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'N DISKURSIEWE ONDERSOEK VAN ENKELE VERTEENWOORDIGENDE AFRIKAANSE EN NEDERLANDSE HISTORIESE ROMANSMarais, Nina-Marié 04 July 2006 (has links)
The preceding study is an exploration of the interdisciplinary and inter-discursive
âdialogueâ between the historical novel, historiography and the philosophy of
history. A rigid distinction between the discourses of literature and historiography
is questioned in the contemporary literary criticism and the contemporary
philosophy of history. In the work of the narrativist philosophers of history like
Hayden White and Frank Ankersmit the narrative features of historiography is
analysed. In contemporary literary criticism the historical novel is not studied in
an autonomous manner. The emphasis in the work of Linda Hutcheon and
Elisabeth Wesseling is on the close ties between historiography, the historical
novel and the philosophy of history.
Developments in the philosophy of history and historiography from the nineteenth
century until the late twentieth century has been related to developments in the
genre of the historical novel in this study. Although the developmental phases of
the philosophy of history does not correlate completely with the developmental
phases of the historical novel, it can be alleged that the Classical historical novel
can be associated with empiricism in nineteenth century historiography and
philosophy of history and that the new historical novel has a close affiliation with
the contemporary philosophy of history. The poststructuralist problematisation of
history has had a big influence on the contemporary philosophy of history, as well
as on the new historical novel.
It appears that the deconstruction of empirical approaches to historiography has a
great deal in common with the contemporary critique on the historical novel in
which confidence in the objective representability of the historical reality is
undermined. Historiography ( like fiction ) is seen as a subjective, ideological and
rhetorical construct which cannot represent the past in a transparent manner. History is viewed as a text which is constantly rewritten from new points of view
and new ideological perspectives. Each attempt to reconstruct a reliable image of
the past is undermined by limitations like the fact that archival material does not
provide a complete picture of the past, the fact that each archival document was
written from an ideological perspective or that the archive is institusionalized.
The idea that history can be viewed as an ideological construct was proposed by
Hutcheon and Wesseling in their work and it was especially this aspect of the
historiographical discourse that was analysed in this study. Foucaultâs association
of discourse with a form of power was applied to the manner in which the
historiographical discourse took part in the colonial discourse in the past, but also
the manner in which a principally male perspective on history was favoured in the
historiographical discourse in the past. With reference to contemporary historical
novels like Eilande ( 2002 ) by Dan Sleigh as well as the novels of Hella Haasse
like Heren van de Thee ( 1992 ), Mevrouw Bentinck of Onverenigbaarheid van
karakter ( 1978 ) and Een gevaarlijke verhouding of Daal-en-Bergse brieven
( 1976 ) the ways in which the new historical novel represents an alternative form
of historiography than formal historiography was investigated. It appears that new
historical novels provides an alternative perspective on history than the Western
and androcentric historiographical tradition. The existing historical record is
supplemented in these novels with the perspective of marginal subjects such as
women, indigenes, or the micro-histories of unimportant historical figures. The
novelist Haasse enters the domain of the historian through the re-valuation of
âapochryphalâ historical sources such as the letter, diary, marriage certificate or
will, whereby an alternative perspective is given on history than in the traditional,
political historiography.
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'N SOSIOLOGIESE ONDERSOEK NA DIE GEBRUIK VAN TIENERTAAL AAN DIE HAND VAN JACKIE NAGTEGAAL SE DAAR'S VIS IN DIE PUNCH.Du Preez, Petru Isabella 22 August 2005 (has links)
No abstract available.
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MORPHING MOONLIGHT: GENDER, MASKS AND CARNIVAL MAYHEM. THE FIGURE OF PIERROT IN GIRAUD, ENSOR, DOWSON AND BEARDSLEYKreuiter, Allison Dorothy 22 August 2008 (has links)
Pierrotâs snowy garments with their touch of black, the tragic, frozen mien of
the mask above the baggy, over-large habit became a prevailing symbol of
artistic expression during the fin de siècle. The silent white-masked figure
became the disguise for the artist in assailing and exposing the hypocrisy,
complacency and posturing that the artist saw as the masquerade of society.
Beneath the clownâs guise the artist could imaginatively act out all the
forbidden and darker secrets concealed beneath the inscribed societal
conventions of humankind. Pierrot could murder, commit incest, get riotously
drunk, rape, be a bigamist, commit suicide, be morbidly depressed, steal, be
gluttonous, rage, hate, be excessively carnal or ascetic, a hermaphrodite or
androgyne or entirely genderless in his transgression, flouting all and every
taboo. Using the mask of the clown as a distancing technique, the artist was
vicariously experiencing all that was contrary to the societal mores and laws
against which he or she was in rebellion. In this the blending of gender
became of paramount importance. The androgyne and the hermaphrodite
were, like Pierrot, leading images in the arts of the fin de siècle. They blurred
the reality of the division of gender and called into question all the attributes
that were apportioned to what was male and what female. Pierrot was seen as
partaking of this gender indecision because the sexuality that lay behind the
loose white garments was entirely uncertain, as were the lurking carnal appetites of the silvery, moonlit clown. Gender was as ghostly and as
paradoxical as the clownâs own nature.
Pierrotâs origins in the Commedia dellâarte and his original role as a buffoon
had altered by the late-nineteenth century. He had come to represent a silent
malevolence and shadowy evil which was subtly contained within the
lineaments of his lunar-coloured garments. The pantomime role had involved
the challenging and transgressing of boundaries and the world of the demonic
was invariably present, though it never triumphed; rather, laughter and love
prevailed with repeated beatings and roistering. With the Decadent movement
of the fin de siècle the demonic became the prevailing tone, filled with a
sardonic bitterness and searing, although hidden pain. Pierrotâs silence and
pallor were seen as the ultimate attributes with which to convey the trangressive
and mordant nature of the liminal artistic life. The clownâs achromatic colour
and his muteness were aspects that resembled the unsullied emptiness of page
and canvas, and his mutable, quicksilver nature was as indeterminate and fluid
as any interpretation or subjective artistic representation. The artist could thus
mould the figure to represent what was wished and in so doing reveal how
slippery and subjective any representation is.
In the chapters on Giraud, Ensor, Dowson and Beardsley this thesis explores
the carnivalesque and transgressive attributes of the wan clown as a central
concern in the work of these artists. Kristevan and Bakhtinian theory on the
carnivalesque and the relation of language to transgression will structure and
guide the tenets and arguments of the thesis. The mutability and fluid metamorphosis from one state to another, disregarding boundaries, is what
Pierrot will be seen to do in the works of the chosen artists. Indeterminate
gender and lunatic emotions will be shown as essential to the shadowy and
insubstantial nature that allows the clown to ignore the extant social morals,
laws and boundaries.
Giraud, Ensor, Dowson and Beardsley could perhaps be regarded as marginal
artists of the late nineteenth century, but considerations of marginality and
greatness are based on subjective choice. These artists were a part of the fabric
of their time and are strands that braid together the thematic concerns and
representations of the fin de siècle, and this gives to their work and
importance, however liminal that might be.
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HENK VAN WOERDEN SE "KAAP TRILOGIE" AS N' VORM VAN BEKENTENISLITERATUURBruwer, Aletta Susanna 22 August 2005 (has links)
Summary
South Africa is a country of beauty and violence. Understanding the essence of the country requires a journey into its past to dig up its variety of stories in order to present them in alliance with all the beauty and hardship and cruelty of the surroundings in which they play off. Henk van Woerden undertakes such a journey.
Van Woerden�s books Moenie kyk nie (1993), Tikoes (1996) and Een mond vol glas (1998) are based on his own past as Dutch immigrant in South Africa and his personal experience of the country�s history of apartheid. The reception of these books � and of Een mond vol glas in particular - is characterized by misinterpretation and fierce judgement. This misinterpretation and consequent, unjustified negative evaluation result from two things: failure to read the three books as a trilogy (which would add an extra dimension of meaning) and not taking into account the specific genre to which they belong.
The hypothesis proposed and validated in this study is that Van Woerden�s three books, in which his youth in the Cape and later important periods in his life are described, form an autobiographical unit: they are cyclically linked. This necessitates interpretation and evaluation based not only on an individual text, but taking into account the relationship with other texts in the cycle. H.P. van Coller�s definition of prose cycles is used to proof that the books do form a literary unit. The most important indication of a cycle in Van Woerden�s texts is the great amount of motives and themes, characters and events, which repeatedly occur and develop.
A further hypothesis states that the genre in which the cycle as a whole is described, is a form of historiography where the combined meaning has a function that rises above factual controllability. It is suggested that these books can be defined as a hybrid form of confessional literature, in which the author depicts the history of the country, recalling his personal experience of it. He does this by using fictional tools to give these autobiographically founded stories an artistic dimension.
Readers who interpret Van Woerden�s trilogy in this way, will recognize the function of the past being processed by way of giving artistic form to it.
Finally, the texts are in line with the prevailing tendencies in history writing in both Dutch and South African literature, where the subjective rewriting of history in order to tell of personal experience of events is acceptable. In other respects Van Woerden�s work is ground braking. The texts converse interestingly with numerous other texts and contribute mainly to colonial and post-colonial discourses in Dutch and Afrikaans literature.
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DIE IMPAK VAN SOSIOPOLITIEKE VERANDERING OP DIE PLEK VAN VROUESKRYWERS IN DIE AFRIKAANSE LITERERE KANONHuman-Nel, Maria Johanna 18 March 2010 (has links)
Not available
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DIE MIDDELEEUSE YSLANDSE SAGA: 'N KREATIEWE AFRIKAANSE PERSPEKTIEFSenekal, Burgert Adriaan 19 March 2010 (has links)
Theoretical part
The medieval Icelandic saga can be divided into various categories, but the most
widely known category is the Ãslendingasögur and it is on this that the focus of
this study has fallen. It was committed to writing in mainly the thirteenth
century and some scholars (for example Sigurðsson, 2004) allege that these
writings are based on an oral tradition. Actions described in the Ãslendingasögur
take place in the tenth- and early eleventh centuries and are based on the history
of the Scandinavian world and Iceland, and more specifically they are based on
those people who established a name for themselves in this period.
The narrative style is simple and objective: the narrator tells the saga as it would
be perceived by an outsider and therefore depicts characters without detailed
character sketches or by relating their thoughts. Rather are the characters
revealed by their actions and dialogue. The sagas are not moralizing in character
and therefore they differ considerably from other medieval literatures. It was
argued in this study that the majority of characteristics exhibited by the sagas are
determined by the focus on character and the attempt at creating a realistic
narration. This focus on character determines for example that detailed
descriptions of scenery and moralizations are omitted: the narrator strives to
depict his characters rather than embedding his text with lessons in morality.
The attempt at creating a realistic narration is established by incorporating scenes
from their everyday lives and by not omitting the peasants or even slaves. The Icelandic sagas also belong to the Germanic heroic literature and its characters
are heroes of this heroic milieu.
A further characteristic of the Ãslendingasögur is that poetry is also found which
belongs mainly to the skaldic branch, and for this reason Old Norse poetical
genres are briefly discussed in the theoretical discussion and its characteristics
indicated. Skaldic poetry is the most complex of these and terms such as kenning
are therefore explained and illustrated through suitable examples.
Lastly the sagas offer a glimpse into the medieval world and especially the
Viking Age and incorporate pre-Christian traditions and religious perceptions as
well as everyday realities which aid the interpretation of archaeological finds, for
example the descriptions of burials or ships. It is a genre which distinguishes
itself within the context of medieval European literature for it exhibits little
continental influence and thereby attains uniqueness.
Creative part
The theoretical part is followed by a creative application in the genre of the
Ãslendingasögur. Valgarðr Gunnvaldsson is a member of the Norwegian nobility
by ancestral right. The saga begins with his grandfather, Aldúlfr, and his
involvement in tenth century politics. Valgarðr's family fight in most of the
important battles in tenth century Scandinavia and goes on raiding expeditions
in Europe, and the saga tells of three generations involved in such activities. A
second family which features is the family of Ãorvaldr, who are mainly
merchants not wanting to involve themselves in politics, but even they are
offered no choice and eventually fight alongside Valgarðr and his companions. Valgarðr marries Ãorvaldr's daughter, GuðrÃðr, and she later bears him a
daughter called Ãshildr. Gradually everyone around Valgarðr dies and he
emigrates to Greenland along with the two Scottish widows (Kaðlin en Mýrún),
from where they conduct a series of expeditions to America (VÃnland). On these
expeditions contact is established with the indigenous population, but eventually
Valgarðr becomes ill and returns to Norway to be buried with his family.
Throughout the saga a character named Ãagall is present, but no-one ever
understands his true identity, involvement and motivation.
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'N ONDERSOEK NA GEORGE WEIDEMAN AS DRAMATURGBeuke-Muir, Christina Maria 18 October 2011 (has links)
Not available
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DIE VORMLIKE VERGESTALTING VAN KONSEPTE BINNE ADVERTENSIEKOMMUNIKASIELubbe, Elmarie 07 August 2014 (has links)
Advertising communication has a unique character and different techniques are used
to draw the consumer's attention. The way in which the message is communicated in
the advertisement often contributes to the impact of the advertising message. In this
study the focus was specifically on the ways in which advertising language
communicates creatively. Furthermore, the manner in which visual signs echo the
linguistic signs and contributes to the construction of the marketing message is also
observed.
Figurative language and semiotic signs are some of the mechanisms copywriters use
to draw the consumer's attention. Literature that focuses on the linguistic and visual
analysis of advertising communication is limited. A variety of definitions for figurative
language exist in the literature, since different authors have different perspectives
given a particular data set and time frame. In this study creative signs used in
advertising (e.g. language play, rhetorical figures and semiotic signs) in order to
increase the impact of the advertisement, are studied from a Cognitive Semantic and
linguistic perspective
A qualitative investigation was launched in order to describe the character of the
manifestation of concepts in advertising communication. Based on the primary
objective of the study, to give an overview of the manifestation of creative concepts in
South African print advertising communication, the secondary objectives were
identified. These objectives were to explain the definition and nature of terms such as
language play (idiomatic expressions, personification, and wordplay), rhetorical
figures of speech (comparisons, analogies and metaphor) and semiotic signs
(indexes, icons and symbols). South African print advertisements were used as data
set. A further objective was to obtain an overview of the gains and risks in the use of
these attention drawing mechanisms in the interest of training linguistics and
copywriting students. In this study two main categories were identified, namely figurative language and
semiotic signs. Figurative language were divided into two categories, namely
language play and rhetorical figures. The category, language play, focuses
specifically on the artistic nature or rather âcreative decorationâ of advertisements.
Idiomatic expressions (when the catâs away, the mice will play), personification
(âYour pepper will be so jealousâ) and wordplay (the Afrikaans word âleerâ can
refer to the ladder you climb, as well as the leather a shoe is made of) are
identified as three forms in language play.
Rhetorical figures were identified as second category within figurative language.
Rhetorical figures of speech include: similes (he is as slow as a tortoise), analogies
(an analogy between the organ, a kidney, and a coffee filter) and metaphors
(metaphor between coffee and perfume's durability and aroma).
The second main category distinguished in this study is semiotic signs. Semiotic
signs were divided into indexes (smoke indicating a fire), icons (a passport full of
stamps, indicating a real passport) and symbols (an apple as a symbol of
seduction).
Based on the literature study and the data set, it is clear that creative signs used in
advertising communication contribute to keeping the reader's attention longer.
Creative signs are often an intellectual game to be unravelled by the reader, in order
to identify the intended marketing message. Furthermore, more than one message is
often communicated through the use of creative language and visual signs, thus
giving the copywriter the ability to say more with less (words and images). From this
study, it is clear that the use of figurative language and semiotic signs should ideally
focus on the brand name, marketing message or characteristic of the product to
actually be relevant to the marketing message; otherwise it remains just a useless
decoration in the advertisement.
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THE LITERARY REPRESENTATION OF IDENTITY AND ALIENATION IN COUNTERINSURGENCIES: VIETNAM AND NAMIBIA/ANGOLASenekal, Burgert A 07 August 2014 (has links)
This interdisciplinary study investigates how alienation manifests in American literature
on the Vietnam War and Afrikaans literature on the war in Namibia/Angola (the so-called
Border War). After an historical contextualisation, the sociological branch of alienation
theory, which is based on the writings of Melvin Seeman, is discussed, and it is illustrated
how the six aspects of alienation, as identified by Seeman, manifest in several texts on
these wars. In keeping with the interdisciplinary nature of the thesis, insights from
alienation theory are integrated with theories of historiography, trauma, masculinity, and
counterinsurgencies, all in an attempt to come to a better understanding of the texts
under consideration.
Despite literary theoryâs insistence that alienation is a feature of modernist and
postmodernist literature, and literature on these counterinsurgencies in particular, little
has been written on what alienation actually is. Seemanâs variant was chosen because it
is the most detailed and comprehensive treatment of alienation available, and although
published in 1959, Seemanâs notion of alienation continues to be relevant within
sociology. Seemanâs six aspects of alienation include powerlessness, meaninglessness,
normlessness, cultural estrangement, social isolation, and self-estrangement, and these
are used to discuss the literature on these two counterinsurgencies, highlighting how
these aspects of alienation manifest in a variety of literary texts. The line between
history and fiction is of course also an important boundary challenged by literature on
these wars, and therefore a section is included under meaninglessness that deals with
the writing of history and the role historical fiction plays in representing the past. Under
cultural estrangement, a section is also included on masculinity, because since the army
was often seen as offering a rite of passage, alienation manifests in this sense as well by
rejecting the cultural values of masculinity. A section is also included on the alienating
effects of trauma, because trauma is of course an important facet of literature on these
wars, and it is shown how alienation ties in with trauma through two texts in particular:
Larry Heinemannâs Pacoâs Story and Anthony Feinsteinâs Kopwond (released in English as
Battle Scarred). Lastly, the study discusses all six aspects of alienation in reference to
two of the seminal texts on these wars: Tim OâBrienâs If I die in a combat zone and
Alexander Strachanâs ân Wêreld sonder grense. In general, the thesis tries to come to terms with the complexities of these wars:
history, alienation, and identity are complex issues in these conflicts, and the
interpretation of literary texts can be done from an extensive variety of perspectives. It
is shown how alienation theory provides a useful prism for looking at these texts that
stem from two watershed conflicts that changed their societies irrevocably.
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DIE INSIGTE VAN DIE PRAGMATIEK VIR DIE ONDERRIG VAN AFRIKAANS AS MOEDERTAAL IN DIE SEKONDERE SKOOLKlopper, Andries Hendrik 20 August 2014 (has links)
Not available
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