and Ehrlich. It explores the role of the implication in the interpretation of a poem, and also points out the referencialities of implicati.o n which could influence the evaluation of a literary text. The study largely concerns itself with theory, but the theoretical points of view are constantly tested against specific Afrikaans texts. On the whole, fairly well known texts are dealt with. In this way the theoretical points of view which are introduced in this thesis can be gauged against recognized interpretations of the texts concerned. The problems which the study concerns itself with are: (a) the ways in which the implications in a poem can be recognized (b) the various forms of implication which can occur in a poem, and (c) the relationship between these respective phenomena. In the first chapter the term implication is defined within the framework of linguistic referencialities; in chapter two the implication is examined in conjunction with the formal characteristics of a poem; in chapter three the phenomena of metaphor, metonymy and symbol are examined in conjunction with each other; in chapter four the diverse forms in which the metaphor manifests itself are examined; in chapter five the interaction between the metaphor and the symbol within a volume of poems is analyzed. In chapter six the relationship of irony with regard to hyperbole, understatement (litotes), satire, sarcasm and parody is investigated. At the end of this chapter the connection between irony and metaphor is carried through. The last chapter, i.e. chapter seven, points to the literary evaluative qualities of the implication references. As a whole this study belongs to the relatively new literary science called Literary Semantics. As such it has few precedents in English as well as in Afrikaans. Being a pioneering work, it does not lay claim to final answers, but wishes to act as a stimulant to further research.

Bibliography: leaves 325-332. / The meaning, value and aim of this study lie in the awareness and identification of problem areas in examination of Afrikaans literature on high scholl level, usually pertaining to Grades 11 and 12 learners, taking Afrikaans as First Language (HG) subject. An exposition and analysis of the most recent literary theories have been researched in practice and a report has been compiled. The method used as that of a questionnaire, completed by teachers (subject heads) of 19 schools in the Western Cape. This questionnaire represents a 10% sample of schools falling under the Western Cape Education Department, who offer Afrikaans as a first language HG subject in Grades 11 an 12. These 19 schools are representative of 12 types, i.e. socio-historically privileged schools, socio-economically disadvantaged schools, rural schools, urban schools, big schools, small to medium schools, technical high schools, agricultural schools, special schools, private schools, schools previously categorised by House of Representatives and schools previously categorised by Cape Educational Department (CED).

Bibliography: pages 336-357. / Die skripsie ondersoek die rol van die auteur in moderne literêre teorieë, en bevat hoofstukke oor Russiese formalisme, Praagse strukturalisme, Ferdinand de Saussure, Claude Lévi-Strauss, Roland Barthes, semiotiek en dekonstruksie. Hierdie teorieë en teoretici word verbind deur 'n ontkenning van die auteur. Barthes vorm die spil van die ontwikkelingslyn in soverre hy "die dood van die auteur" verkondig en die moontlikheid skep vir 'n hedonistiese benadering tot letterkunde; so 'n benadering is inderdaad die logiese eindpunt van die geleidelike ontwikkeling weg van die auteur en na die leser. 'n Onderskeid kan daarbenewens getref word tussen "behoudende" en "radikale" benaderings, met eersgenoemde wat gestalte vind in semiotiek en laasgenoemde in dekonstruksie; die onderskeid is weer eens gebaseer op die rol wat aan die auteur toevertrou word. Die sogenaamde "afgrond" veroorsaak deur 'n hedonistiese benadering kom uiteindelik waardeloos voor, en daar is gevolglik by sowel die latere Barthes as by dekonstruksie pogings om die beweging te bekamp deur opnuut erkenning aan die auteur te gee. Om erkenning aan die auteur te gee impliseer nie 'n terugkeer na 'n naïewe biografiese benadering waar die auteur as aanvanklike uitgangspunt figureer nie. Dit beteken wel 'n bereidwilligheid om letterkunde as 'n kommunikatiewe stelsel - na aanleiding van Roman Jakobson se skema - te sien, wat lei nie tot 'n beperking op die spel-element in literêre teorie en kritiek nie, maar inderdaad tot 'n verbreding daarvan deur nie die teks te sluit met betrekking tot die oorsprong daarvan nie. Die rol van die auteur word tekstueel ondersoek na aanleiding van die ek-poësie van Breytenbach en Opperman se Komas uit 'n bamboesstok. Breytenbach-kritici fouteer deur òf vir hom van "ekkerigheid" te beskuldig òf die outobiografiese verwysings te probeer verdoesel. In stede daarvan behoort Breytenbach se oeuvre gelees te word juis in terme van die ek; kritici wat vir Breytenbach as middelpunt ontken beperk sy poësie deur dit op 'n tradisionele manier te wil benader. Komas word betrek ten einde 'n moontlike beskouing van Breytenbach as 'n eenloper teë te werk. Wanneer twee van die vooraanstaande Afrikaanse digters so sterk outobiografies skryf, is dit nie meer moontlik om die rol van die auteur te ontken in moderne literêre kritiek of teorie nie.

No description available.

This research resulted from a concern for serious, authentic texts and the quality of adaptations. This brought the problematics surrounding the Bible and children's Bibles to the fore. The main concern is the integrity of the original text, and the depriving effect these adapted texts could have on very young listeners or readers. Chapter 1 is an introduction to this study. In chapter 2 the logical and magical dimensions of the word (as art) are examined. Chapter 3 is an attempt to define the Bible in literary semantic terms. Concepts under discussion are inter alia: oral tradition, genre, author, writer, double text (supratext and subtext), autobiography, reader and oeuvre. Chapter 4 defines children's Bibles in literary semantic terms and six prototypes are critically evaluated because of their claim to be called Bible. In chapter 5 these texts are discussed as children's literature. The last chapter gives an updated view of the child, including his religious needs and insights. A corrective on existing children's Bibles is proposed and motivated. Theoretical works on literary semantics, children's literature, developmental psychology and theology have been consulted. Although psychology and theology play a fairly important role in this study, the perspective remains literary semantic. ihe survey material includes all the English and Afrikaans toddler's and children's Bibles that were available in Cape Town, during the period 1992-1994. The main conclusion of this thesis is that the integrity of the original text, and that of the Author, have been violated (to different degrees). The implication is that the young listener has been deprived of a valuable meaninggiving source. Further it has been found that children's Bibles do not really have the right of existence as either Bible or children's literature. But the popularity and the real need for texts of this kind necessitates an alternative. A new approach is also suggested, namely, that the child starts hearing the pure Scripture already in utero. The practical outcome of this study proposes an alternative publication, which will soon be attempted. By the selection of Scriptures the selector will endeavour to give an overall view of the complete oeuvre in verbatim text. The aim is to publish such a text in various South African languages.

In die skripsie word die hiaat ondersoek wat tussen die oorspronklike konsepsies van die "Erotiek", waar dit beskou is as 'n kosmogoniese mag, die Primêre Beweger, wat die skepping mitologies laat afspeel het, en die moderne opvattings en toepassings van betekenis dieselfde term waar die betekenis oënskynlik gereduseer is tot slegs een aspek van die oorspronklike term - die seksualiteit. Die evolusie van die begrip word nagegaan vanaf die vroegste verskyning, by die Griekse digter Hesiodus (c. 700 v.C), en Plato (asook ander Griekse wysgere) se filosofiese uitbouing, die omvorming van die liefdesidee deur die Christendom tot Agape, en die uiteindelike kulminasie van die moderne erotiek soos dit verskyn in die Afrikaanse literêre teks. Die roman Mahala van Chris Barnard word vanuit 'n Freudiaanse perspektief benader en wys op die sado-masochistiese boublokke van die Afrikanerliefde: die sosio-psigologiese regressie van die hoofkarakter word nagegaan namate hy ondergaan weens die skuld teenoor die Vader. Sewe Dae die Silbersteins skets die teenoorgestelde proses, waar die enkeling geïnisieer word in die gesofistikeerde Westerse wêreld, deur die Jungiaanse individuasieproses trapsgewys, maar ironies te voltooi, as die Self/Seun-offer hier gemaak word aan die die Moeder, sonder die regenerasie van die lewende mite/simbool vir die tyd. Die gedig "Snol" uit van N.P. van Wyk Louw is die slotteks en wys op die konfrontasie van die denker met homself, waar hy in 'n post-koïtale melancholie deurdring tot die gnosis dat die waarheid/ heling/verlossing diep in sy skeppende self lê.

Bibliography: pages 157-163. / This dissertation examines the corresponding symbols and imagery in N. P. van Wyk Louw's "Groot Ode" and DIE HEENGAANREFREIN by Wilma Stockenström. The poetic approach in both works is similar and comparable, because both poets are concerned with mankind's questing nature. In both texts man is portrayed as searching for omnipotence through omniscience. A section of the analysis is devoted to extra-textual influences on the two works. Examples of these are: genre expectations, poetic influence and the fact DIE HEENGAANREFREIN was commissioned for a special celebration. Previous analyses are also discussed briefly. The two main sections of this dissertation are dedicated to analysing the parallel (1) images and (2) motifs. The similarities in the application of mirror and colour imagery are but two examples of corresponding threads in both works. Motifs are discussed as the organic entities of a text: they develop in the text and are not the stagnant components that images are. Themes of evolution and of the apocalypse are examples of motifs covered. Language as motif is very important in this analysis, because it is not only an intra-textual occurrence, but also becomes an extra-textual determination. The last section is concerned with the role that language plays in ordering the chaos of the universe. The anxiety that the poet experiences as ephebe/successor to God and to earlier poets is also briefly discussed.

This dissertation examines the role of the egocentric author in the poetry of Antjie Krog and its development through seven volumes of verse. The term "egocentric author" here signifies that author which is the writing subject and which insists that the reader take cogniscence of him or her. The second chapter of the dissertation focuses on the development in literary theory in the twentieth century which has seen the author increasingly marginalised in the process of asserting the autonomy of the text. Barthes in 1968 proclaimed the author dead and early poststructuralism has no place for the author in its approach to discussing literary texts. However, a definite role has lately been assigned to the author, not as the divine artistic source of the meaning in a text, but rather as an agent or textual strategy by which the material or historical discourse present in literary texts can be examined. The study further examines the way in which Antjie Krog's oeuvre shows a definite line of development in respect to the speaking subject which admits that it is also the poet. In no way is dwelt on the specific biography of the "real" poet unless biographical information is obviously a textual element. With Krog the "biographical" information that she is a mother, wife and an Afrikaans speaking poet is an integral component of the textual composition. The last section deals with the fact that in Lady Anne, Krog uses the historical figure of Lady Anne Barnard (born Lindsay) (1750-1825) to function as an objective correlative for the white female poet who is increasingly concerned with the oppressive political climate in her country, her part in the oppression of its disenfranchised citizens. The interaction between the self-conscious poet and her metaphor enables the poet in a singular way to pose the important question of whether she has the power through her poetry to address the injustices which her artistic sensibility witnesses around her.

Bibliography: leaves 266-279. / This study is a critical investigation of the socio-historical foundations of the Convergence theory for the genesis of Afrikaans, as developed by Hans den Besten. It is done within the theorectical framework of the study of Creole genesis as suggested by the gradualists (John Singler, Jacques Arends and Philip Baker) and the Complementary theory of Salikoko Mufwene. These approaches stress teh use of socio-historical material. In line with this the work of historians on aspects of the early Cape society, ca. 1590-1720, especially the number, distribution, origins and mutal contact between the three main groups at the Cape, viz. the Khoikhoi, slaves and European settlers is used.