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Elizabeth Eybers Se "Nederlandse" Bundels, 1962-1991.Jansen, Ena January 1992 (has links)
A thesis submitted to the Faculty of Arts,
University of the Witwatersrand, Johannesburg,
for the degree of Doctor of Philosophy. / Since Eybers went to live in Amsterdam in 1961 her poetry has always been
simultaneously published in Amsterdam and Cape Town. Nine of her sixteen collections
since she made her debut in 1936 can therefore be called "Dutch" in the sense that they
have not only been published in the Netherlands, but have also been reviewed there
extensively and very positively. She is regarded as a poet belonging to the Dutch literary
tradition, and was awarded the highest prize for Dutch literature in 1991. All of this has
happened without her losing her South African readership or status as one of the greatest
Afrikaans poets.
In this study I present an overview of the situation in Holland with regard to the scant
acceptance and Jack of knowledge of Afrikaans and of its literature at the time Eybers
went to live there. The uniqueness of her Dutch acceptance is analysed against this
background. An overview of her Dutch and South African reviews (1962-1992)clearly
shows that Dutch reviewers have always been fascinated by the fact that they can
understand her work in spite of the fact that Afrikaans is otherwise considered a language
from which texts need to be translated into Dutch in order to be readable and marketable.
Because Eybers lives in the Netherlands she shares a frame of reference with her Dutch
readers. Her language has incorporated many typical Dutch phrases, allowing her poetry
to become more accessible and familiar to Dutch readers. Basically,though, she still writes
in Afrikaans and South African readers still read and regard her as an Afrikaans poet In
her poems - which often describe her state of voluntary exile and In which memories of
the vast South African landscape are described - South African readers therefore find
much which is familiar to them. Her themes -Iove.Ionellness, ageing, death, estrangement
- are universal. In spite of this wide acceptance an in depth study or the particularities of
the Eybers Idiolect and fields of reference clearly shows that both sets of leaders are
constantly faced with quite severe comprehension problems. I therefore argue that the
work of Eybers offers a unique example of "making it strange", the element which the
Russian Formalists regarded as the essentiai difference between natural language and
poetic language. The "double world" and "go between" language of Eybers result in a
blend of intimacy and strengeness which two sets of readers experience in different ways.
I argue that particular "ungrammaticalities" make her "Dutch" volumes "doubly poetical".
Formalist, reception and semiotic theories are employed in a descriptive explanation of
the Eybers phenomenon. / Andrew Chakane 2018
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Die konstruksie van die vroulike subjek in die oeuvres van enkele Afrikaanse vrouedigters sedert 1970 /Retief, Petronella January 2005 (has links)
Thesis (DLitt)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.
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Aspekte van die Judaïes-Christelike en die Boeddhistiese in die poësie van Breyten BreytenbachFerreira, Jeanette January 1988 (has links)
Concepts of life and death, time and self-denial are investigated in the poetry of Breyten Breytenbach, with specific reference to the similarities and differences between the Judeo-Christian and the Buddhist traditions. Biblical references in the poetry are examined, and their underlying concepts compared to related concepts in Tantric Buddhism and Zen-Buddhism. The conclusion is drawn that the biblical concepts are transposed in the poetry in order to create Buddhist concepts of life and death, time and a form of self-denial. De-sacralisation of the Christian. concepts is inevitable in this creative process. However, the primary intention of the author is not de-sacralisation, but the implementation 'of the Buddhist philosophy of life in which everything is experienced as "totally one". A comparison between the reconstructed intended reader of Breytenbach's poetry and elements of the Afrikaans reading public suggests that political comment on segregated South African society is intended. Breytenbach's poetry is compared to canonized Afrikaans poetry with respect to Buddhist influence, national protest, aspiration to holiness and transposed biblical concepts. The conclusion is that his poetry is highly innovative in these respects. In the broader spectrum of South African literature his poetry is compared, with reference to transposed biblical concepts and national protest, to the poetry of Black poets writing in English, and (where material is available) to those writing in Afrikaans. The conclusion is that Breytenbach's poetry is strongly linked to this poetry. However, the complexity of Breytenbach's poetry, and the advanced aesthetic level and linguistic code required of the intended reader determine his placing within the canon of Afrikaans poetry.
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Die dood, die minnaar en die oedipale struktuur in die Ingrid Jonker-teksVan Wyk, André Johan January 1987 (has links)
From Inleiding: In dié inleiding word die implikasies van die woord "teks", asook die resepsie van die Ingrid Jonker-teks in die lig van haar dood, en 'n eie benaderingswyse, in teenstelling met die tradisionele kritiese metodes, bespreek. 1.1 Die teks: Die Ingrid Jonker-teks behels (met die dood, die rninnaar en die OedipaIe struktuur as uitgangspunt) aIIes waarop die woorde "Ingrid Jonker", as teks - die parentese tussen die datums op haar grafsteen - dui. Dit beteken dat genre-onderskeidinge en die onderskeid biografie en literatuur opgehef word. Verdere implikasies van die woord "teks" gaan vervolgens ter inleiding ondersoek word. Daar sal ruim gebruik gemaak word van die literêr-teoretiese en filosofiese veronderstellinge van Julia Kristeva, Maurice Blanchot, Jacques Derrida, Jacques Lacan, Pierre Macherey en Roland Barthes.
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Die dodegedig in AfrikaansVan Zyl, Engela Anna 11 February 2014 (has links)
M.A. (Afrikaans) / In this study the place of the death poem as genre and particularly its incidence in Afrikaans is traced. Because the corpus of poems about death is so comprehensive, a distinction is made between two significant categories: death poetry in general and death poetry with specific regard to the death of a beloved, especially with reference to a close relative. For the purpose of this study the latter is dealt with. It is established that the death poem referring to the death of a close relative has in almost every known literature been responsible not only for some of the most touching poems, but also for some of the best. In certain Iiteratures particular conventions in connection with . the death poem have crystallized. In others the theme of death has found unrestrained expression. A comparative study and an assessment of value are the two most important methods that were used in this study to ascertain the place of the death poem in literature. The death poem can be classified under several categories, each of which has contributed to a greater or lesser degree to the genre of the death poem. The category of the beloved deceased, especially the beloved close relative is emphasized in this particular study. Most poets have contributed to the corpus of the death poem, but Totius, Elisabeth Eybers, D.J. Opperman and T.T. Cloete, each representing one of the great literary eras in Afrikaans, have contributed the best death poems. It appears from the comparative study that there has been a qualitative improvement in this genre.
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Sosio-literêre perspektiewe op die eietydse digkuns van vroue in die Afrikaanse en Nederlandse taalgebiedeBezuidenhout, Zandra 12 1900 (has links)
Thesis (PhD)-- Stellenbosch University, 2005. / ENGLISH ABSTRACT: A study of poetry by six contemporary women in the Afrikaans and Dutch-speaking
worlds points toward a multi-focal approach. While texts by poets of a marked diversity
are presented as aesthetic objects, the scope of my research has been determined by
considerations of gender, language and culture. The central line of investigation
concerns the interplay between the poem as an artefact and the changing socio-cultural
contexts by which the respective poets have been informed.
My dissertation was inspired by Pierre Bourdieu's argument in favour of a fusion
between the close reading practices of the New Critics (and in this case, their Dutch
counterparts, the Merlinists) and the contextual approach advocated by literature
sociologists. Concomitantly the art philosophical standpoint of Marcia Eaton and the
views on the écriture féminine or "women's style of writing" held by Helene Cixous are
applied to poetry. By incorporating insights from adjacent disciplines and thereby
decentering the relative autonomy of the poetic text, I hope to demonstrate how the
study of literature could acquire new relevance, either by expanding its own parameters,
or by enriching the field of cultural and gender studies.
In conclusion I regard the poetry written by contemporary women as a polyphonic
discourse voicing women's newly-found position as subjects and challenging notions
such as a monolithic "female identity" and the marginalization of "women's poetry".
From this perspective, the aesthetic value of the poetic genre is paralleled by its function
as a source of knowledge and a cultural agency. / AFRIKAANSE OPSOMMING: 'n Ondersoek na die poësie van ses eietydse vroue in die Afrikaanse en Nederlandse
taalgebiede veronderstel reeds 'n multifokale invalshoek. Nie alleen word tekste van
uiteenlopende digters as estetiese objekte aan die orde gestel nie, maar staan
oorwegings soos geslag, taal en kultuur sentraal by die afbakening van die ondersoeksterrein.
Daarby vorm die wisselwerking tussen die gedig as artefak en die veranderende
sosio-kulturele konteks die riglyn van die betoog.
Pierre Bourdieu se aandrang op 'n fusie tussen die stipleesmetode van die New Critics
(in Nederland nagevolg deur die Merlinisten) en die kontekstuele benadering van
literatuur wat deur literatuursosioloë voorgestaan word, het as aanset tot hierdie studie
gedien. Terselfdertyd word die kunsfilosofiese standpunte van Marcia Eaton en die
siening van Héléne Cixous omtrent die écriture féminine ("vroulike skryfwyse") op die
poësie betrek. Deur insigte uit naasliggende dissiplines te betrek en die outonomie van
die poësieteks te relativeer, wil die ondersoek aantoon dat literatuurstudie 'n nuwe
relevansie verkry wanneer die parameters van die vakgebied versit, of kultuur- en
genderstudies daardeur verryk word.
Uiteindelik beskou ek die digkuns van eietydse vroue as In polifoniese diskoers waarin
vroue op uiteenlopende wyses stem gee aan hul nuutverworwe subjekposisie, en wat
daarmee die nosie van In monolitiese "vroulike identiteit" en dié van "damespoësie" as
afsonderlike en gemarginaliseerde kategorie dekonstrueer. Naas die estetiese waarde
daarvan, verkry die poësie uit hierdie perspektief ook In nuts- of instrumentele waarde
as 'n alternatiewe bron van kennis en In kultuurskeppende agens.
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Van kubermens tot kuborg: representasies van mens-masjienverhoudinge in die Afrikaanse poesie (1990-2012)Botha, Tanja 02 1900 (has links)
In hierdie studie word die manifestasies en ontwikkelings van mens-masjien-verhoudinge in die Afrikaanse poësie vanaf 1990 tot 2012 ondersoek. Relevante uitgangspunte van die fenomenologie, posthumanisme en transhumanisme dien as teoretiese begronding om die gekompliseerde en gevarieerde aard van mens-masjien-verhoudinge in die Afrikaanse poësie te bestudeer. Die studie beoog om deur kwantitatiewe data-analise die manifestasie van tegnologiese terme en verwysings na tegnologiese objekte in Afrikaanse poësie vanaf 1990 tot 2012 te karteer. Hierbenewens word deeglike kwalitatiewe ondersoek gedoen na die verskillende representasies van mens-masjien-verhoudinge in geselekteerde Afrikaanse gedigte. Laastens word rolle en metaforiese betekenisse van digitale tegnologie in posthumane subjekte se belewing op drie tematiese vlakke ondersoek, naamlik liefde en seks, spiritualiteit en die dood. / In this study the different manifestations of human-machine relationships in Afrikaans poetry between 1990 and 2012 are investigated. Relevant viewpoints from the phenomenology, posthumanism and transhumanism form part of the theoretical framework in which the often complicated and varied nature of human-machine relationships are studied. It is the goal of this study to map the manifestations of technological terms and references to technological objects in Afrikaans poetry from 1990 to 2012, utilising quantitative data analysis. Furthermore, the in-depth qualitative analysis will investigate various representations of human-machine relationships in selected Afrikaans poems. The roles and metaphorical meanings of digital technology within the experiences of posthuman subjects are investigated on three thematic levels, namely love and sex, spirituality and death. / Afrikaans and Theory of Literature / M. A. (Afrikaans)
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Bevriending en bevreemding in Sprokkelster en Groenstaar van Marlene van NiekerkEngelbrecht, Anna Maria 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 1996. / ENGLISH ABSTRACT: Amity and estrangement in the poetry of Marlene van Niekerk are investigated in this
dissertation according to various poetic aspects: figurisation, time and space,
musicality, love poetry and Godly experience.
The first chapter introduces the concepts of "amity" and "estrangement" by way of
contextual definition. I shall endeavour to show, inter alia, how these two concepts
are already present in the titles of the two poetry volumes of Marlene van Niekerk,
Sprokkelster and Groenstaar.
Figurisation is discussed in chapter 2. The term "figurisation", i.e. the embodiment
of form or figure, is briefly described, followed by a discussion of "figurisation" in
nine selected poems and the manifestation of amity and estrangement therein.
Chapter three focuses on time and space in the poetry of Van Niekerk and of the
presence, also here, of amity and estrangement. First the concepts of "time" and
"space" are explained, followed by a discussion of ten poems with specific emphasis
on the well-known expanse of South Africa, as opposed to the less well known cosmos
of Europe — particularly the Netherlands. I highlight, inter alia, the contrast between
these two areas as well as the estrangement that Van Niekerk experienced from the
country of her birth during her stay abroad.
Chapter four deals with one of the most striking features of the poetry of Van Niekerk
— that of musicality. After the term "musicality" is briefly described, seven poems
are discussed to illustrate the musicality therein, whilst keeping the focus on amity and
estrangement.
The theme of love is dealt with in the fifth chapter. The poetry of Van Niekerk is,
according to Cloete (1978:173), "so filled with realism that it shows little interest in
the personal". In the few love poems that are present in her two poetry volumes, the
world around the "I" enjoys preference over the beloved, with the beloved
experienced largely through images of nature.
The penultimate chapter is devoted to the manner in which Van Niekerk experiences
the presence of God. Six poems are analyzed to substantiate this, and to show the
appearance of amity and estrangement here.
The salient points of the presence of amity and estrangement and the significance of
these two elements in the poetic oeuvre of Marlene van Niekerk, are encapsulated in
the concluding chapter. / AFRIKAANSE OPSOMMING: In die tesis word bevriending en bevreemding in die poesie van Marlene van Niekerk
aan die hand van verskillende aspekte van die poesie ondersoek: figurering, tyd en
ruimte, musikaliteit, liefdesverse en Godsbelewing.
Hoofstuk 1 dien as inleiding waarin onder andere die begrippe "bevriending" en
"bevreemding" omskryf word. Ek sal aandui hoe hulle reeds in die titels van Marlene
van Niekerk se twee digbundels, Sprokkelster en Groenstaar, aanwesig is.
Figurering word in die tweede hoofstuk bespreek. Eerstens word die begrip
"figurering", nl. die gee van vorm aan gestalte of figuur, kortliks omskryf. Daarna
word figurering in nege gedigte bespreek, en word ook aangedui hoe bevriending en
bevreemding daarin voorkom.
Hoofstuk 3 handel oor tyd en ruimte in Van Niekerk se poesie en hoe bevriending en
bevreemding ook hier aanwesig is. Die begrippe "tyd" en "ruimte" word eers kortliks
verduidelik. Daarna word 'n tiental gedigte bespreek wat onder meer handel oor die
bekende ruimte, Suid-Afrika, en die minder bekende ruimte, Europa, veral Nederland.
Ek wys onder meer op die kontras tussen die twee ruimtes, asook die vervreemding
wat daar by Van Niekerk ingetree het teenoor haar geboorteland tydens haar verblyf
in die vreemde.
Een van die opvallendste kenmerke van Van Niekerk se poesie, naamlik musikaliteit,
kom aan die bod in Hoofstuk 4. Eerstens word die begrip "musikaliteit" kortliks
beskryf. Daarna word sewe gedigte ter illustrasie bespreek, terwyl terselfdertyd gewys
word op bevriending en bevreemding.
Hoofstuk 5 handel oor die tema liefde. Volgens Cloete (1978:175) is Van Niekerk se
poesie "so vol van die werklikheid dat dit weinig geinteresseerd is in die personale".
In die enkele liefdesverse wat in haar twee digbundels voorkom, geniet die wereld
rondom die ek dan ook voorkeur b6 die geliefde en word die geliefde meestal deur
natuurbeelde heen beleef.
In Hoofstuk 6 word Van Niekerk se belewing van God aan die hand van ses gedigte
bespreek. Daar word aangedui hoe bevriending en bevreemding ook hier teenwoordig
is.
Die slothoofstuk is 'n kort samevatting van die bespreking van bevriending en
bevreemding in die voorafgaande hoofstukke.
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Waar eeue wegtik met elke oogknip : fin de siecle-intertekste in die poesie van Johann de LangeFritz, Dawn 03 1900 (has links)
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.
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Senior niemoedertaalleerders se ingesteldheid teenoor die voorgeskrewe gedigte en onderrigmetodes vir Afrikaans eerste addisionele taal in die hoërskoolAdam, Benjamin. January 2006 (has links)
Thesis (M. A.(Afrikaans))-University of Pretoria, 2006. / Includes bibliographical references. Available on the Internet via the World Wide Web.
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