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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

Terugkerende simbool in die poësie van Breyten Breytenbach

Ferreira, Jeanette January 1982 (has links)
Die literêre simbool word onderskei van die konvensionele simbool soos dit in A dictionary of Symbols van J.E. Cirlot verskyn. Die literêre simbool kan in die literêre kunswerk dieselfde, of 'n ander betekenis as die konvensionele simbool hê. Die literêre kunswerk self is die kontrole vir die literêre simbool. Die literêre kunswerk moet genoeg konstituerende elemente bevat om die literêre simbool "simbool" te maak. 'n Woord wat as literêre simbool funksioneer, kan in ander verse, selfs in dieselfde vers, weer voorkom sonder dat dit simbolies funksioneer. Die studie wys op die gevare van waninterpretasie indien simboliek van buite die kunswerk op die kunswerk afgedwing word. "Vel", "glas", "groen", "swart", "wit", en "water" word as simbole in Die ysterkoei moet sweet bespreek. Tabulering by hoofstukke 4, 5 en 6 dui aan in watter verse en versreëls die simbole voorkom, asook waar dieselfde woorde voorkom, maar nie as simbole funksioneer nie. Die simbole wat behandel word, is terugkerende simbole; dit keer telkens terug en roep telkens dieselfde assosiasie op, naamlik die van wysiging van konvensionele grense. Terselfdertyd skep dit 'n wêreld van versoenende eenheid, 'n wêreld waarin die paradoks van lewe en dood, binne en buite, heel en verbrokkeld, een word. In hoofstuk 7 wys die studie ook op die waarde van "buite-literêre" gegewe, naamlik die invloed van die Zen-Boeddhisme en die Surrealisme in Breytenbach se poësie. Hierdie invloede bevestig wat reeds deur analise uit die vers duidelik geword het: dit is nie irrelevant ten opsigte van die poësie nie, maar dit alleen kan nie die vers bevredigend genoeg verklaar nie. Die slotsom is dat die eenheid van 'n totale wêreld, deur o.a. die gebruik van terugkerende simbole, in Breytenbach se poësie herkenbaar word wanneer, met die vers as enigste gegewe, die verse aan analise onderwerp word. / Dissertation (MA)--University of Pretoria, 1982. / gm2013 / Afrikaans / MA / Unrestricted
2

Ek (-spreker) in Die ysterkoei moet sweet van Breyten Breytenbach

Roodt, P.H. (Pieter Hendrik) 05 June 2013 (has links)
In hierdie studie ondersoek ek die ek-spreker in Breyten Breytenbach se debuutbundel. Om hierdie doel te verwesenlik, het ek 'n verteenwoordigende aantal gedigte uit die drie afdelings van die bundel in die ondersoek betrek en die ek-spreker in die gedigte nagegaan. Daar bestaan verskil van mening deur die kritici oor die "ek" in hierdie bundel. In Hoofstuk 1 wys ek hierop deur kort aanhalings. F.I.J. van Rensburg en R. Schutte beskou Die ysterkoei moet sweet as ekshibisionisties; N.P. van Wyk Louw meen daar is 'n bietjie te veel "ek-Breyten-rig-heid" in hierdie verse; A.P. Grovè oordeel dat die ek in hierdie gedigte hom soms opdring aan die leser en dit kan die gevaar inhou dat die gedig as afsonderlike struktuur aangetas kan word; Andrè P. Brink en Rob. Antonissen is van mening dat dit 'n ek-bundel sonder ekkerigheid is; D.J. Opperman meen dit is poësie wat 'n voorliefde het vir selfportrettering en selfspot, maar die verse is soms gesog en ekshibisionisties. In Hoofstuk 2 gaan ek literêr-teoreties in op die ek-spreker in die gedig. Ek probeer veral - deur bekende kritici en teoretici se uitsprake te beredeneer - antwoorde vind op o.m. die volgende vrae: Watter rol speel die ek in die gedig? Is daar 'n verskil tussen die poëtiese ek en die persoonlike ek in die gedig? Dit is ou vrae in die literatuur wat op voorbeelde af al bevredigend beantwoord is deur verskillende kritici, maar Breytenbach se poësie dwing mens om jouself opnuut rekenskap hiervan te gee - soos die verskillende oordele in Hoofstuk 1 gegee, bewys. Vanaf Hoofstuk 3 ontleed ek die bundel sistematies, dit wil sê afdeling vir afdeling en in sy samehang, met besondere aandag aan die rol van die ek-spreker in die gedig. In hierdie hoofstuk konsentreer ek slegs op die eerste gedig van die bundel, "Bedreiging van die Siekes". Dit is 'n heel ongewone gedig vir Afrikaans, 'n voorstellingsgedig waarin twee markante ek-sprekers hulle verskyning maak: 'n spottende seremoniemeester wat "Die maer man met die groen trui"- "Breyten Breytenbach" - aan 'n gehoor voorstel. Laasgenoemde figuur dra dan, vol angs en vrees, 'n gedig voor, 'n gedig wat sy problematiek openbaar: die feit dat hy vasgevang sit in 'n wêreld wat hom bedreig. Hierdie wêreld word in sterk visuele beelde voorgestel. Dis 'n surrealistiese wêreld waarin die reën wat oor alles uitsak die strate in bloed verander. Die ek-Breytenbach van die gedig sien profeties sy eie onafwendbare begrafnis: hierin móét sy gehoor 'n aandeel hê, want hy beveel hulle om hom eers te wond en dan in die grond te "plant". Intussen sal hy - in die gedig uitgewys as 'n sieke - bly praat oor die saam- en naasbestaan van uiter-stes: dood en ontbinding, en "leeubekkies" en "prewelende monnike". In die slotstrofe lewer die seremoniemeester weer spottend kommentaar op die Breytenbach-van-die-gedig: hy meen hy is skadeloos en die gehoor moet hom genadig wees. Hierdie gedig kan gesien word as opdraggedig van die bundel, in besonder van die eerste afdeling, die maer man met die groen trui - 'n titel ontleen aan hierdie gedig: veral deur die besondere procédé van selfspot en die deurlopende motiewe van angs, bedreiging, dood, verrotting én groei, ensovoort, wat telkens deur die gedigte sirkuleer. Hierdie gedig is ook net 'n "voorbeeld" - in ander "voorbeelde" word hierdie motiewe sterker uitgewerk en/of gewysig. In Hoofstuk 4 bespreek ek gedigte uit genoemde eerste afdeling. Die maer man met die groen trui - duidelik 'n bepaalde masker of karikatuur van die ware Breytenbach - het in hierdie afdeling telkens 'n wisselende aard. Hy tree op as digter, malle, sieke, vreesvolle mens, eensame, reisiger, digter-kind, ensomeer. Selde kry ons in die gedig 'n direkte oop belydenis. Breytenbach skep verskillende gestaltes van Die maer man met die groen trui in hom word dikwels houdinge en gesindhede geprojekteer wat die moderne mens in die algemeen raak. Ook in die tweede afdeling, Kopatlas - waarop ek in Hoofstuk 5 ingaan - draai die gedig nog (alhoewel in mindere mate) om ek en wêreld. Ons kry nou veral verbeeldingsreise. Zen laat hom veral sterk geld. Die openingsgedig, "nirvana", waarin Gautama Boeddha sy ek opeet, werk deur in die gedigte van hierdie afdeling. Dit vind 'n mooi hoogtepunt in "Blomme vir Boeddha", waarin die ek verdwyn en een word met al die elemente van die gedig. Hierdie eenwording in die gedig van ek en wêreld geld ook vir die derde afdeling, die mond is te geheim om pyn nie te voel nie, 'n reeks liefdesverse. (Hoofstuk 6) Veral in die liefde, in die eenwording tussen man en vrou, bestaan die moontlikheid dat hiërargieë opgehef kan word. Selfs hier het die spreker 'n wisselende aard: dit wissel van 'n nederige dankbare mens oor die gawe van die liefde en die kosbaarheid van die geliefde, van die wonderlike eenwording tussen man en vrou, van die besondere spreker wat die ongenaakbare wêreld omtower - deur sy woord - tot 'n sprokieslandskap waarin hulle gelukkig woon, tot by die 'groot figuur' ('n god) van "verwoesting, die wrak", die skepper van sy geliefde en sy wêreld. In die meerderheid liefdesverse skuil die elegiese en verwordende, tog is in die liefde die wonder van metamorfose moontlik - 'n belangrike kenmerk van hierdie poësie. Dit is uit hierdie studie duidelik dat die ek-spreker in Die ysterkoei moet sweet 'n wisselende aard het. Alhoewel die spil van die gedig in die meerderheid gedigte draai om ek en wêreld, is dit oor die algemeen nie 'n ekkerige, selfopdringerige poësie nie. Dit is digwerk wat dikwels 'n korrektief van bv. selfspot op die ek bied en binne 'n Zen-sfeer trag om ek en wêreld te versoen. / ENGLISH : In this study I examine the I-speaker in Breyten Breytenbach's first volume of poetry. In order to do this a representative number of poems were selected from the three sections in this book and the role and function of the I-speaker in these were traced. Critics differ as to how the I manifests itself in these poems. In the first chapter this is pointed out by briefly quoting a few of these differences, e.g.: According to F.I.J. van Rensburg and R. Schutte Die ysterkoei moet sweet (The iron cow must sweat) is exhibisionistic; N.P. van Wyk Louw is of the opinion that the poet is somewhat too much involved with himself (" 'n bietjie te veel ek-Breyten-rig-heid"); A.P. Grové judges that the I in some of these poems enforces itself upon the reader with the danger of impairing the ontic status of the work of art; André P. Brink and Rob. Antonissen consider these poems as being poetry of the I without an egotistic tone; for D.J. Opperman this is poetry with a preference for selfportrayal and mockery of the self; however, he finds some of the poems forced and exhibisionistic. In Chapter 2 I deal theoretically with the I-speaker in the poem. By referring to and commenting on various critics I try to arrive at answers on among others the following questions: What rôle does the I fulfil in the poem? Is there a difference between the poetic I and the personal I? These questions have been satisfactorily answered in theoretical writings, but Breytenbach's poetry forces one to answer these questions anew. From Chapter 3 onwards I analysed the selected poems. The first poem "Bedreiging van die Siekes" (Threatening of the Ill) is dealt with at length. This is a most unusual poem for Afrikaans. In this introductory poem there are two conspicious I-speakers: a jeering master of ceremonies who introduces to an audience ,"Die maer man met die groen trui" (The thin man with the green sweater) - "Breyten Breytenbach ". This Breytenbach then recites a poem which is revealing of his anxiety and fear: he is entangled in a world which threatens him. This world is portrayed through strong visual images - a surrealistic world in which the streets are transformed into blood by the rain. This speaker prophetically describes his inevitable burial in which his audience shall play a part, since he demands them to wound him first and then plant him in the ground. But he - an invalid - will continue talking about the coexistence and togetherness of extremes: death and decomposition on the one hand, "leeubekkies" (snapdragons) and "prewelende monnike" (muttering monks) on the other. In the last stanza the master of ceremonies again comments jeeringly on the Breytenbach in the poem: He is harmless, have mercy on him. This poem can be read as a dedication to the remainder of poems in the volume, and in particular to those in the first section, Die maer man met die groen trui (the thin man with the green sweater) - a title taken from the poem: particularly through the precédé of selfmockery and the continual recurrence of the motives of anxiety, threat, death, decomposition and rebirth, etc. This poem is merely an "example" - in other "examples" the same motives are more thoroughly elaborated on and/or altered. In Chapter 4 I discuss certain poems taken from the first section. The thin man with the green sweater - a mask or caricature of the real Breytenbach - takes on a changing rôle: as a poet, madman, invalid, a terrified man, one who is lonely, a traveller, a poet-child and so forth. Seldom is there a direct open confession. Breytenbach creates differing portrayals of the thin man with the green sweater; he is one with fixed likes and dislikes, and attitudes which resemble modern man in general. Also in the second section Kopatlas (mind atlas) - which is dealt with in Chapter 5 - the poems revolve around the I and the world. We find for the most part imaginary journeys. Zen asserts itself strongly. In the first poem, "nirvana", Gautama Buddha devours his I. This process dominates the remainder of the poems in this section. It culminates in "Blomme vir Boeddha" (flowers for buddha) when the I disappears and is assimilated in all the elements of the poem. This unification of the I with the world also occurs in the third section, die mond is te geheim om pyn nie te voel nie (the mouth is too secret not to feel pain) - a series of love poems. (Chapter 6) In love, in the unification between man and woman lies the possibility of hierarchies being uplifted. Even here the speaker has a changing nature: it varies between being modest, thankful for the gift of love and the beloved; the wonder of man and woman becoming one; he who with the gift of the word transforms this unkind world into a fairyland in which they live happily; to the 'important speaker' (a god) in "verwoesting, die wrak" (destruction, the wreck), the creater of his beloved and his world. In most of the love poems we find the elegiac; however, in love the wonder of metamorphosis is possible - an important characteristic of this poetry. An analysis of the poems shows the I-speaker to be of a changing nature. Although the majority of the poems focus on the I and the world, in general they do not become egotistic and self-assertive. Rather it is poetry in which we find correctives towards the I and which, within Zen, aims at reconciling the I with the world. / Dissertation (MA)--University of Pretoria, 1977. / Afrikaans / unrestricted
3

'n Vergelykende ondersoek na landskap as woon in die latere poësie van Breyten Breytenbach en Lucebert / Alwyn Petrus Roux

Roux, Alwyn Petrus January 2015 (has links)
This thesis compares the later poetry of Breyten Breytenbach and Lucebert from the phenomenological approach of landscape as dwelling. The metaphor of landscape as dwelling is derived from the art philosophy of Martin Heidegger, which emphasises the importance of truth as aletheia (or “disclosure”), the cultural geography of John Wylie, which illuminates the notion of landscape as tension, and the anthropology of Tim Ingold with reference to the dwelling perspective, adopted from Heidegger’s philosophy on dwelling. The thesis destructs the Cartesian idea of landscape, which relates to the constructivist description of landscape as a way of seeing. The destructive reading shows that mortals’ dwelling on earth is inherently part of the landscape, which means that landscape opens up as an expression of Dasein’s fundamental being-in-the-world, rather than a scene looked upon from afar. Furthermore, this thesis uses Ingold’s distinction between the landscape and the taskscape (Ingold, 2000:195), and Heidegger’s notion of the fourfold (Heidegger, 1989:172), to make a desctructive reading of the poets’ work, with specific reference to William Spanos’s destructive criticism. It investigates a number of poems from Breytenbach’s Nine landscapes of our time bequeathed to a beloved (Nege landskappe van ons tye bemaak aan ʼn beminde, 1993), Paper flower (Papierblom, 1998), The wind-catcher (Die windvanger, 2007), The principle of dust (Die beginsel van stof, 2011) and Catalects (Katalekte, 2012), and Lucebert’s Harvests in the roaming garden (Oogsten in de dwaaltuin, 1981), The swamp rider from paradise (De moerasruiter uit het paradijs, 1982), Console the hysterical robot (Troost de hysterische robot, 1989), Of the malt-like profligate (Van de maltentige losbol, 1993) and Of the motionless agitator (Van de roerloze woelgeest, 1994). The analyses focus specifically on the destruction of the traditional landscape idea by emphasising Dasein’s everyday activities, and his/her dis-covering approach toward the elements of the fourfold. The thesis concludes with a comparison of the work of the poets in terms of their destruction of the notion of landscape, the temporality of the taskscape, the taskscape as an ensemble of tasks, and a systematic reading of dwelling. / PhD (Afrikaans en Nederlands), North-West University, Potchefstroom Campus, 2015
4

'n Vergelykende ondersoek na landskap as woon in die latere poësie van Breyten Breytenbach en Lucebert / Alwyn Petrus Roux

Roux, Alwyn Petrus January 2015 (has links)
This thesis compares the later poetry of Breyten Breytenbach and Lucebert from the phenomenological approach of landscape as dwelling. The metaphor of landscape as dwelling is derived from the art philosophy of Martin Heidegger, which emphasises the importance of truth as aletheia (or “disclosure”), the cultural geography of John Wylie, which illuminates the notion of landscape as tension, and the anthropology of Tim Ingold with reference to the dwelling perspective, adopted from Heidegger’s philosophy on dwelling. The thesis destructs the Cartesian idea of landscape, which relates to the constructivist description of landscape as a way of seeing. The destructive reading shows that mortals’ dwelling on earth is inherently part of the landscape, which means that landscape opens up as an expression of Dasein’s fundamental being-in-the-world, rather than a scene looked upon from afar. Furthermore, this thesis uses Ingold’s distinction between the landscape and the taskscape (Ingold, 2000:195), and Heidegger’s notion of the fourfold (Heidegger, 1989:172), to make a desctructive reading of the poets’ work, with specific reference to William Spanos’s destructive criticism. It investigates a number of poems from Breytenbach’s Nine landscapes of our time bequeathed to a beloved (Nege landskappe van ons tye bemaak aan ʼn beminde, 1993), Paper flower (Papierblom, 1998), The wind-catcher (Die windvanger, 2007), The principle of dust (Die beginsel van stof, 2011) and Catalects (Katalekte, 2012), and Lucebert’s Harvests in the roaming garden (Oogsten in de dwaaltuin, 1981), The swamp rider from paradise (De moerasruiter uit het paradijs, 1982), Console the hysterical robot (Troost de hysterische robot, 1989), Of the malt-like profligate (Van de maltentige losbol, 1993) and Of the motionless agitator (Van de roerloze woelgeest, 1994). The analyses focus specifically on the destruction of the traditional landscape idea by emphasising Dasein’s everyday activities, and his/her dis-covering approach toward the elements of the fourfold. The thesis concludes with a comparison of the work of the poets in terms of their destruction of the notion of landscape, the temporality of the taskscape, the taskscape as an ensemble of tasks, and a systematic reading of dwelling. / PhD (Afrikaans en Nederlands), North-West University, Potchefstroom Campus, 2015
5

Breytenbach by die Afrikaanse kunstefeeste : karnaval en ritueel in sy dramatiese oeuvre

Van der Vyver, Louïne Marilize 31 January 2007 (has links)
This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)
6

South African political prison-literature between 1948 and 1990 : the prisoner as writer and political commentator

Booth-Yudelman, Gillian Carol, Yudelman, Gillian Carol Booth- 11 1900 (has links)
This thesis examines works written about imprisonment by four South African political prison writers who were incarcerated for political reasons. My Introduction focuses on current research and literature available on the subject of political prison-writing and it justifies the study to be undertaken. Chapter One examines the National Party's policy pertaining to the holding of political prisoners and discusses the work of Michel Foucault on the subject of imprisonment as well as the connection he makes between knowledge and power. This chapter also considers the factors that motivate a prisoner to write. Bearing in mind Foucault's findings, Chapters Two to Five undertake detailed studies of La Guma's The Stone Country, Dennis Brutus's Letters to Martha, Hugh Lewin's Bandiet and Breyten Breytenbach's The True Confessions of an Albino Terrorist, respectively. Particular emphasis is placed on the reaction of these writers against a repressive government. In addition, Chapters Two to Five reflect on the way in which imprisonment affected them from a psychological point of view, and on the manner in which they were, paradoxically, empowered by their prison experience. Chapters Four and Five also consider capital punishment and Lewin and Breytenbach's response to living in a hanging jail. I contemplate briefly the works of Frantz Fanon in the conclusion in order to elaborate on the reasons for the failure of the system of apartheid and the policy of political imprisonment and to reinforce my argument. / English Studies / D. Litt. et Phil. (English)
7

Breytenbach by die Afrikaanse kunstefeeste : karnaval en ritueel in sy dramatiese oeuvre

Van der Vyver, Louïne Marilize 31 January 2007 (has links)
This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)
8

South African political prison-literature between 1948 and 1990 : the prisoner as writer and political commentator

Booth-Yudelman, Gillian Carol, Yudelman, Gillian Carol Booth- 11 1900 (has links)
This thesis examines works written about imprisonment by four South African political prison writers who were incarcerated for political reasons. My Introduction focuses on current research and literature available on the subject of political prison-writing and it justifies the study to be undertaken. Chapter One examines the National Party's policy pertaining to the holding of political prisoners and discusses the work of Michel Foucault on the subject of imprisonment as well as the connection he makes between knowledge and power. This chapter also considers the factors that motivate a prisoner to write. Bearing in mind Foucault's findings, Chapters Two to Five undertake detailed studies of La Guma's The Stone Country, Dennis Brutus's Letters to Martha, Hugh Lewin's Bandiet and Breyten Breytenbach's The True Confessions of an Albino Terrorist, respectively. Particular emphasis is placed on the reaction of these writers against a repressive government. In addition, Chapters Two to Five reflect on the way in which imprisonment affected them from a psychological point of view, and on the manner in which they were, paradoxically, empowered by their prison experience. Chapters Four and Five also consider capital punishment and Lewin and Breytenbach's response to living in a hanging jail. I contemplate briefly the works of Frantz Fanon in the conclusion in order to elaborate on the reasons for the failure of the system of apartheid and the policy of political imprisonment and to reinforce my argument. / English Studies / D. Litt. et Phil. (English)

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