Summaries in Afrikaans and English / The aim of this dissertation is to analyse those poems in which the image of the knife, el cuchillo, appears in the collection El rayo que no cesa, by Miguel Hernandez. The poet manifests his all-encompassing tragic view of life by means of this recurring negative symbol. The poetry of Miguel Hernandez is autobiographical: The universal themes of nature, love and death reveal a close link between the course of his life and the evolution of his poetry. El rayo que no cesa is central to the evolution of Hernandez's poetry: it is the product of the crisis of conscience that propelled the poet toward a radical change of world-view. The book reveals his frustration with love within the rigid norms of the society of his time. The poet expresses his bitterness by means of destructive images such as knife, sword, and ray/flash, images that project the tragic fate that threatened his entire existence. / Met eietydse denkrigtings oor die literere historiografie as uitgangspunt, word 'n deelgeskiedenis aangebied van die plaasroman as deurlopende en prominente genre in die Afrikaanse letterkunde oor 'n tydperk van nagenoeg sewentig jaar (1926 -1993). Ter inleiding word besin oor die geldigheid van kategorisering van romans en oor die aard van die plaasroman as eiesoortige genre. Orie opeenvolgende periodes word onderskei binne hierdie deelgeskiedenis op grond van bepaalde perspektiefverskuiwings wat in die Afrikaanse literere klimaat opvat. Hierdie periodes word deur die volgende noemers getipeer: Die Afrikaanse gedagte (1920-1940), Die internasionale gedagte (1956-1976) en Die Afrika gedagte (1976-1993). Twaalf plaasromans van literer-historiese betekenis word sinchronies, diachronies en binne ekstratekstuele konteks bespreek. Ten slotte word 'n oorsig gebied van die historiese gang sowel as die veranderende betekenis van die plaasroman in die Afrikaanse letterkunde. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

M.A. (Library & Information Science) / Please refer to full text to view abstract

This thesis locates Abraham H. de Vries's Nag van ale Clown witbin the self-conscious South African socio-literary climate of the eighties and analyses postmodernist narrative strategies in five stories. Surveying the debate on postmodernism, this study describes postmodernism as a nomadic, inherently contradictory and mutually informing palimpsest of texts and views the De Vries text as a problematized inscribing of subjectivity into history. / Hierdie proefskrif situeer Nag van die Clown (1989) van Abraham H. de Vries binne die selfbewuste sosioliterere klimaat van die Suid-Afrika van die dekade tagtig en ontleed postmodernistiese vertelstrategiee in vyf verhale uit die bundel. Die studie bied 'n oorsig oor die debat rondom die postmodernisme as nomadiese, weersprekende en wedersyds voedende palimpses tekste en beskou die De Vries-teks as 'n problematiserende inskryf van subjektiwiteit in die geskiedenis.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007. / Two separate texts are submitted towards the degree MA in Kreatiewe Afrikaanse Skryfkunde. Firstly, a thesis with the title ‘Drempellewens: die uitbeelding van bewussyn in vyf debuutromans’, and secondly a novel called Hanna in die park. The novel and the thesis are thematically related. The focus of the thesis is the portrayal of the consciousness of protagonists who, because of their age and situation, may be considered ‘threshold characters’. The question that is posed is the following: what kind of narrator and what narratological strategies can best express the unfixed nature of the protagonist in a so-called ‘coming of age’-novel? To examine this issue, theoretical tools are taken from mainly two sources: the work of anthropologists Arnold van Gennep and Victor W. Turner about the liminal phase in rites of passage, and Dorrit Cohn’s theories about the depiction of consciousness, as set out in her book, Transparent Minds (1983). Five debut novels are discussed using these concepts. They are Die Ryk van die Rawe (Jaco Fouché), Annerkant die Longdrop (Anoeschka von Meck), trips (Manie de Waal), Less than Zero (Bret Easton Ellis) and You Shall Know Our Velocity! (Dave Eggers). The liminal characteristics of the protagonists and their situations are discussed. Using Cohn’s three modes of narration, namely psychonarration, narrated monologue and quoted monologue, a discussion follows of what effect the kind of narrator and narratological modes has on the convincing and striking portrayal of a liminal character’s consciousness. The conclusion is reached that a narrator who is also in some kind of liminal position, or who experiences a threshold-consciousness, is most effective in the portrayal of the nature of liminality. The novel is about a young woman, Hanna Moolman, who is having trouble with the requirements of becoming adult. She works as a waitress in Stellenbosch and leads a somewhat lonely, frustrated life. Her relationship with especially her mother and her younger sister is strained. When her sister, a beautician in training, becomes pregnant, old sibling rivalries and family secrets are brought to the fore. During the crisis of her sister’s pregnancy, there are also various other influences on Hanna’s state of mind; among others, her part-time job as a researcher for an old lady who is writing about the domestic history of the Afrikaner woman, an impudent graffiti artist who seems to be watching Hanna, and a client at the restaurant where she works who leaves her mysterious notes.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2009. / When reading Henning J. Pieterse’s work the reader is confronted by a sombre central theme, that of loss. Loss manifests itself in different ways in his oeuvre, but the most notable forms of loss are as result of the ending of a love affair or death. A second noticeable theme in Pieterse’s work is art and artistry, specifically the creative writing process. In my opinion these themes are most evident in his 1998 collection of short stories Omdat ons alles is (Because we are everything). The main premise in this collection of short stories is the suicide of the beloved wife and the accompanying feelings of loss and grief. The male characters in these stories struggle with processing and accepting loss - loss due the suicide of a beloved wife or due to the ending of a relationship. Various attempts are made to forget the loss and to numb the pain. The characters turn to alcohol, drugs and sex as ways of trying to work through or process the loss, but these methods only bring temporary relief. These self-destructive methods op escapism are contrasted with the constructive act of writing. At the same time the journey to psychic recovery and the processing of trauma becomes a creative journey. By expressing trauma through writing about wounding experiences there is striven to process it. The processing of trauma by means of literary narratives is often extremely exhausting and distressing. In the act of writing about trauma, painful memories that are repressed in the psyche are brought to the surface. In this thesis Omdat ons alles is is viewed from a therapeutic perspective to establish whether the act of writing plays a part in the processing of trauma. Narrative therapy is concerned with the finding of words and language to communicate trauma by creating a story in which the meaning and coherence that trauma destroys, can be recaptured. Trauma destroys the meaning and coherence of a life story and leaves the individual powerless and confused, but by finding words to communicate trauma, there is a positive movement in the direction of dealing with and accepting loss. In Omdat ons alles is Pieterse maps the journey of working through loss and trauma, but in these stories it is also emphasised that this journey is by no means a joyride. In the end it seems that the act of writing does play a part in the processing of trauma, but to which extent, remains an open question.

Ph.D. / A central tradition within the art of novel-writing is that of realism. Reality cannot be duplicated, and the illusion of reality in literature depends on narrative conventions. Within the perspective of the age-old tradition of realism one would have to view the bent and the emphasis of modern prose in the light of what has been described as "realism with documentary woof", "faction" , and "the new realism". The link with the reality of the day is often such that one cannot merely talk about "illusion of reality" - it pertinently becomes "illusion of actuality". The "political" noveI that wants to play in upon an actual situation, brings about an important change in the character of the literary work: the fictional is subdued, so to speak. In this study the question concerning the relation between work of art and actuality strikingly comes to the fore as a problem. The author increasingly addresses himself to the portrayal of the actual. Two methods of portrayal are identified: i) the actuality situation is fictionalised and ii ) a semblance of authenticity is given to the fictitious situation. In this thesis the different strategies employed in each of the two methods of portrayal of actuality are examined. The concepts "actuality", "illusion", and "involvement" are demarcated. Then note is taken of portrayal of actuality in older Afrikaans prose, before proceeding to an analysis of the different strategies employed in three "exemplary" works: Die swerfjare van Poppie Nongena (Elsa Joubert), 'n Droë wit seisoen (André P. Brink), and Dagboek van 'n verraaier (J.C. Steyn). The conclusion eventually drawn, is that novels with a fictitious world as a point of departure, have potentially richer literary posibilities than novels in which the actual situation serves as a point of departure. However, notwithstanding the fact that Dagboek van 'n verraaier has the fictional situation as point of departure, it does not succeed novel-wise. Despite the relatively weaker technique being used in Die swerfjare van Poppie Nongena, the novel is a success. The respective success or failure of these works is determined by the extent to which the concrete author manages to make full-fledged, blood-warm human beings of his characters. 'n Droë wit seisoen serves as an illustration of what· can be achieved when the fictitious world is used as point of departure and the characters are rendered true to life. The latter is, novelwise, the greatest success of the three. Contributing to this, in particular, are narrator's perspective, colloquial usage and tonality, the convincing manipulation of documentation, period location and characterization.

Text in Afrikaans / In hierdie studie word die verbandhoudende teoretiese begrippe van trans-liggaamlikheid, kriptosoölogie en dieresiele ondersoek met verwysing na drie magies-realistiese Afrikaanse romans, naamlik Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) en Dwaalpoort (Alexander Strachan, 2010). Die gewaande dualisme tussen kultuur en natuur word in die tekste bevraagteken en vrye interaksie tussen biologiese, klimatologiese, ekonomiese en politieke magte vind plaas in die onderskeie romanruimtes. Die toenemende druk op die omgewing word uitgebeeld en in hierdie opsig sluit die romans aan by ʼn eietydse tendens in die (Afrikaanse) letterkunde waar die klem op ekologiese kwessies val. Hierdie drie kontemporêre romans reflekteer voorts die komplekse interaksie tussen menslike en niemenslike diere en kan beskou word as dierenarratiewe (met ’n mitiese onderbou) waar tradisionele beskouings oor diere in die samelewing deurentyd ondermyn word. / In this research report, related theoretical concepts such as transcorporeality, cryptozoology and animal souls will be explored with reference to the magic-realistic Afrikaans novels Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) and Dwaalpoort (Alexander Strachan, 2010). The perceived dualism of nature versus culture is undermined in the respective novels and the environment is exposed as a space where the interaction between biological, climatological, economical and political forces takes place freely. The novels portray the increasing demands on the environment and in this respect these texts become representative of a current trend in (Afrikaans) literature to reflect ecological issues. The three contemporary novels further reflect the complex interaction between human and nonhuman animals and can be described as animal narratives (underpinned by myths) where traditional perspectives on animals in society are constantly subverted. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Text in Afrikaans / In hierdie studie word die verbandhoudende teoretiese begrippe van trans-liggaamlikheid, kriptosoölogie en dieresiele ondersoek met verwysing na drie magies-realistiese Afrikaanse romans, naamlik Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) en Dwaalpoort (Alexander Strachan, 2010). Die gewaande dualisme tussen kultuur en natuur word in die tekste bevraagteken en vrye interaksie tussen biologiese, klimatologiese, ekonomiese en politieke magte vind plaas in die onderskeie romanruimtes. Die toenemende druk op die omgewing word uitgebeeld en in hierdie opsig sluit die romans aan by ʼn eietydse tendens in die (Afrikaanse) letterkunde waar die klem op ekologiese kwessies val. Hierdie drie kontemporêre romans reflekteer voorts die komplekse interaksie tussen menslike en niemenslike diere en kan beskou word as dierenarratiewe (met ’n mitiese onderbou) waar tradisionele beskouings oor diere in die samelewing deurentyd ondermyn word. / In this research report, related theoretical concepts such as transcorporeality, cryptozoology and animal souls will be explored with reference to the magic-realistic Afrikaans novels Kikoejoe (Etienne van Heerden, 1996), Die olifantjagters (Piet van Rooyen, 1997) and Dwaalpoort (Alexander Strachan, 2010). The perceived dualism of nature versus culture is undermined in the respective novels and the environment is exposed as a space where the interaction between biological, climatological, economical and political forces takes place freely. The novels portray the increasing demands on the environment and in this respect these texts become representative of a current trend in (Afrikaans) literature to reflect ecological issues. The three contemporary novels further reflect the complex interaction between human and nonhuman animals and can be described as animal narratives (underpinned by myths) where traditional perspectives on animals in society are constantly subverted. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

This study lays a foundation for the empirical mapping of the material production of Afrikaans fiction from 1990 to 2005. The primary research question, namely, how to map Afrikaans fiction production during this period, has been answered through both descriptive-qualitative and statistical-quantitative empirical research. In the first, contextual descriptive component, qualitative research is used to describe the context within which Afrikaans fiction production takes place. The impact of transformation shifts on the production and producer landscapes are mapped through a description of the publishing system. Within this system, book production is regarded as an institution that has inter-systemic relationships with other sub-systems, including institutional contexts (such as media, cultural, literary, educational and library sub-systems), as well as broader societal contexts (such as political, economic and technological contexts). Transformation shifts in the producer landscape (including the establishment, conglomeration, mergers, take-overs and closures of publishing houses) are described through profiling the relevant producers (including publishing houses and other kinds of producers) who contribute to this landscape. In the second, statistical empirical component, quantitative research is used to sketch the contours of Afrikaans fiction production through the construction of production and producer profiles. On a theoretical level, the study follows a sociological and institutional approach to empirical literary studies. This study has been positioned within the developing field of book and publishing studies, specifically within the parameters of the epistemology of production statistics. Itamar Even-Zohar’s poly-system theory and Pierre Bourdieu’s theory of the field of cultural production form the theoretical framework. Several methodological instruments were developed for the purpose of this study, including a new model of the publishing system, a database of production statistics (the Production Database of Afrikaans Fiction – PDAF), and two typologies of kinds of producers and fiction publications according to which both producer and production categories can be distinguished. The publishing system, the PDAF and the two typologies have been proven useful instruments for the mapping of book production. These instruments will contribute to the fields of book and publishing studies through their application to research on other production categories. The PDAF is a useful resource for measuring the growth and diversity of Afrikaans fiction production. The study concludes that Afrikaans fiction production between 1990 and 2005 was incisively influenced by transformation shifts. Publishing in this field became more challenging in that Afrikaans fiction production had to wean itself from the artificial institutional privilege and substantial state support it had enjoyed and was forced to become economically independent. By 2005, there were far fewer significant producers of Afrikaans fiction in the producer landscape than in 1990. In some production categories, fiction production has shrunk, while, in others, it has grown. Overall, the production profile of Afrikaans fiction has greatly diversified, with Afrikaans fiction appearing in a wide variety of production categories. Afrikaans fiction remains the most diverse and best-developed indigenous tradition of fiction production. The challenge for future case studies is to investigate the relationships between production patterns and specific transformation shifts in the publishing system in terms of specific production categories. / Thesis (PhD)--University of Pretoria, 2008. / Information Science / unrestricted