Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Since the sixties many short story collections referred to as ‘eenheidsbundels’ (‘unified volumes’) have appeared in Afrikaans. Especially those collections published since the eighties and nineties prominently display an overall unity suggestive of the greater unity found in the novel. These collections are usually characterised by the recurring appearance of characters beyond the borders of the individual stories and the use of themes and recurring motifs that run through the collection. Sometimes the separate stories within a collection share the same time period or geographical space. The same narrator may also appear throughout the collection. Although the individual stories within a volume may be regarded in isolation (or even published in isolation), they will inevitably be deprived of possible interpretations that would otherwise have been evident in relation to the collection as a whole. As a result, it would seem that the boundary between the short story volume and the novel becomes blurred in these unified collections. The main objective of this thesis is to try to determine whether the short story collections under discussion represent a new genre or subgenre or whether they could possibly constitute a continuation of an existing genre. The point of departure is the suggestion by J.P. Smuts (1989: 23) that the phenomenon is linked to the writers of the sixties’ rebellion against stereotyped literary forms and that these collections appear to represent an intermediate form, something that lies between the traditional short story collection and the novel. Chapter 2 serves as the theoretical foundation of the research: the traditional characteristics of the short story and novel are investigated. Postmodernism as school of thought associated with the problematisation of the boundaries between genres is also investigated. In Chapters 3 and 4 two unified collections from the nineties are analysed: Jaco Botha’s Sweisbril (1999) and S.P. Benjamin’s Die lewe is ’n halwe roman (1999). The purpose of these analyses is to determine the extent to which the extensive unity in these collections can be compared to the unity found in the novel. The secondary goal of the thesis is to suggest (in response to Maritha Snyman’s appeal (2011)) a more suitable Afrikaans name for the study object (“eenheidsbundel”). Neil Cochrane and Nina Botes’s proposed term “kortverhaalsiklus” (“short story cycle”) (2011) is considered, but Andr P. Brink’s reference to “’n soort kortverhaal-roman” (“a kind of short story novel”) finally takes precedence. The conclusion finds that the type of collection under discussion does represent a hybrid intermediary form located somewhere between the traditional short story collection and the novel, a form the development of which was probably influenced by postmodernism. The form seems to be a continuation of the tradition of the short story collection, one that has evolved towards the novel. Cochrane and Botes’s term “kortverhaalsiklus” is rejected in favour of the proposed term “kortverhaal-roman” (with some qualifications). This term can co-exist with terms such as “hibridiese bundel” (“hybrid volume”) or the more vague “eenheidsbundel”. The observation that the term “kortverhaalsiklus” does not convey the hybrid quality of the form, and the fact that Suzanne Ferguson (2003) points out that not all unified volumes are necessarily cycles, was decisive. / AFRIKAANSE OPSOMMING: Van die sestigerjare af het daar verskeie kortverhaalbundels in Afrikaans verskyn waarna literatore as ‘eenheidsbundels’ verwys. Veral di sedert die tagtiger- en ne ntigerjare toon ’n opvallende hegtheid wat selfs aan die groter eenheid van die roman herinner. Hierdie bundels word byvoorbeeld gekenmerk deur karakteroorvleuelings oor die grense van die verskillende verhale heen, die gebruik van oorkoepelende temas en die deurgaanse herhaling van motiewe. Soms deel die verskillende verhale in ’n bundel dieselfde tydvak of geografiese ruimte. Dieselfde vertellende instansie kan ook regdeur die bundel voorkom. Alhoewel die aparte bundelverhale in isolasie beskou (of selfs gepubliseer) kan word, word hulle so van interpretasiemoontlikhede ontneem wat slegs binne bundelverband waargeneem kan word. Dit wil gevolglik voorkom of die grens tussen die kortverhaalbundel en die roman in die eenheidsbundel vervaag. Die hoofdoelwit van hierdie tesis is om te probeer vasstel of die hegte eenheidsbundel van veral sedert die tagtigerjare in Afrikaans ’n nuwe genre of subgenre verteenwoordig en of dit moontlik ’n voortbouing op ’n bestaande genre is. Daar word uitgegaan van J.P. Smuts (1989: 23) se stelling dat die betrokke verskynsel aan die jare sestig se opstand teen geykte liter re vorme te koppel is en dat hierdie bundels ’n tussenvorm is, iets wat tussen die tradisionele kortverhaalbundel en die roman l . Hoofstuk 2 dien as die teoretiese basis van die ondersoek: die algemene kenmerke van die tradisionele kortverhaal en roman word ondersoek. Die postmodernisme as denkrigting wat met die opheffing van genregrense geassosieer word, word ook kortliks ondersoek. In hoofstukke 3 en 4 word twee hegte eenheidsbundels uit die ne ntigerjare breedvoerig bespreek: Jaco Botha se Sweisbril (1999) en S.P. Benjamin se Die lewe is ’n halwe roman (1999). Die oogmerk is om vas te stel in hoeverre die uitgebreide eenheid in hierdie bundels aan die hegte eenheid van die roman herinner. Die sekond re doelwit van die tesis is om, na aanleiding van Maritha Snyman (2011) se pleidooi, ’n meer geskikte benaming vir die studieobjek (“eenheidsbundel”) te probeer voorstel. Neil Cochrane en Nina Botes (2011) se keuse van die term “kortverhaalsiklus” vir die hegter soort eenheidsbundel word bekyk, maar Andr P. Brink se verwysing na “’n soort kortverhaal-roman” geniet voorlopige voorkeur. In die konklusie word bevind dat die bespreekte bundels wel ’n hibridiese tussenvorm verteenwoordig wat iewers tussen die tradisionele kortverhaalbundel en die roman gele is en waarvan die ontstaan en ontwikkeling waarskynlik deur die postmodernisme be nvloed is. Die vorm blyk ’n voortsetting van die kortverhaalbundeltradisie te wees wat in die rigting van die roman ge volueer het. Cochrane en Botes se term “kortverhaalsiklus” word afgewys ten gunste van die voorgestelde term “kortverhaal-roman” (met voorbehoude) wat naas terme soos “hibridiese bundel” en die vaer “eenheidsbundel” sou kon bestaan. Die waarneming dat die term “kortverhaalsiklus” niks oor die romanagtigheid of die hibriditeit van die vorm oordra nie, terwyl Suzanne Ferguson (2003) onder andere daarop wys dat nie alle eenheidsbundels noodwendig siklusse is nie, was hier deurslaggewend.

Thesis (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This thesis contains the results of an investigation into constructions of cultural identity in recent works of short fiction written in Afrikaans. The investigation was conducted within the framework of postcolonial literary theory, with specific reference to the work ofHomi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra and Bob Hodge. The conceptual apparatus concerning postcolonial reconstruction of cultural identities in reaction to the discourse of colonialism were applied to certain Afrikaans short stories to establish to what extent these texts could be considered a '<writing back" to the colonial discourse of Afrikaner nationalism and apartheid. The research focused on texts that had been published after 1994, being the date of the first democratic elections in South Africa, but also investigated their relation to certain literary traditions that preceded this date. From the Afrikaans short stories that were read within a postcolonial framework, it could be concluded that Afrikaans literature after 1994 could still be read in terms of what Mishra and Hodge (1994) called a fused postcolonial, a typification that according to Viljoen (1996) was applicable to the Afrikaans literature of before 1994. The cultural identity that was constructed in these texts showed similarities with the two moments of cultural reconstruction that Hall (1992) mentioned, namely either a strategic essentialism of the colonized subject or a hybridized cultural identity as the result of an ongoing, dynamic process of negotiation in a Third Space as Bhabha (1994) pointed out. A discourse of resistance against new forms of cultural imperialism, arising from a broader disillusion with the perceived dystopia of post-colonial South Africa, could also be inferred from certain Afrikaans short stories that have appeared since 1994. As far as a renewed undermining of imperialising tendencies is concerned, these texts can therefore be considered a continuation of the dissidence that has been characteristic of Afrikaans literature for several decades. / AFRIKAANSE OPSOMMING: Hierdie proefskrif bevat die resultate van 'n ondersoek na konstruksies van kulturele identiteit in onlangse kortverhale in Afrikaans. Die ondersoek is gedoen binne die raamwerk van die postkoloniale literêre teorie, met spesifieke verwysing na die werk van Homi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra en Bob Hodge. Konseptuele apparatuur rakende postkoloniale herkonstruksie van kulturele identiteit in reaksie op diskoerse van kolonialisme, is toegepas op bepaalde Afrikaanse kortverhale om vas te stel in watter mate hierdie tekste beskou kon word as 'n terugskrywing teen die koloniale diskoers van Afrikanernasionalisme en apartheid. Die navorsing het gefokus op tekste wat gepubliseer is na 1994, die datum van die eerste demokratiese verkiesings in Suid- Afrika, maar het ook hul verhouding ondersoek tot sekere literêre tradisies wat hierdie datum voorafgegaan het. Uit die Afrikaanse kortverhale wat gelees is binne 'n postkoloniale raamwerk, is daar tot die gevolgtrekking gekom dat die Afrikaanse letterkunde na 1994 steeds gelees kan word in terme van wat Mishra en Hodge (1994) 'n "saamgestelde postkolonialisme" genoem het, 'n tipering wat volgens Viljoen (1996) toepasbaar was op die Afrikaanse letterkunde van voor 1994. Die kulturele identiteit wat gekonstrueer is in hierdie tekste toon ooreenkomste met die twee momente van kulturele herkonstruksie waarna Hall (1992) verwys, naamlik enersyds 'n strategiese essensialisme van die gekoloniseerde subjek en andersyds 'n gehibridiseerde kulturele identiteit as die gevolg van 'n voortgaande, dinamiese proses van onderhandeling in wat Bhabha (1994) 'n Derde Ruimte genoem het. 'n Diskoers van weerstand teen wat ervaar word as nuwe vorme van kulturele imperialisme, voortspruitend uit 'n breër ontnugtering met wat beskou word as 'n distopiese post-koloniale Suid-Afrika, kon ook afgelei word uit sekere Afrikaanse kortverhale wat sedert 1994 verskyn het. Wat betref 'n hernieude ondermyning van imperialiserende tendense kan hierdie tekste daarom gesien word as 'n voortsetting van die tradisie van weerstand wat die Afrikaanse literatuur dekades lank reeds kenmerk.

During the 1970s the plays of Pieter-Dirk Uys became causes celebres. In the 1980s he was, commercially and artistically, arguably the most successful South African satirist. By 1990 he had gained recognition in the United Kingdom, the United States of America, Canada, Australia, the Netherlands and Germany. Yet relatively little research has been undertaken or published which evaluates his contribution to South African theatre as a playwright and performer of political satire. This dissertation aims to document and assess the satiric work of Uys and that of his precursors and contemporaries. The first chapter identifies certain characteristic features and purposes of satire as a creative method which cannot be defined in purely literary terms. The views of local practitioners and references to its manifestation in various non-literary and indigenous forms are included to support the descriptive approach to satire in performance adopted in later chapters. Of necessity to a study of Uys's lampoons, Chapter 2 discusses the origins of lampoon and the theatrical presentation of actual persons by Aristophanes (the first extant Western playwright to do so). Both the textual and visual ridicule of Socrates, Euripides, Cleon and Lamachus are considered, to argue that Aristophanes employed the nominal character as a factional type to exemplify a concept for humorous rather than meliorative purposes. Part One of Chapter 3 is a necessarily selective survey of the diversity, style and censorship of satire in South Africa in various theatrical, literary and journalistic forms. Part Two describes the use of satire by Adam Leslie, Jeremy Taylor, Robert Kirby and, more recently, Paul Slabolepszy, Mark Banks, Ian Fraser, Eric Miyeni and the 'alternative' Afrikaners in plays and in revue, cabaret and stand-up comedy. Chapter 4 examines the principal themes of Uys's plays to date, the 1981-1992 revues as entertainment and as a reflection of certain social and political issues, the similarities between his theatrical praxis and that of Aristophanes, and his satiric strategies in performance: his preparatory and visual signifiers, his concern with proxemics, and his mastery of kinesics, paralanguage and chronemics in depicting a spectrum of fictional and non-fictional personae, including Evita Bezuidenhout, P.W. Botha and the Uys-persona. / Thesis (Ph.D.)-University of Natal, Durban, 1993.

Triomf explores the distortion of the national Afrikaner identity as a result of apartheid. This dissertation aims to demonstrate how van Niekerk deconstructs the Afrikaner through myths, stories, symbols, intertextuality and Derridean deconstruction. The Benades represent the Afrikaner on three levels: the personal, the national and the primordial. Since the Benades are primordial, Van Niekerk is able to use the archetypes of Jung’s collective unconscious to deconstruct the archetypal mythological structures Afrikaner nationalists used to develop identity and unity. The archetypes deconstructed are Spirit, the Great Mother, Re-birth, the Trickster, the Physical Hearth and the Sacred Fire. Afrikaner myths deconstructed include the Great Trek, the family, the patriarch, the matriarch, the future of a white Afrikaner nation and the binding character of Afrikaans as white national language. Van Niekerk undermines the plaasroman of the 1920s and 1930s, as the Afrikaner’s national identity was constituted and deconstructed in literature. / English / M.A. (English)

Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)

This study is concerned with modern Christian poetry in Afrikaans. Afrikaans poetry, which initially carried the clear stamp of the Afrikaner's Calvinistic view of life, gradually assumed a new image to the extent that it could no longer be recognised as religious and specifically Calvinistic poetry. To the contrary, modern Afrikaans Christian poetry is the expression of a contemporary conceptualisation of the very same gospel. The occasional violent reaction especially of conservative institutions to so called "unchristian" modern poetry in Afrikaans during the past three decades, has prompted this study which attempts to illustrate that modern Afrikaans poetry still exhibits a strong Christian element. The essential qualities of contemporary Christian poetry in Afrikaans are illustrated in the discussion of the works of particular leading Afrikaans poets. Chapter 3 attempts to indicate a transitional stage between traditional and modern Christian poetry by means of an overview of the latest tendencies and approaches, with brief references to the recent poetry of the Louws, the poetry of Peter Blum as the initial exponent of the poetry of the Sixties, and the poetry of Ina Rousseau. The work of Sheila Cussons, eminent Roman Catholic (and thus also Christian) poet who is probably the most impressive contemporary exponent of metaphysical/mystic poetry in Afrikaans, is discussed in chapter 4. Chapter 5 illustrates the traditional Calvinistic Christian point of view and Christian experience as represented in the poetry of I.L. de Villiers. The poetification of the ministry adds new dimension to religions poetry in Afrikaans. Chapter 6 constitutes a discussion of the works of T.T . Cloete, the most significant contemporary Reformed poet in Afrikaans indicating the extent to which the many related facets embodied in his poetry consistently reflect a Christian attitude and are unified in and encompassed by the principle of Soli Deo Gloria. Chapter 7, by way of conclusion, reviews the religious poetry of Lina Spies and Petra Müller who write accessible popular poetry, nevertheless exploring interesting references. In conjunction with the poetry of Ina Rosseau, this poetry represents a contribution to modern Afrikaans religious poetry from a feminine point of view

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)

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)

On the assumption that different registers of translated drama have different functions and that they therefore present information differently, the aim of the present study is to identify textual features that distinguish an Afrikaans stage translation from a page translation of Shakespeare's The Merchant of Venice. The first issue addressed concerns the nature and extent of lexical cohesion in these two registers. The second issue concerns my contention that the dialogue of a stage translation is more "involved". (Biber 1988) than that of a page translation. The research was conducted within the overall Descriptive Translation Studies (DTS) paradigm but the analytical frameworks by means of which these aims were accomplished were derived from text linguistics and register variation studies, making this an interdisciplinary study. Aspects of Hoey's ( 1991) bonding model, in particular, the classification of repetition links, were adapted so as to quantify lexical cohesion in the translations. Similarly, aspects of Biber's (1988) multi-dimensional approach to register variation were used to quantify linguistic features that signal involvement. The main finding of the study is that drama translation register (page or stage translation) does have a constraining effect on lexical cohesion and involved production. For Act IV of the play an overall higher density of lexical cohesion strategies was generated by the stage translation. In the case of the involved production features analysed, the overall finding was that the stage translation displayed more involvement than the page translation, to a statistically highly significant extent. The features analysed here cluster together sufficiently to reveal that in comparison with an Afrikaans page translation of a Shakespeare play, a recent stage translation displays a definite tendency towards a more oral, more involved and more situated style, reflecting no doubt a general modern trend towards creating more appropriate and accessible texts / Linguistics / D. Litt. et Phil. (Translation Studies)