Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009. / The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis is a study of Ingrid Winterbach‟s novel, Die boek van toeval en toeverlaat. The premise of the thesis is that a study of the theme of contingency or chance can lead to a heightened insight into the novel. The novel is approached from different perspectives, but in each perspective the way in which the theme of chance is developed in the novel, is illuminated. By way of introduction the history of the term “contingency” in the Afrikaans language and Western philosophy is broadly traced. This is the background to a reading of the novel as a reaction to contingency. This is followed by a reading of the novel from the perspective of the sociology of religion. The focus is on the nominizing function of religion; the role of language in this process and the way in which Helena Verbloem‟s shells become symbol of man‟s search for meaning and order. In the third chapter the novel is read from the perspective of popular science with the focus on the part of chance in the history of evolutionary thought and the way the novel interprets this. A reading of the novel from the perspective of the philosophy of language follows: the arbitrary and contingent nature of language is discussed and the way the novel underlines this, is brougth to the attention. In the last chapter the novel is read from the perspective of literary theory, focusing on the traditional narrative structure and the way in which it is undermined, undermining also in the process a teleological reading of the novel. Following the reading of the novel from these different perspectives, the conclusion is made that Ingrid Winterbach acknowledges contingency and makes it her own to such an extent that she meets Nietzsche‟s criteria for a “brave poet”. She is indeed a brave and poetic novelist. / AFRIKAANSE OPSOMMING: Hierdie tesis is ‟n studie van Ingrid Winterbach se roman, Die boek van toeval en toeverlaat. In die studie word die tema van kontingensie of toeval sentraal gestel. Die roman word dan ook vanuit verskillende perspektiewe benader; binne elkeen word die wyse waarop die toeval as tema in die roman uitgewerk word, duideliker. Daar word eerstens ‟n gebruiksgeskiedenis van die term “kontingensie” in die Afrikaanse taal en die Westerse filosofie gegee. Hiermee word die agtergrond geskets waarteen die roman as reaksie op die kontingensie gelees moet word. Daarna word die roman vanuit ‟n godsdiens-sosiologiese perspektief benader: die rol wat die tradisionele toeverlaat steeds in die hoofkarakter, Helena Verbloem, se lewe speel, word in oënskou geneem. Die fokus val op die nomiserende werking van godsdiens; die rol van taal in hierdie proses en die wyse waarop Helena se skulpe simbool word van die mens se soeke na betekenis en orde. In die derde hoofstuk word die roman vanuit ‟n populêr-wetenskaplike hoek gelees: die aandag word gerig op die rol van toeval in die geskiedenis van evolusionêre denke en die wyse waarop die roman hiermee in gesprek tree. ‟n Taalfilosofiese perspektief kom vervolgens aan die beurt: die arbitrêre en toevallige aard van taal word bespreek en die wyse waarop hierdie idees in die roman teruggevind word, word uitgelig. In die laaste hoofstuk word die roman vanuit ‟n literêr-teoretiese perspektief gelees met die fokus op die tradisionele narratiewe struktuur en hoe die wyse waarop daarvan afgewyk word, ‟n teleologiese lees ondermyn. Na aanleiding van die bespreking van die roman vanuit hierdie verskillende hoeke, word tot die gevolgtrekking gekom dat Ingrid Winterbach die kontingensie erken en haar eie maak en daarom aan Nietzsche se kriteria vir ‟n “brawe digter” voldoen. Sy is inderdaad ‟n brawe en digterlike romanskrywer.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Afrikaans children's literature has long been neglected in the Afrikaans literary polysystem and has been considered inferior by numerous figures, especially litterateurs. The negative effect of this attitude has been a shortage of academic studies on Afrikaans children's literature, the marginalised position of the genre in the Afrikaans literary canon and the absence of a general literary definition of "children's literature". The 1990’s see the dawn of a new democratic era in South Africa and a subsequent revival of the system of Afrikaans children's literature. However, despite this revival and growth, there is still a shortage of dedicated research into this genre. This thesis details the changes in the children's literature system that has occurred since 1990, by way of a polysystemic approach. The polysystem theory, as developed by Itamar-Even Zohar, serves as foundation for this study. Questions around genres, subgenres and problems surrounding the umbrella term "youth literature" are addressed. The age group of the readers of children's book are defined and a general definition of the children's literature genre is formulated. Based on this definition, ten academic studies since 1990, all of which are devoted specifically to children's literature, are identified and discussed. A historical overview of the development of Afrikaans children's literature is presented to support the choice of 1990 in the scope of the literature review. It is shown that the events that lead to the changes since 1990 are generally attributable to the political changes in South Africa that lead to the first democratic election in 1994. These changes in the different social and political systems are related to the changes in the children's literature system. It is further shown that these changes are reflected in the children's book itself, and are discussed in terms of the clear trends that emerge in children's literature and children's books since 1990. These trends are illustrated by an examination of six relevant publications. A literary definition of the term "children’s literature" is presented. / AFRIKAANSE OPSOMMING: Afrikaanse kinderliteratuur is vir lank as die stiefkind in die Afrikaanse literêre polisisteem behandel en is deur verskeie rolspelers, veral literatore, as minderwaardig beskou. Negatiewe gevolge wat hieruit spruit, is onder andere 'n tekort aan akademiese studies oor Afrikaanse kinderliteratuur, die genre se marginale posisie in die literêre kanon en gebrek aan 'n algemene en letterkundige definisie van die term "kinderliteratuur." Teen die 1990's breek daar 'n nuwe era van demokrasie in Suid-Afrika aan en is daar gepaardgaande herlewing in die Afrikaanse kinderliteratuur-sisteem. Ten spyte van hierdie herlewing en groei wat by Afrikaanse kinderliteratuur plaasvind, is daar steeds 'n tekort aan navorsing wat spesifiek oor hierdie genre gedoen word. In hierdie tesis word die veranderinge wat sedert 1990 in die kinderliteratuur-sisteem plaasgevind het, ondersoek aan die hand van die polisisteem-benadering. Die polisisteemteorie, soos ontwikkel deur Itamar Even-Zohar, dien as teoretiese grondslag van hierdie studie. Kwessies omtrent genres, subgenres en probleme rakende die gebruik van die sambreelterm "jeugliteratuur" word bespreek. Die ouderdomsgroep van die kinderboek-lesers word afgebaken en 'n algemene definisie vir die genre kinderliteratuur word geformuleer. Na aanleiding van die algemene definisie van kinderliteratuur word tien akademiese studies geïdentifiseer en bespreek wat sedert 1990 verskyn het en spesifiek handel oor kinderliteratuur. As deel van die motivering vir die gebruik van 1990 as afbakening van die ondersoeksveld, word 'n historiese oorsig oor die ontwikkeling van Afrikaanse kinderliteratuur ook gebied. Daar word getoon dat die gebeure wat aanleiding gegee het tot die veranderinge wat sedert 1990 plaasgevind het, grootliks gekoppel kan word aan die politieke veranderinge wat tot die eerste demokratiese verkiesing in 1994 in Suid-Afrika gelei het. Hierdie veranderinge in die verskillende sosiale en politieke sisteme word in verband gebring met die veranderinge in die kinderliteratuur-sisteem. Daar word ook getoon dat die verskillende veranderinge neerslag vind in die kinderboek. Hierdie veranderinge word bespreek na aanleiding van die tendense wat in die Afrikaanse kinderboek waargeneem kan word. Die tendense word aan die hand van 'n steekproef van 6 kinderboeke geïllustreer. 'n Letterkundige definisie van die genre kinderliteratuur word aangebied.

Thesis (MA)--Stellenbosch University, 2004. / ENGLISH ABSTRACT: In this thesis the possibility of reading the work of Lettie Viljoen/Ingrid Winterbach as extensive social commentary and criticism on a conformist, normative South African society, is investigated. This investigation will be conducted with the aid of theories about marginality and liminality. In an attempt to determine whether Viljoen/Winterbach's work can indeed be read as social commentary and criticism, a number of characters from her whole oeuvre are classified as either marginal, liminal or a combination of both these characteristics. The concepts marginality and liminality are described in chapter 1. In chapter 2 the classification system on which this investigation is built, will be discussed and attention will also be given to problems with the classification system (and problems with classification systems in general). In chapters 3 to 5 Viljoen/Winterbach's work will be discussed, with a chapter devoted to each of the following broad categories: marginal characters (the homeless, the proletariat, the mentally retarded and the insane), characters who are both marginal and liminal (mystics) and liminal characters (fortune tellers, temporary intermediaries, shamans and tricksters). The salient points will be gathered together in the conclusion. / AFRIKAANSE OPSOMMING: In hierdie verhandeling word die moontlikheid ondersoek om die werk van Lettie Viljoen/Ingrid Winterbach te lees as uitgebreide sosiale kommentaar en kritiek op 'n konformistiese, normatiewe Suid-Afrikaanse samelewing. Hierdie ondersoek sal verrig word aan die hand van teorieë omtrent marginaliteit en liminaliteit. In 'n poging om te bepaal of Viljoen/Winterbach se werk wél as sosiale kommentaar en kritiek gelees kan word, word 'n aantal karakters uit haar hele oeuvre geklassifiseer as marginaal, liminaal, óf 'n kombinasie van beide hierdie kenmerke. Die konsepte marginaliteit en liminaliteit word in hoofstuk lomskryf. In hoofstuk 2 word die klassifikasiesisteem waarop hierdie ondersoek berus, bespreek en word daar ook aandag geskenk aan probleme rondom die klassifikasiesisteem (en rondom klassifikasiesisteme in die algemeen). In hoofstukke 3 tot 5 word Viljoen/Winterbach se werk bespreek, met 'n hoofstuk afgestaan aan elkeen van die volgende breë kategorieë: marginale karakters (haweloses, die proletariaat, swaksinniges en gekke), karakters wat sowel marginaal as liminaal is (mistici) en liminale karakters (sieners, tydelike bemiddelaars, sjamane en trieksters). Die hoofpunte word byeengebring in die samevatting.

Thesis (MA)--Stellenbosch Universiteit, 2000. / ENGLISH ABSTRACT: In this study the role played by literature or fiction in historiography is investigated. Firstly, the problem of representing an "objective reality" is outlined, and subsequently applied to the domain of historiography by questioning terms such as "objectivity", "reality" and "truth". Due attention is given to changing perceptions about the nature of history writing. It is indicated that historiography cannot render or recreate the past as something which is present here-and-now and, therefore, that history writing is of necessity always an interpreted and subjectively construed representation of an ephemeral "reality". Against this background the thesis focuses on that part of South African history (slavery) which for a variety of reasons lacks a formalised historiography. It is indicated how the "gaps" created by the failures of formalised historiography can be "filled" by the suggestive power of the literary imagination. Wilma Stockenstrëm's Die kremetartekspedisie (1981) is used to exemplify the above claims by specifically noting how the personal slave experience is described through the literary imagination in Die kremetartekspedisie. / AFRIKAANSE OPSOMMING: In hierdie studie word daar ondersoek ingestel na die moontlike rol wat letterkunde of fiksie kan speel in die geskiedskrywingsproses. As agtergrond word die problematiek rondom die bestaan en voorstelling van 'n 'objektiewe werklikheid' bespreek en uitgebrei na die terrein van die historiografie deur die bevraagtekening van terme soos 'objektiwiteit', 'werklikheid' en 'waarheid'. Daar word aandag geskenk aan verskuiwende persepsies oor die aard van geskiedskrywing en aangedui dat historiografie nooit die verlede teenwoordig kan stel nie en dat geskiedskrywing altyd 'n geïnterpreteerde en subjektief-gekonstrueerde representasie van 'n verbygegane 'werklikheid' is. Teen hierdie agtergrond word daar spesifiek gelet op 'n gedeelte van die Suid-Afrikaanse geskiedenis wat, as gevolg van verskeie redes, 'ontbreek' in formele geskiedskrywing, naamlik slawerny. Daar word aangedui hoe hierdie gapings op suggestiewe wyse deur die literêre verbeelding 'gevul' kan word. Die kremetartekspedisie deur Wilma Stockenstr6m dien as voorbeeldteks om bogenoemde punt te illustreer deur spesifiek te let op die wyse waarop 'n slavin moontlik haar persoonlike ervaring van haar slaafskap sou kon verwoord soos dit in Die kremetartekspedisie deur die literêre verbeelding gedoen word.

Thesis (MA)- Stellenbosch University, 2003. / ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled Sirkus (Circus) is presented in which the main character figures as an idiot. It is accompanied by a perspicacious formal essay which maintains the relationship between theory and novel. The essay titled "Die idioot: spieël en skadu" (The idiot: mirror and shadow) reflects on the problematics concerning the representation of the idiot in literary texts. The essay investigates the phenomenon of the idiot in literature according to well-known literary texts presenting idiots. What these texts have in common is that the narrator acts on behalf of a character who does not have the ability nor the will to narrate himself. The problematics is viewed from a thematic as well as writing technique niveaux, according to insights gleaned from literature, philosophy, narratology and psychology. The argument concludes by reflecting on the responsibility of the author and the ethics of creating an effigy of the idiot. The novel Sirkus, (Circus), focuses on an idiot character with webbed hands and feet, Siegfried Landman. It is an exposition of his journey to hell starting on a farm in the Karoo. It takes him through a grotesque urban landscape where he eventually ends up in a circus of freaks. The text starts with the death of Siegfried's father and is in the form of a quest narrative, a quest for the vague image of his uncle Fischer. The tale emanates predominantly from Siegfried's consciousness. During the course of the text he is accompanied by varioius travelling companions who each fmd a voice in the text. / AFRIKAANSE OPSOMMING Ter vervulling van die graad van Magister in Kreatiewe Afrikaanse skryfkunde is 'n roman getiteld Sirkus voorgelê waarin die hoofkarakter 'n idiotefiguur is. Dit word vergesel met 'n verbandhoudende beskoulike werkstuk: "Die idioot: spieël en skadu", wat die vorm aanneem van 'n essay oar die problematiek rondom die representasie van die idioot in literêre tekste. In die werkstuk word die verskynsel van die idioot in die letterkunde ondersoek aan die hand van bekende literêre tekste waarin idiotefigure gerepresenteer word. Hierdie tekste het dit gemeen dat die verteller optree namens 'n karakter wat nie die vermoë óf die wil het om self te vertel nie. Die problematiek word beskou op tematiese sowel as skryftegniese vlakke aan die hand van insigte uit die letterkunde, filosofie, narratologie en sielkunde. Die argument sluit uiteindelik af met 'n besinning oor die skrywerlike verantwoordelikheid en 'n skrywerlike etiek ten opsigte van die uitbeelding van die idioot. Die roman Sirkus fokus op 'n idiote-karakter met gewebde hande en voete, Siegfried Landman. Dit is 'n uitbeelding van sy hellevaart wat begin op 'n plaas in die Karoo en hom voer deur 'n groteske stadslandskap voor hy uiteindelik opeindig in 'n sirkus van fratse. Die teks begin met die dood van Siegfried se vader en is in die vorm van 'n soektognarratief, 'n soektog na die vae beeld van sy oom Fischer. Die verhaal word grotendeels vanuit Siegfried se bewussyn vertel. Hy word deur die verloop van die teks vergesel deur verskeie reisgenote wat elk ook 'n eie stem in die teks verkry.

Thesis (MA)--Stellenbosch University, 1998. / ENGLISH ABSTRACT: Elsa Joubert initially acquired her reputation for her travel writing which is mainly about Africa during the fifties. In her texts she not only focusses on the curiosities and visually attractive sites of the countries she tours, but also conveys her extensive knowledge of the history and her special interest in the intimate human aspects of the people. Ons wag op die kaptein (1963) established her name as startling novelist of Southern-African themes. Missionaris (1988) and Die reise van Isobelle (1995) are based on identifiable SouthernAfrican historical information and subtly place historiography under scrutiny. In these texts Joubert thematizes and problematizes historiography, which she finds lacking in its ability to convey a true representation of events. Photo's, recorded visions or other images of an experience of reality still only remain representations of that "reality". Through the process of fictionalization (as in a novel) "a truth" comes to the light, but at the same time the one-sided and relative nature of canonised history is exposed. Through this critical glance at the status quo and canonised white history, which originated under the pressure of anti-colonialism, Joubert has sided with writers such as Jan Rabie and Andre P. Brink in their opposition to Apartheid and desire to contribute toward the constitution of a new South-Africa. In Die reise van Isobel/e Joubert comments, through the use of characters in a family cronicle, on the manner in which people are affected and shaped by their context. The author, through the use of Leonora as sceptical narrator, focalisator and manipulator, ironises for example the steadfast convictions of the patriotic Josias and Agnes, and thereby confers a critical view of politicalideological problems. The romance between Belle, as group bound Afrikaner girl, and the interesting foreign Indian Hussein Badir, which ends in his death, illustrates the discord when racist prejudice clashes with personal experience. Leo serves as a model of freedom and hope which coincides with detachment from conventional political convictions. Different kinds of journeys can be identified in coherence with the characters, e.g. physical, literal journeys, religious journeys and political journeys. The family chronicle eventually becomes an example of Afrikaner society's emancipation or journey from a patriarchal to a free independent way oflife. / AFRIKAANSE OPSOMMING: Elsa Joubert het aanvanklik bekendheid verwerf vir haar reisverhale oor veral Afrika uit die vyftigetjare. Sy is in die tekste nie slegs toeristies ingestel op die wetens- en besienswaardighede van die Iande wat sy besoek nie, maar toon, naas 'n omvattende kennis van die geskiedenis, ook aandag vir die intiem menslike doen en late. Ons wag op die kaptein (1963) het haar naam gevestig as opspraakwekkende romanskrywer oor Suider-Afrikaanse temas. Ook Missionaris (1988) en Die reise van Isobelle (1995) is op herkenbare gegewens gebaseer en plaas geskiedskrywing op 'n subtiele manier in die soeklig. In hierdie tekste tematiseer en problematiseer Joubert die geskiedskrywing, wat volgens haar tekortskiet om 'n oortuigende beeld te gee. Foto's, opgetekende visioene of andersoortige weergawes van 'n werklikheidsbelewing bly steeds representasies. Deur die_ proses van fiksionalisering (soos in 'n roman) kom minstens "'n waarheid" aan die lig, maar dit bevestig terselfdertyd die eensydige en relatiewe aard van die gekanoniseerde geskiedenis. Deur hierdie kritiese blik op die status quo en die gekanoniseerde wit geskiedenis, wat onder andere weens die druk van die anti-kolonialisme ontstaan bet, sluit Joubert haar aan by skrywers soos Jan Rabie en Andre P Brink se opposisie teen Apartheid en versugting om by te dra tot die totstandkoming van 'n miwe Suid-Afrika. In Die reise van lsobelle lewer Joubert, deur die gebruik van karakters in 'n familiegeskiedenis, kommentaar oor die wyse waarop mense geraak en gevorm word deur bulle konteks. Die skryfster ironiseer deur die gebruik van Leonora as skeptiese verteller, fokalisator en manipuleerder, byvoorbeeld die vaste oortuigings van die patriotiese Josias en Agnes en gee sodoende 'n kritiese blik op polities-ideologiese vraagstukke. Die liefdesverhouding tussen Belle as groepsgebonde Afrikanermeisie en die vir haar interessant-vreemde Indiese Hussein Badir wat op sy dood uitloop, illustreer die tweespalt wanneer rassistiese vooroordele bots met eie ervaring. Leo dien as voorbeeld van vryheid en hoop wat gepaardgaan met die losbreek uit konvensionele politieke oortuigings. Verskillende soorte reise kan in samehang met die · karakters onderskei word, naamlik fisiese, letterlike reise, geestelik-godsdienstige reise en politieke reise. Hierdie familiegeskiedenis word uiteindelik eksemplaries van die Afrikanersamelewitig se emansipasie of reis van 'n patriargale tot 'n vrye, onafhanklike tipe leefwyse.

Thesis (MA)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: No abstract / AFRIKAANSE OPSOMMING: Geen opsomming

Thesis (MA)--University of Stellenbosch, 1998. / Blog by Johann de Lange: http://johanndelange.blogspot.com/ / AFRIKAANSE OPSOMMING: Hierdie studie stel hom ten doel om die 19de-eeuse kulturele fin de siecle-intertekste in Johann de Lange se poësie, wat grotendeels postmodernisties van aard is, na te gaan ten einde die hipotese te toets dat sy werk sterk ooreenkomste met die kunsuitinge van die vorige eeuwending openbaar. Hieruit blyk duidelik 'n korrespondensie of ekwivalensie tussen die tydsgees en diskoers van die huidige fin de millennium en die van die 19de-eeuse fin de siecle. Die titel van die tesis is ontleen aan die gedig "Greenwichtyd" uit Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] Omdat al sewe bundels van die digter ondersoek is, kon slegs drie gedigte in diepte geanaliseer word, naamlik "Correspondences" uit Wordende naak (1990:22), "Studie van 'n portret van 'n man" uit Snel grys fantoom (1986:56) en "Vlees van die berg" uit Vleiswond (1993:51-52). Die gedig "Correspondences", wat seminaal is vir die hipotese wat in hierdie studie gestel word, kom in 'n eie hoofstuk aan bod; "Studie van 'n portret van 'n man" is aanvullend tot die hipotese dat De Lange hom met die kunstenaars van die fin de siecle vereenselwig; terwyl "Vlees van die berg" op vele wyses De Lange se digterlike preokkupasies weerspieël. Enkele aspekte van die kunsstrominge van die Dekadentisme, Estetisisme en Simbolisme, wat in die eeuwending voorkom en ook in De Lange se verse neerslag vind, word in afsonderlike hoofstukke bespreek. Die digter se sosiopolitieke betrokkenheid wat deur die meeste kritici in die verlede misken is, word bevestig. As gevolg daarvan dat mistisisme en metapoësie by De Lange dikwels in 'n enkele gedig saamsmelt, word hierdie aspekte ten slotte in 'n afsonderlike hoofstuk onder die loep geneem. Daar word deurgaans gebruik gemaak van verwysings na geselekteerde gedigte uit De Lange se oeuvre, telkens gesitueer binne die konteks van die postmoderniteit. Ten einde die dinamika van intertekstuele en interdiskursiewe prosesse te demonstreer, word intertekstuele ekskursies of intertekstuele cruising dikwels onderneem. / ENGLISH ABSTRACT: This study investigates the 19th century cultural fin de siecle intertexts in Johann de Lange's predominantly postmodernistic poetry in order to test the hypothesis that his work reveals strong correspondences to art forms of the previous turn of the century. As a result a correspondence or an equivalence between the cultural climates and discourses of the relevant ages, viz. the present fin de millennium and the fin de siecle of the 19th century, is indicated. The origin of the title of the thesis is the poem "Greenwichtyd" from Snel grys fantoom (1986:29): Dit als terwyl ek stil slaap anderkant die horison, klein doen in 'n wêreld waar eeue wegtik met elke oogknip, 'n dag gebeur tussen een asemteug en die volgende [...] The volume of work involved in the examination of the poet's entire oeuvre of seven volumes precluded the exhaustive analysis of vast numbers of poems. For this reason only three poems have been analysed in any depth. These are "Correspondences" from Wordende naak (1990:22), "Studie van 'n portret van 'n man" from Snel grys fantoom (1986:56) and "Vlees van die berg" from Vleiswond (1993:51-52). The poem "Correspondences" which is seminal to the hypothesis posed in this study is discussed in a separate chapter; "Studie van 'n portret van 'n man" is supplementary to the hypothesis that De Lange identifies with the artists of the fin de siecle; while "Vlees van die berg" reflects many of De Lange's poetic preoccupations. A few aspects of decadence (in the cultural sense), aestheticism and symbolism, schools of art prevalent at the turn of the century which all find expression in De Lange's poems, are examined in separate chapters. The sosio-political commitment of the poet, unrecognised by most critics in the past, is confirmed. Because De Lange often merges mysticism and metapoetry in a single poem, these aspects are finally investigated together in one chapter. Reference is made throughout to selected poems from De Lange's oeuvre as situated within the context of postmodernity. In order to demonstrate the dynamics of intertextual and interdiscursive processes, intertextual excursions or "cruises" are often undertaken.

Thesis (MA)--University of Stellenbosch, 2000. / Blog by Johann de Lange: http://johanndelange.blogspot.com/ / AFRIKAANSE OPSOMMING: Die term voyeurisme hoort normaalweg tuis binne die sielkunde, waar dit dui op 'n seksuele abnormaliteit en afwyking. Hierdie siening stigmatiseer egter die fenomeen voyeurisme as 'n perverse handeling. In die eerste hoofstuk van hierdie studie word 'n poging aangewend om die begrip voyeurisme te verruim. Die voyeurisme wys nie net op 'n seksuele afwyking nie, maar vorm 'n sentrale deel van die eietydse samelewing. Die voyeurisme is dus ook van kardinale belang vir die letterkunde. In hierdie tesis word die voyeuristiese elemente in die poësie van Johann de Lange ondersoek. Aan die hand van tekste uit De Lange se oeuvre word die hipotese getoets dat die voyeurisme 'n voorwaarde vir die letterkunde is. Voorts word daar beweer dat die voyeurisme 'n onmisbare funksie in die skryf-en-lees-proses vervul; dat nie net die digter nie, maar sowel die teks as die leser noodwendig deel in die voyeuristiese handeling. Die letterkunde is dus, volgens hierdie hipotese, te danke aan die perspektiwiese kompleksiteit van die voyeurisme. Om die sprong van die sielkunde na die letterkunde te maak, word daar eerstens aandag bestee aan die werk van die teoretici Jean-Paul Sartre, Jacques Lacan en Michel Foucault en die bydraes wat hulle tot die teoretisering oor persepsie lewer. Voorts word vier gedigte geanaliseer met konsentrasie op aspekte van die voyeurisme soos wat dit in De Lange se oeuvre manifesteer en funksioneer, naamlik: die skilderkuns, die fotografie, die religie en die verhouding tussen vader en seun. Hoewel hierdie tesis uitsluitlik oor die werk van Johann de Lange handel, wil dit 'n gesprek oor die voyeurisme in die Afrikaanse letterkunde tot stand bring. / ENGLISH ABSTRACT: The term voyeurism normally belongs to the field of psychology, where it is used to describe a sexual abnormality and deviation. However, this view stigmatises the phenomenon of voyeurism as a perverse act. In the first chapter of this study the author attempts to broaden the notion of voyeurism. Voyeurism not only indicates sexual deviation, it also forms a central part of contemporary society. Voyeurism is therefore also of the utmost importance in literature. In this thesis the voyeuristic elements in the poetry of Johann de Lange are examined. Using texts from De Lange's oeuvre the hypothesis that voyeurism is a condition for literature is tested. It is further argued that voyeurism fulfils an essential function in the reading and writing process; that, not only the poet, but both the text and the reader inevitably share in the voyeuristic action. Literature according to this hypothesis, has its origins in the perspective complexity of voyeurism. To explain the connection between psychology and literature attention is firstly devoted to the works of the theorists Jean-Paul Sartre, Jacques Lacan and Michel Foucault and the contributions they made on perception. Further four poems are analysed in detail, with emphasis on aspects of voyeurism as they manifest and function in De Lange's oeuvre, namely: the art of painting, photography, religion and the relationship between father and son. Although this thesis deals exclusively with the work of Johann de Lange, it wants to bring about a discussion on voyeurism in the Afrikaans literature.