Die geesteswetenskappe, en spesifiek letterkunde en literatuurstudies, loop toenemend deur onder kritiek oor die relevansie van letterkunde in die 21ste eeu. Die letterkundige Hans Ulrich Gumbrecht reken egter dat die probleem nie is dat fiksie irrelevant geword het nie, maar dat die suiwer hermeneutiese manier waarop letterkunde gelees word, gelei het tot ’n reduksionistiese beskouing van letterkunde. Gumbrecht reken dat dit moontlik is om taal op so ’n wyse aan te wend dat dit die leser weer nader kan bring aan die wêreld waarvan hy grootliks verwyderd voel. Hierdie konsep noem hy die “produksie van teenwoordigheid”, en hy identifiseer sewe wyses waarop taal kan funksioneer om só ’n “teenwoordigheidseffek” te bewerkstellig. Marlene van Niekerk se Die sneeuslaper word in hierdie studie ondersoek deur gebruik te maak van Gumbrecht se konsep van die “teenwoordigheidseffek” van ’n literêre teks. Die “produksie van teenwoordigheid” word egter in ’n spanning teenoor die hermeneutiese aspek, die betekenis of interpretasie, en teenoor die “sosiale betrokkenheid” van letterkunde ondersoek – ’n spanning wat deurgaans in Van Niekerk se oeuvre teenwoordig is. Gumbrecht se voorstel om die “teenwoordigheidseffek” van ’n teks te ondersoek, lei daartoe dat Die sneeuslaper gelees kan word as ’n bydrae tot die breër besinning oor die rol en relevansie van letterkunde, kuns en kunskritiek in ons samelewing, en die manier waarop kunswerke ervaar word. Benewens Gumbrecht se idee van teenwoordigheidsproduksie, sal daar ook aangesluit word by Wolfgang Iser se “werkingsestetika” waarvolgens hy aandui dat literêre tekste “strukture uit die werklikheid” neem en herrangskik om daardie strukture op ’n vars en nuwe wyse in die literêre teks te belig. In die proses word tekortkominge of probleme van hierdie “strukture” uit die buite-tekstuele wêreld duidelik. Met behulp van Iser se teorie, word aangedui hoe Van Niekerk in die vier verskillende verhale die leser dwing om bestaande, hermeneutiese aannames oor die letterkunde en literêre tekste te heroorweeg. Die idee dat tekste betekenis moet inhou, sluiting moet bied of noodwendig sosiopolitieke betrokkenheid moet toon word uitgedaag. In ruil ondersoek Van Niekerk eerder die mate waartoe ’n benadering wat gerig is op die “estetiese ervaring” van literêre tekste, voorafopgestelde idees en aanvaarde strukture kan belig ten einde die leser se persepsies oor daardie strukture te wysig. Daar sal aangedui word hoe Van Niekerk taal aanwend om ook ’n teenwoordigheidseffek te bewerkstellig, en in die proses die leser, soos wat Gumbrecht voorstel, vir ’n oomblik “tot stilstand dwing”. / The role and potential relevance of the humanities, specifically of literature and literary criticism in the 21st century, has been increasingly called into question. Literary theorist Hans Ulrich Gumbrecht suggests that the problem is not that fiction has become irrelevant. Rather it is the exclusively hermeneutic way in which literature is read, that leads to a reductionist view of literature. Gumbrecht argues that it is possible to apply language in such a way that it could again bring the reader closer to the world to which the reader feels increasingly distant. He calls this concept the “production of presence”, and identifies seven ways in which language functions to create a “presence effect”. In this dissertation, Gumbrecht’s concept of the "presence effect" of literature will be applied to analyse Marlene van Niekerk’s Die sneeuslaper. The production of presence is, however, analysed in a tension with the hermeneutic aspect, the meaning or interpreation of literature, and literature that engages with social and political realities – a tension which is often present in Van Niekerk’s oeuvre. Gumbrecht’s theory of the “presence effect” of literature, opens up the possibility to read Die sneeuslaper as a contribution to a broader reflection on the way in which art is experienced, and on the role and relevance of literature, art and art criticism at the start of the 21st centuary. Apart from Gumbrecht’s concept of the production of presence, this study will rely on Wolfgang Iser’s reception theory in which he indicates how literary texts can rearrange structures from the world in order to highlights those structures in a new way. Hence, the deficiencies or problems of those “structures” become clear to the reader. Iser’s theory is used to indicate how the Van Niekerk forces the reader to reconsider existing hermeneutic perceptions on literature and literary texts. These include perceptions that texts should necessarily have meaning, that it should provide closure, or that it should be a socially or politically engaged text. Van Niekerk investigates an approach that is focused on the “aesthetic experience” of a literary text, and how such an approach could highlight preconceived ideas about existing and assumed structures about art and society in order to alter the reader’s perceptions of those structures. This study shows that Van Niekerk applies language in such a way that it leads to a presence effect which, as Gumbrecht suggest, forces the reader to experience a “moment of intensity”. / Dissertation (MA)--University of Pretoria, 2014. / tm2015 / Unit for Creative Writing / MA / Unrestricted

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The focus of this study will be on the unique way in which language is used in Marlene van Niekerk‟s collection of short stories, Die sneeuslaper (2010). When reading Die sneeuslaper it is impossible not noticing the number of Dutch words, as well as words and phrases from other foreign languages, as Bargoens, Rotwelsch, German, French, Italian, Hebrew, Greek and Maltese. Some of the characters‟ speech, as well as so called sound poems (or nonsense verses) are characterised by a number of newly invented words. However, the meaning of some of these words or phrases remains unclear. Other themes in the four short stories which will be analysed are the so called political responsibility of the artist, as well as music, rhythm and bird-noises. As a theoretical basis of this study, Deleuze and Guattari‟s Kafka Toward a Minor Literature will be used. In Kafka Toward a Minor Literature Deleuze en Guattari formulate their ideas regarding minor literature. They describe a major language as a language of dominance and power, while a minor language is a language without any power. According to them the three characteristics of minor literature are: the minor deterritorializes the major, minor literature is always political, and minor literature always has a collective function. Deleuze and Guattari‟s, as well as Bogue‟s writing regarding the territorialization and deterritorialization of the refrain, is also explored briefly. Deleuze en Guattari‟s theories regarding minor literature is used in this study to read Die sneeuslaper. In the end it is concluded that the unconventional use of language in this short story collection can be associated with the political nature of some of the stories. The unique usage of language in Die sneeuslaper, the way in which Afrikaans is transformed into a language that stammers, stutters and mumbles, can be seen as a subtle form of political protest. Therefore this collection of short stories can be seen as a form of minor literature. / AFRIKAANSE OPSOMMING: Hierdie studie fokus op die vreemde wyse waarop taal in Marlene van Niekerk se kortverhaalbundel, Die sneeuslaper (2010), aangewend word. Met die lees van Die sneeuslaper is die hoeveelheid Nederlandse woorde, asook enkele woorde en frases uit ander vreemde tale, soos Bargoens, Rotwelsch, Duits, Frans, Italiaans, Hebreeus, Grieks en Maltees, opvallend. Verder is daar in die karakters se spraak, sowel as in klankgedigte (of onsinverse), vele nuutskeppings waarvan die betekenis nie altyd so duidelik blyk nie, teenwoordig. Ander temas wat in die vier verhale figureer en ondersoek sal word is kunstenaarskap, die sogenaamde politieke verantwoordelikheid van die kunstenaar, asook musiek, ritme en voëlgeluide. As teoretiese vertrekpunt vir die studie word Deleuze en Guattari se Kafka Toward a Minor Literature, waarin hul idees oor mineurlettekunde geformuleer word, gebruik. Deleuze en Guattari onderskei tussen ‟n dominante majeurtaal en ‟n mineurtaal wat sonder mag is. Volgens Deleuze en Guattari is daar drie kenmerke van mineurletterkunde, naamlik dat die mineur die majeur deterritorialiseer, dat mineurletterkunde altyd polities is, en laastens dat mineurletterkunde altyd kollektief van aard is. Bykomend word daar ook kortliks gekyk na Deleuze en Guattari, sowel as Bogue, se skrywe oor territorialisering en deterritorialisering in die refrein. Deleuze en Guattari se teorie oor mineurletterkunde word in hierdie studie as ‟n agtergrond gebruik om Die sneeuslaper te lees. Daar word uiteindelik tot die gevolgtrekking gekom dat die onkonvensionele taalgebruik in die kortverhaalbundel wel geassosieer kan word met deterritorialisering en dat dit aansluit by die politieke aard van sommige van die verhale. Die wyse waarop Afrikaans in Die sneeuslaper getransformeer word na ‟n taal wat stamel, stotter en struikel, kan dus as subtiele, politieke protes gesien word en daarom kan dié kortverhaalbundel inderdaad as ‟n vorm van mineurletterkunde beskou word.

The Eudaimonic turn: Well-being in Literary Studies (2013), a study by Pawelski et al, sheds light on a recent turn in literary studies. The eudaimonic approach entails that texts are examined with the help of a hermeneutic of affirmation rather than the sceptical, suspicious methods of the deconstruction and post-structuralism. Pawelski et al’s text is drawn upon in this study because it corresponds to the way in which Marlene van Niekerk utilises themes such as relationships, friendship and loss in Die sneeuslaper (2009). The eudaimonic turn focusses on the way in which complex interpersonal connections are able to add to an individual’s well-being through positive as well as negative processes. Die sneeuslaper is mainly a reflection on what it means to be an author. However, it also raises important questions about the nature of being. The four short stories provide different perspectives on friendship, on how friendship can sometimes be problematic and even a nuisance, but also how relations with others repeatedly prove to be beneficial to a person’s well-being. In my study, the relational theme of friendship in Die sneeuslaper is studied from a eudaimonic point of view. Kaja Silverman’s text, Flesh of my Flesh (2009), is referred to in order to shed light on the term relationality. The relational themes of finitude (or mortality) and interpersonal connection are clearly present in Van Niekerk’s text. Although the death of a beloved friend causes trauma in Die sneeuslaper, the trauma proves to have positive effects in the form of posttraumatic growth, comfort and acceptance as time goes by. Comfort is also construed through the creation and appreciation of a work of art like Die sneeuslaper. Cognitive narratology is referenced to show how Marlene van Niekerk overthrows and plays with fixed ideas regarding relationality and friendship, causing the reader to converse with the text. Views on friendship held by thinkers such as Aristotle, Montaigne, Lacan, Kierkegaard and Derrida are referenced to give Van Niekerk’s use of the theme in Die sneeuslaper a certain context. This context represents the fixed frames of thinking generally applicable with regard to friendship. When a reader is willing to critically interpret these as well as personal frames of reference, it provides him or her the opportunity to contemplate reality from new perspectives. In Die sneeuslaper the reader is continually challenged to question existing frames of reference by means of never ending methods (resembling a Möbius-strip) and strange notions. This study concludes with the notion that it is necessary for artists (like the writers in Die sneeuslaper) to reflect differently on reality, so that readers may be inspired to also view reality in a different light. This will result in a broader view of reality, which in turn will have a more defining influence on personal well-being. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

The Eudaimonic turn: Well-being in Literary Studies (2013), a study by Pawelski et al, sheds light on a recent turn in literary studies. The eudaimonic approach entails that texts are examined with the help of a hermeneutic of affirmation rather than the sceptical, suspicious methods of the deconstruction and post-structuralism. Pawelski et al’s text is drawn upon in this study because it corresponds to the way in which Marlene van Niekerk utilises themes such as relationships, friendship and loss in Die sneeuslaper (2009). The eudaimonic turn focusses on the way in which complex interpersonal connections are able to add to an individual’s well-being through positive as well as negative processes. Die sneeuslaper is mainly a reflection on what it means to be an author. However, it also raises important questions about the nature of being. The four short stories provide different perspectives on friendship, on how friendship can sometimes be problematic and even a nuisance, but also how relations with others repeatedly prove to be beneficial to a person’s well-being. In my study, the relational theme of friendship in Die sneeuslaper is studied from a eudaimonic point of view. Kaja Silverman’s text, Flesh of my Flesh (2009), is referred to in order to shed light on the term relationality. The relational themes of finitude (or mortality) and interpersonal connection are clearly present in Van Niekerk’s text. Although the death of a beloved friend causes trauma in Die sneeuslaper, the trauma proves to have positive effects in the form of posttraumatic growth, comfort and acceptance as time goes by. Comfort is also construed through the creation and appreciation of a work of art like Die sneeuslaper. Cognitive narratology is referenced to show how Marlene van Niekerk overthrows and plays with fixed ideas regarding relationality and friendship, causing the reader to converse with the text. Views on friendship held by thinkers such as Aristotle, Montaigne, Lacan, Kierkegaard and Derrida are referenced to give Van Niekerk’s use of the theme in Die sneeuslaper a certain context. This context represents the fixed frames of thinking generally applicable with regard to friendship. When a reader is willing to critically interpret these as well as personal frames of reference, it provides him or her the opportunity to contemplate reality from new perspectives. In Die sneeuslaper the reader is continually challenged to question existing frames of reference by means of never ending methods (resembling a Möbius-strip) and strange notions. This study concludes with the notion that it is necessary for artists (like the writers in Die sneeuslaper) to reflect differently on reality, so that readers may be inspired to also view reality in a different light. This will result in a broader view of reality, which in turn will have a more defining influence on personal well-being. / MA (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014