Thesis (Ph.D. (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2009.

This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / Thesis (Ph.D. (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2009.

This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / This study attempts to highlight the novella from a practical Creative Writing point of view. The establishment of Creative Writing as a teachable university discipline in South Africa is characterised by Creative Writing tutoring in various genres. However, there are voids to be filled in tutoring the nature of a novella and the writing thereof. The objective of this investigation into the novella is to propose a practical writing and theoretical novella approach for application in tutoring Creative Writing. The concept of a genre is investigated to place the novella within the genre categorisation, followed by research of literary sources to determine the origins, nature and historical development of the novella. This background information is essential for Creative Writing students (particularly on tertiary level) to gain knowledge of the literary tradition of the novella. The classical and modern novellas enjoy attention, while confusing terminology for the novella is placed in perspective as far as possible. Some novella definitions from different periods are presented to determine the common characteristics of the novella. These characteristics are important to describe the novella as part of my novella approach. It is essential to look at densification techniques that a writer may apply in order to highlight the novella with its concentrated structure as a particular genre. The four creative elements, event, character, time and space indicated in the title of the thesis, serve as point of departure as these elements are essential in all prose types. Based on this, the creative elements cannot define the novella specifically in their own right. A deeper insight into the writing techniques that the writer may use in the application of the creative elements to obtain the compressed structure of the novella is essential. The densification techniques are discussed based on the deduced techniques in Veldslag (1965) by Karel Schoeman. A personally created new millennium novella, Die Here III, is contained in Chapter 6 as a practical application of the densification techniques and a discussion thereof. As a time and culturally bound genre the prominence of event, character, time and space are subject to changes. Some of these changes revealed in the creative elements of Veldslag and Die Here III, are shown individually according to a sliding scale for each novella. The conclusion in Chapter 7 contains a proposed practical approach to the novella that the tutor in Creative Writing may apply. The approach to the novella involves three components: densification techniques for aspirant writers, possible shifts in the prominence of the creative elements and a description of a novella that also relates to the new millennium novella. It is important to emphasise that the approach to the novella does not contain fixed rules for the writing of a successful novella. The term novel approach hopefully disbands the idea of a fixed recipe. The same applies to the description of a novella in stead of a more closed novella definition. / Thesis (Ph.D. (Afrikaans en Nederlands))--North-West University, Potchefstroom Campus, 2009.

Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

The writing and publishing of the novel, Dieper water (Deeper water), was the primary aim of this study. This novel was published by Human & Rousseau in October 2007. The plot of the novel is divided into three eras, the Anglo Boer War and thereafter, the Second World War and thereafter and the late nineties of the twentieth century. As a complementary aim, the study examines the realisation and analysis of image of reality or Zeitgeist, in the novel Dieper water. A consideration of the general theoretical and theoretical writing principles follows. These theoretical writing principles are specified in order for the writing process of the novel Dieper water to be examined according to these principles. Thereafter attention is paid to the method applied for the writing of the novel, Dieper water. The writing process is explained according to different writing phases, focussing on the role of the narrative elements to realise or embody the abstract concept of Zeitgeist. Zeitgeist can be explained as the general spirit of a specific period. The description of the writing process is followed by an intensive and heuristic view of the creation of Zeitgeist in the novel Dieper water. The focus is placed once more on the essential role that the narrative element, as well as the search for identity play in the creation of image of reality at a specific time, also known as Zeitgeist or time spirit. The core of this study is the writing of an extensive novel incorporating three eras. Complementary to this is the summarised study of the realisation of different forms of Zeitgeist. Conclusions and recommendations regarding the writing process and the creation of Zeitgeist in the novel, Dieper water, are proposed. This study is an attempt to closely examine the creation of image of reality in a novel, and indicate writing techniques that can possibly make a contribution to the practical process of creative writing. The conclusion of this study is that Zeitgeist, or the spirit of the times, as well as identity can be realised in a novel, by applying the narrative elements. The published novel, Dieper water, and a list of publications of the writer, are included as appendixes. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.

The writing and publishing of the novel, Dieper water (Deeper water), was the primary aim of this study. This novel was published by Human & Rousseau in October 2007. The plot of the novel is divided into three eras, the Anglo Boer War and thereafter, the Second World War and thereafter and the late nineties of the twentieth century. As a complementary aim, the study examines the realisation and analysis of image of reality or Zeitgeist, in the novel Dieper water. A consideration of the general theoretical and theoretical writing principles follows. These theoretical writing principles are specified in order for the writing process of the novel Dieper water to be examined according to these principles. Thereafter attention is paid to the method applied for the writing of the novel, Dieper water. The writing process is explained according to different writing phases, focussing on the role of the narrative elements to realise or embody the abstract concept of Zeitgeist. Zeitgeist can be explained as the general spirit of a specific period. The description of the writing process is followed by an intensive and heuristic view of the creation of Zeitgeist in the novel Dieper water. The focus is placed once more on the essential role that the narrative element, as well as the search for identity play in the creation of image of reality at a specific time, also known as Zeitgeist or time spirit. The core of this study is the writing of an extensive novel incorporating three eras. Complementary to this is the summarised study of the realisation of different forms of Zeitgeist. Conclusions and recommendations regarding the writing process and the creation of Zeitgeist in the novel, Dieper water, are proposed. This study is an attempt to closely examine the creation of image of reality in a novel, and indicate writing techniques that can possibly make a contribution to the practical process of creative writing. The conclusion of this study is that Zeitgeist, or the spirit of the times, as well as identity can be realised in a novel, by applying the narrative elements. The published novel, Dieper water, and a list of publications of the writer, are included as appendixes. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2008.