From Introduction. In hierdie studie word 'n poging aangewend om 'n sekere aspek van, en 'n sekere ontwikkeling binne die Afrikaanse Poesie toe te lig. Onder Afrikaanse Poësie verstaan ons enige digwerk in Afrikaans, sy dit epies, liries of dramaties. Omdat ons o.m. belangstel in 'n sekere ontwikkeling, is ons uiteraard op 'n chronologiese indeling aangewys. Verskeie faktore (geskiedenis, kwaliteit van digwerk of gebrek aan kwaliteit, ens.) het daartoe bygedra dat ons in die Afrikaanse Poësie vyf groot periodes het wat vrywel onbestrede aanvaar word: die tydperk van die Genootskappers (vóór 1900); die tydperk van die Driemanskap (tussen 1900 en 1920); die insinking van die twintigerjare (1920 tot 1934); die vernuwing van Dertig (1934 tot 1945); die jongste tydperk (tot 1962). Hierdie algemeen aanvaarde indeling dien ons doel. Dit is egter noodsaaklik om dit onomwonde te stel dat die geesteshouding van die digter, soos ons dit uit die gedig leer ken, van groter belang is by ons studie as die ontstaansdatum van die gedig.

M.A. (Afrikaans en Nederlands) / Please refer to full text to view abstract

M.A. / Old age is a universal experience. Poets in general and Afrikaans poets in particular use imagination and metaphor to understand and make sense of the experience of old age and nearing death. To understand one domain of experience in terms of another we need metaphor that unites reason and imagination. Language is based on cognition. According to cognitive semantics we mentally group together similar, but disparate, entities and transformations of image schemas. A conceptual domain consists basically of interrelated entities emanating from universal experiences. The purpose of this study is to give an account of various (mainly cognitive) theories on metaphor and to use the cognitive approach to disclose the main conceptual domains which act as source domains and are projected onto the target domain. The resulting metaphors describe the experience of old age and its physical and psychological infirmities and decay. By analysing various examples of metaphor it is argued that image schemas are different patterns of recurring bodily experiences that emerge from our perceptual understanding of actions and events in the world. The examples illustrate that image schemas/domains do not exist as single entities, but are often linked together to form relationships through different image schemata transformations. The poet as abstract author, but also the reader, creatively and imaginatively recognize a schema in a new situation and contrive metaphorical connections between various conceptual structures. Thus a metaphorical expression links two or more domains of experience. Metaphor is the means by which we project structure across categories to establish new connections. Structure from two or more input mental spaces is projected onto a separate "blended" space, which inherits partial structure from the inputs, and has emergent structure of its own. It is argued that creativity shows rationality and structure. In metaphorical projection, blending from different conceptual domains plays an important role in the process of creating meaning. The examples in this study reveal that metaphors are a reflection of the ecological, cultural and ideological background of the language community. Metaphors based on image schemata for path, time, cycle, container, balance and verticality are discussed by means of examples from the poetry of selected Afrikaans poets. Special attention is given to the works of poets who are themselves experiencing old age. This study arrives at the conclusion that language is inextricably entrenched in our cognitive make-up, as illustrated by the various metaphors conveying the experience of old age. The examples reveal that the path-, cycle- and time domains are the more important source domains for the old age metaphors. The metaphors not only describe the authors' emotions on experiencing old age, but also create emotions in the reader.

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

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.

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.

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.

This article has as focus an environmental education analysis of ten selected poems from the book Skakering (Opperman and Coetzee 1991) to associate the problem of environmental education with the teaching of a humanities subject like Afrikaans, and specifically in the light of the poem as text. It has as its aim the teaching of a genre, to relate in this regard the single text (the poem text) to the environment and environmentally associated problems. In this respect an approach which is aimed at selected texts in Skakering (Opperman and Coetzee 1991) shall possibly accentuate both teachers and pupils' relationship with nature. This article will concentrate on the following: a definition of environmental education as phenomenon which links up the concept ecology, general overview of the important and relevant sources, a theoretical explanation of the concept environmental education, a brief discussion of existing studies that pays attention to the environment and environmental education in the literature, the analysis of the contents of poems that represent certain environmental problems, and an awareness of the pedagogical implications for the teacher. OPSOMMING Hierdie artikel het as fokus 'n ' omgewingsopvoedingsanalise van tien geselekteerde gedigte uit die bundel Skakering (Oppenman en Coetzee 1991 ) om die probleem van omgewingsopvoeding in verband te bring met die onderrig van 'n geesteswetenskaplike vak 5005 Afrikaans. en spesifiek aan die hand van die gedigteks. Oit het as doel die onderrig van 'n genre, om in die verband die enkelteks (die gedigteks) in verband te bring met die omgewing en omgewingsverwante probleme. In hierdie opsig sal 'n benadering wat op geselekteerde tekste in Skakering (Opperman en Coetzee 1991 ) gerig is, beide ondervvysers en leerlinge se verhouding met die natuur aksentueer. In hierdie artikel word op die volgende gekonsentreer: die omskrywing van omgewingsopvoeding as verskynsel wat aansluit by die konsep ekologie, In oorsig van die belangrike en retevante bronne, 'n toeretiese uiteensetting van die konsep omgewingsopvoedingsbenadering, 'n kortlikse bespreking van bestaande studies wat aandag gee aan die omgewing en omgewingsopvoeding in die letterkunde, 'n analise van die inhoud van gedigte wat bepaalde omgewingsopvoedingsprobleme representeer, en 'n bewustheid van die pedagogiese implikasies vir die onderwyser. / Thesis (M.A.)-University of Natal, Durban, 2001.

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.

[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.