M.A. / In Afrikaans poetry, Nature is depicted in terms of the relationship existing among and / or inanimate organisms, i. e. an ecological mode. Man's influence on the environment, features strongly in the poetry of the eighties. The anthology, Groen (J. L. Marais), can be seen as a focal point of this involvement. Chapter one provides an overview of the ecological code in Afrikaans poetry, spanning the time from the First Afrikaans Language Movement up till the seventies. With regard to this period, the different approaches of the poets to Nature are being studied. During this era a decidedly dynamic approach to the subject existed. Nature was initially seen as the idyllic, soothing and was also used as a metaphor for beauty and purity. With time, Nature took on another dimension and came to represent destructive forces. In chapter two, the anthology Groen by J. L. Marais, under discussion in this work, concluding the eighties, Man is called to task, i. e. to protect and nurture the balance in the ecology. Man is made aware of both the threat to and the conservation of nature. These binary forces are discussed with reference to two semantic devices, cohesion and coherence. As binding factors they provide a semantic light on the above themes. Verweerde aardbol by J. L. Marais, is approached along the same lines in chapter three. The specific themes used in this anthology, serve as a classification aid. The poet's concern about the transience of nature comes to the fore, and Marais himself states that the time has come for writers to be called up in service to the environment without being apologetic about it (Marais 1993: 32). A clear paradigm shift is visible from the infant years of Afrikaans poetry to the poetry of the eighties. The "green"-awareness which inflamed / inspired the community, plays an important role in the eighties and is reflected in Afrikaans poetry. The dynamic power of the ecological code as theme, still has many untapped areas which can be explored in further studies.

This study primarily investigates the autobiographical code in Antjie Krog's poetical oeuvre, spanning from 1970 to the present. Krog's poetry collections may be read as offering life writing through poetry, while the prose works mostly present the reader with a mixture of autobiographical fact plus creative reworkings of fact and fiction. Even though her 10 volumes of poetry follow her biological development from young girl to grandmother, uncertainty still exists about about where truth ends and fiction begins in this poet and autobiographer's interwoven tapestry of multiple and varied perspectives. Furthermore, autobiographical (as utilised and adapted in Krog's oeuvre, in combination with the conventioans from other genres), offers a variety of creatively innovative, experimental strategies and possibilities exploited adroitly by Krog. Reading her poetry with the focus on autobiographical markers leads to another, mostly untapped, dimension of interpretation. This literary approach is in stark contrast to the approach prescibed by N.P. van Wyk Louw in "Die 'mens' agter die boek" ["The 'Person' behind the Book] (1956), in which he states clearly that a text should be interpreted as not "about the human behind the text". To a large extent Krog as poet is inviting the reader to consciously break the taboo that Louw placed on the reader intent on "searching the actual person behind the text". My hypothesis is that in Krog's poetry there is a distinct interrelationship between the perceptions, experiences and sensual impressions of the lyrical "I" in the poems and that of the authobiographical "I" writing. It would be irresponsible to declare the poet and the speaker as one and the same, but in instances where the poet purposefully integrates autobiographical elements into her poems, she is implicitly requesting the reader to interpret her work in this way. This fictive and implicit request is referred to by Philippe Lejeune as the autobiographical poet. Krog's poetry can be divided into four categories: "direct autobiographical", "indirect autobiographical", "universal" and "general" poems. The first category involves criteria that are linked to the poet, such as the use of the names, initials and dates. Indirect autobiographical poems can be read against the background of knowledge (previously published information) about the poet. Poetry with no apparent autobiographical element, but with universal themes such as love, loss and transience, fall into the third category of "universal" poetry. If poems do not fit into the mentioned categories, they are deemed "general".

Thesis (MA) -- Stellenbosch University, 1998. / ENGLISH ABSTRACT: In this thesis the techniques of defamiliarisation in Gert Vlok Nel's Om te lewe is onnatuurlik (1993) are investigated, especially with the aid of the Russian Formalist concept ostranenie. The introductory chapter expounds the theoretical basis. With reference to some reviews the question is investigated whether the volume can be regarded as worker poetry. After this follows an explanation of the concept ostranenie as understood by the Formalists, especially Victor Shklovsky, and of the concept Verfremdungseffekt as formulated by Bertolt Brecht. These concepts are then compared with the postmodemist notion of de-naturalization as used by, for example, Linda Hutcheon. In addition to Formalist theory other theories will be used in an eclectic fashion: semiostructuralism (Mikhail Bakhtin and Michael Riffaterre), reception theory (Wolfgang Iser) and psychoanalysis (Harold Bloom). Because om te lewe is onnatuurlik was created in postmodemity, the theoretical approach is also predominantly of a poetmodern nature. In the practical part of the thesis seven poems are discussed in order to highlight the principal techniques of defamiliarisation in each one: the use of ellipses and parody ("die dag toe hulle vir Donkie Viviers"); selfreflexivity and metafidional elements (desember & see"); childlike focalisation and register (soeklig" and "boggellug"); typographical experimentation ("landskap"); spatial relativation ("Rita" and "hillside") and retardation ("hillside"). / AFRIKAANSE OPSOMMING: In hierdie tesis word ondersoek ingestel na die vervreemdingstegnieke in Gert Vlok Nel se bundel om te lewe is onnatuurlik (1993), veral met behulp van die Russiese Formalistiese teorie oor die begrip ostranenie. Die inleidende hoofstuk hied 'n uiteensetting van die teoretiese hegrollding. Met verwysing na enkele resensies word daar eerstens ondersoek of die bundel as werkerspoosie beskou kan word. Hierna volg 'n uiteensetting van die konsep ostranenie soos gehanteer deur die Formaliste, veral Viktor Sklovsky, en van die konsep Verfremdungseffekt, soos geformuleer deur Bertolt Brecht. Hierdie begrippe word dan vergelyk met die postmodernietiese begrip de-naturalisasie soos gebruik deur byvoorbeeld Linda Hutcheon. Naas die Formalistiese teorie word ander teoriee op eklektiese wyee in hierdie .tudie betrek: die semio-strukturalisme (Mikhail Bakhtin en Michael Riffaterre), resepsieteorie (Wolfgang Iser) en psigo-analise (Harold Bloom). Omdat die bundel om lewe is onnatuurlik in die post· moclemiteit geskep is, is die invalshoek hoofsaaklik p08tmodernisties van aard. In diepraktiese deel van die tesis word &ewe gedigte bespreek ten einde die belangrikste vervreemdingstegnieke in elk uit te lig: die gebruik van ellipee en parodiering ('"die dag toe hulle vir Donkie Viviers'); selfrefieksie en metapoitiese elemente ("desember & see"); kinderlike fokalisering en register reoeklig" en "boggellug"); tipografiese eksperimentering ("landskap"); ruimtelike relativering ("Rita" en ··hillside");en vertraging ("hillside").

Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The construction of the female subject in the poetry of Afrikaans women poets since 1970 is examined with reference to the oeuvres of Sheila Cussons, Ina Rousseau, Wilma Stockenström and Antjie Krog. The work of three French feminists, namely Julia Kristeva, Hélène Cixous and Luce Irigaray, is selected as the theoretical framework, because of, amongst other reasons, their attention to the structuring role which language plays in the construction of subjectivity. In terms of defining the scope more precisely, there is a specific focus on the role of the mother-daughter relationship, as reflected in the work of these three women. This focus examines not only biological mother-daughter relationships, but also the stance which women adopt regarding the “place of the mother”, as well as the way in which the relationship with the mother’s body emerges in the writing of women. The question is posed whether there is indeed a clearly identifiable feminine subject in the oevres of the four Afrikaans women discussed and, if so, whether this feminine subject is potentially capable of destabilising or even subverting the prevailing patriarchal order.

Dissertation (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: The main aim of this study is to investigate the possibility of using a postmodern reading strategy for Afrikaans poetry, in particular that type of poetry which, following Linda Hutcheon, I will call historiographic metapoetry. The investigation consists of four phases. Firstly, in order to implement Hutcheon's model, cognisance will be taken of the theory of postmodernism (chapters 1- 3), particularly with regard to poetry, since the latter is apparently a marginalised genre in this theorisation. The second phase of the investigation encompasses a discussion of the discourse on postmodernism and poetry in America, the NetherlandsIFlanders and in Afrikaans (chapters 4-6, respectively). Attention is given to matters such as the developmental history of postmodernism, theorising on postmodern poetry and the practice of anthologising. The third phase bridges the gap between research on postmodernism and that on historiographic metapoetry (chapter 7). The focus will be on Pirow Bekker's poem "Apollo Smintheus", with specific attention being given to the representation of the event (the journey of Jonas de la Guerre into the hinterland in 1664) in the journal texts and other historiographic sources. Hutcheon's distinction between event and fact will also be adopted in the analysis. The last phase of this study is an application of Hutcheon's model to Wilma Stockenstrëm's poem, Die heengaanrefrein, a self-reflexive text on the arrival of the Huguenots in South Africa in 1688 (chapters 8-12). As an introduction to the discussion of the text, the problematising of various types of borders in the poem is examined. This is followed by an analysis of extracts from Die heengaanrefrein with reference to four matters that are, according to Hutcheon, central to postmodern theory and practice. These are: intertextuality, parody and the discourses of history; the problem of reference; the subject and the representation of subjectivity; and lastly ideological implications and political double-coding. The discussion of Die heengaanrefrein is supplemented with shorter discussions of other texts, for example, George H. Weideman's "Kieselguhr-kleim", two short poems from Breyten Breytenbach's Soos die so and P.J. Philander's poems "Die klippe praat" and "Genesis". In Chapter 13, the final chapter, the findings are summarised and Hutcheon's model is evaluated. / AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is 'n ondersoek na die moontlikheid om 'n postmodernistiese leesbenadering aan te wend by die lees van die Afrikaanse poësie, in die besonder daardie soort gedigte wat ek na aanleiding van Linda Hutcheon historiografiese metapoësie wil noem. Die ondersoek bestaan uit vier fases. Ten einde Hutcheon se model te implementeer, word daar eerstens bestek geneem van die teoretisering oor die postmodernisme (hoofstukke 1-3), veral wat die poësie betref, aangesien laasgenoemde 'n gemarginaliseerde genre in hierdie teoretisering blyk te wees. Die tweede fase van die ondersoek omvat 'n bespreking van die diskoers oor postmodernisme en poësie in onderskeidelik Amerika, NederlandIVlaandere en Afrikaans (hoofstukke 4-6). Sake wat aandag geniet, is die ontwikkelingsgeskiedenis van die postmodernisme, die teoretisering oor postmodernistiese poësie en die antologiseringspraktyk. Die derde fase is 'n oorbrugging tussen die navorsing oor die postmodernisme en dié oor historiografiese metapoësie (hoofstuk 7). Pirow Bekker se gedig "Apollo Smintheus" kom onder die soeklig, met spesifieke aandag aan die representasie van die gebeurtenis (die sogenaamde landsreis van Jonas de la Guerre in 1664 die binneland in) in die joernaaltekste en ander historiografiese bronne; Hutcheon se onderskeid tussen event en fact word ook betrek. Die laaste fase van die studie is 'n toepassing van Hutcheon se modelop Wilma Stockenstrom se gedig Die heengaanrefrein, 'n selfbesinnende teks oor die koms. van die Hugenote na Suid-Afrika in 1688 (hoofstukke 8-12). Ter inleiding van die teksbespreking word die problematisering van verskillende soorte grense in die gedig nagegaan. Dit word gevolg deur analises van fragmente uit Die heengaanrefrein na aanleiding van vier kwessies wat volgens Hutcheon sentraal staan in die postmodernistiese teorie en praktyk. Hierdie sake is: intertekstualiteit, parodie en die diskoerse van die geskiedenis; die problematiek van referensialiteit; die subjek en die representasie van subjektiwiteit; en ideologiese implikasies en politieke dubbelkodering. In die loop van die studie word die bespreking van Die heengaanrefrein aangevul met korter besprekings van ander tekste, soos byvoorbeeld George H. Weideman se "Kieselguhr-kleim", twee gedigte uit Breyten Breytenbach se Soos die so en P.J. Philander se gedigte "Die klippe praat" en "Genesis". Inhoofstuk 13, die sluitstuk, word die bevindinge saamgevat en Hutcheon se model beoordeel.

Thesis (PhD) -- Stellenbosch University, 1988. / ENGLISH ABSTRACT: no abstract available / AFRIKAANSE OPSOMMING: geen opsomming

[From Introduction]. Soos die titel aandui, wil hierdie skripsie bloot verkenninge wees. Dit sal vir die leser duidelik wees dat dieselfde metode van benadering wat ek hier op sekere aspekte van die woordeskat van van Wyk Louw se poësie toegepas het, ook op ander woordsoorte toegepas sou kan word, en ook op die werk van ander digters. As 'n mens die gegewens wat jy so verkry, histories sou beskou, sou jy 'n baie interessante kykie kry op die ontwikkeling van die woordeskat in die Afrikaanse poësie. ln die beste van een skripsie is so iets egter, soos duidelik sal blyk, nie moontlik nie. Later, voel ek, sou miskien met vrug op dié grondslag voortgebou kan word.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2008. / The Northwestern Cape enjoys prominence in George Weideman’s comprehensive oeuvre. Weideman, who was raised in this area, explains that it is a region with which he has a strong emotional connection. In this study the representation of space will be examined with specific reference to Weideman’s portrayal of the Northwestern Cape in the volume of poetry 'n Staning onder sterre (1997). The focus will be on Weideman’s depiction of the Northwestern Cape and more specifically his portrayal of it as both a geographical space and a space of the landscape. Not only does Weideman represents the geographical space of the Northwestern Cape in great (objective) detail, he also presents the reader with a very personal (subjective) depiction of a landscape with which he has strong personal ties. In fact, it is the premis of my study that Weideman’s depiction of this space is more personal than objective. Rather than just a geographical space, it becomes a metaphysical domain with spiritual, creative and intertextual dimensions; a landscape that is accessed through memory and the imagination. Although 'n Staning onder sterre is filled with geographical markers and functions as a cultural and historical document which gives an account of an unique region and its people, this volume of poetry should rather be read as a petit histoire in which the poet’s personal convictions continuously surface during the representationprocess.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: C. Louis Leipoldt had, in his lifetime and after his death, a celebrated reputation as an important Afrikaans poet in South Africa. He remains most remembered for his contribution to the growth of Afrikaans literature and for the significance of his poetry in helping to establish Afrikaans literature in the early part of the twentieth century in South Africa. He is also mostly remembered for his recipe books and food and wine guides, as well as his career as a paediatrician. Between 1980 and 2001, scholarly work was done to offer a reappraisal of Leipoldt’s literary works. During this period, previously unpublished material written by Leipoldt was made publicly available. Three novels by Leipoldt, written in English, were published at irregular intervals between 1980 and 2001. The novels cast Leipoldt in a different light, suggesting that as an English-language writer he was against many of the ideas he was associated with when viewed as an Afrikaans-language writer. These ideas, for the most part, linked Leipoldt to the Afrikaner nationalist project of the twentieth century and co-opted him to Afrikaner nationalist policies of racial segregation based on the campaigning for group identity. The three English-language novels, collectively making up the Valley trilogy, not only reveal Leipoldt’s opposition to the nationalist project but also draw attention to some of his other work in Afrikaans, in which this same ideological opposition may be noted. In this thesis I argue that Leipoldt’s Valley trilogy, as well as some of his other, Afrikaans works, not only refute the nationalist project but offer a reading of South African modernity in the nineteenth and twentieth centuries. This reading of historical events in South Africa that reveals the trajectory of the country’s modernity is strongly indicative of a unique literary modernism. It is my argument that Leipoldt’s Valley trilogy shows a modernist critique of the historical events it presents. Because the concept of a South African modernism in literature has not yet been fully defined, it is also an aim of this thesis to propose that Leipoldt’s works contribute a broad but sustained literary outlook that covers his own lifespan (1880-1947) as well as the historical period he examines in the Valley trilogy (the late 1830s -the late 1920s/early 1930s). This literary outlook, I argue, is a modernist outlook, but also a transplantation of a Western understanding of what modernism is to the South African context in which there are crucial differences. This thesis hopes to arrive at an outcome that binds Leipoldt’s anti-nationalism to his literary critique of the modernity he explores in the Valley trilogy, thereby proving that Leipoldt could be read as a South African literary modernist. / AFRIKAANSE OPSOMMING: C. Louis Leipoldt het in sy leeftyd en na sy dood 'n gevierde reputasie behou as 'n belangrike Afrikaanse digter in Suid-Afrika. Hy word die meeste onthou vir sy bydrae tot die groei van die Afrikaanse letterkunde en die belangrikeheid van sy poësie tot die Afrikaanse letterkunde, se stigting in die vroë deel van die twintigste eeu in Suid-Afrika. Hy word meestal ook onthou vir sy resepteboeke en kos en wyn gidse, sowel as vir sy loopbaan as 'n pediater. Tussen 1980 en 2001, is navorsingswerk gedoen om ‘n herwaardering van Leipoldt se literêre werk aan te bied. Gedurende hierdie tydperk was voorheen ongepubliseerde material geskryf deur Leipoldt publiek sigbaar gestel. Drie romans deur Leipoldt, wat in Engels geskryf is, is gepubliseer op ongereelde tussenposes tussen 1980 en 2001. Die romans stel Leipoldt in ‘n ander lig, wat daarop dui dat as 'n Engelse skrywer was hy gekant teen baie van die idees waarmee hy geassosieer was toe hy as 'n Afrikaanstalige skrywer beskou was. Hierdie idees het grootendeels vir Leipoldt gekoppel aan die Afrikaner-nasionalistiese projek van die twintigste eeu en het hom gekoöpteer tot Afrikaner nasionalistiese beleide van rasse-segregasie gegrond op die veldtog vir groepidentiteit. Die drie Engelstalige romans, gesamentlik die Valley-trilogie, openbaar nie net Leipoldt se teenkanting van die nasionalistiese projek nie, maar vestig ook aandag op sommige van sy ander werk in Afrikaans waarin hierdie selfde ideologiese opposisie aangeteken kan word. In hierdie tesis voer ek aan dat Leipoldt se Valley-trilogie, sowel as sommige van sy ander, Afrikaans werke, nie net die nasionalistiese projek weerlê nie, maar ook ‘n lesing aanbied van Suid-Afrikaanse moderniteit in die negentiende en twintigste eeus. Hierdie lesing van historiese gebeure in Suid-Afrika wat die trajek van die land se moderniteit openbaar is sterk aanduidend van 'n unieke literêre modernisme. Dit is my redenering dat Leipoldt se Valley-trilogie 'n modernistiese kritiek toon van die historiese gebeurtenisse wat dit aanbied. Omdat die konsep van 'n Suid-Afrikaanse modernisme in die letterkunde nog nie ten volle gedefineer is nie, is dit ook 'n doel van hierdie tesis om voor te stel dat Leipoldt se werke 'n breë maar volgehoue literêre kritiek bydra wat sy eie leeftyd dek (1880-1947) asook die historiese tydperk wat hy ondersoek in die Valley-trilogie (die laat 1830s tot die laat 1920s/vroë 1930s). Hierdie literêre vooruitsig, redeneer ek, is 'n modernistiese vooruitsig, maar ook 'n oorplanting van 'n Westerse begrip van wat die modernisme is tot die Suid-Afrikaanse konteks waarin daar belangrike verskille is. Hierdie tesis hoop tot 'n uitkoms wat Leipoldt se anti-nasionalisme bind tot aan sy literêre kritiek van die moderniteit wat hy ondersoek in die Valley-trilogie, en daardeur bewys dat Leipoldt gelees kan word word as 'n Suid-Afrikaanse literêre modernis

In this article I examine as mediations of urban experience poems written by Koos du Plessis. a contemporary Afrikaans poet. together with their musical rendition by Johannes Kerkorrel. a singer and musician from the Afrikaans altemative music scene and former member of Die Gereformeerde Blues Band. The poetry was initially published with musical arrangements in the volume Kinders van die Wind : En Ander Lirieke (1981) . In order to use this material in an article produced as part of an English study . I have translated the poetry into English . The translation (in linguistic and performative terms) of these poems has the dual effect of rendering them more appropriately for this study, and making them accessible to a wider audience. I am concemed with the way poems written by a poet from an earlier decade (the 1980s) interpret and mediate an urban identity and. further. with the fact that performance not only gives them a new lease of life. but also transforms them into works which have meaning and appeal for a more contemporary, broader audience. The fundamental issues addressed in this poetry , namely a response to and a negotiation of urban (South African) experience. continue to speak compellingly today. / Thesis (M.A.)-University of Natal, Durban, 2002.