M.A. / An overview of reviews on Antjie Krog’s ‘n Ander Tongval (2005), shows that critics find it difficult to classify the text and to determine the genre of the book. This study is intended to investigate the hybrid nature of ‘n Ander Tongval which is a mixture of poetry, essays, journalistic report, autobiography, academic research and personal anecdotes. This study is primarily an examination of a specific example of a text that can be considered “literary non-fiction” to contribute to the description of the nature of this particularly problematic genre, while at the same time contributing to the literary criticism of Krog’s “literary non-fiction”. Secondly ‘n Ander Tongval is examined to determine the specific demands that this kind of text makes of the reader. This examination of ‘n Ander Tongval contributes to the description and problematising of the term “literary non-fiction” and many other genres which can be associated with these kind of texts because of its hybrid nature. This is also linked to the current debate about the growing interest in what Leon de Kock (2010) describes as “Creative Non-fiction”. De Kock considers this kind of writing distinctive of South African literature. Eventually it becomes clear that ‘n Ander Tongval does not only advocate change (transformation), but makes a change possible by the choice of genre (literary nonfiction) which is itself a text that “changes” established genre conventions and thereby guides the reader to read differently and look at the text and the country in a different way.

Thesis (DLitt)--University of Stellenbosch, 2002 / AFRIKAANSE OPSOMMING: Die ondersoek in hierdie studie sentreer random die diskoers in Antjie Krog se sewende digbundel, Lady Anne (1989). Die ondersoekprableem is die vraag na die wyse waarop die diskoers van hierdie teks georden en' geproduseer word. Foucault se teorie oor diskoersanalise word as kritiese werktuig gebruik by die beantwoording van hierdie vraag. Foucault (1981) omskryf diskoers onder meer as die sosiale gebruik van taal gesitueer binne bepaalde kontekste en verbonde aan spesifieke instansies. Volgens Foucault vertoon diskoers 'n innerlike orde of formasie wat argeologies opgediep kan word; dit het 'n regulerende funksie wat nie net betekenis afbaken nie, maar betekenis praduseer in die positiewe sin van die woord (Foucault, 1981). Wanneer hierdie regulerende funksie genealogies ontleed word, blyk dit dat diskoers mag uitoefen deur die meganismes van kennis, waarheid en self (Foucault, 1980), Diskoers artikuleer kennis wat die self die waarheid oor die self toe-eien. Dit roep op sy beurt weer die prableem van vryheid en politieke verset op. Die ondersoek fokus op die volgende vraagstukke random die diskoers in Lady Anne: die diskursiewe patrone in die teks; die beperkinge wat op die diskoers geplaas word (Foucault, 1981); die outeursfunksie soos beskryf deur Foucault (1979); die fiksionalisering van die lady Anne Barnard-geskiedenis aan die hand van die genealogiese benadering (Foucault, 1970; 1972). Daar sal ook ingegaan word op die verestetisering van die politieke diskoers in Suid-Afrika, asook op die kwessie in watter mate daar sprake is van stemgewing aan die Ander. Die sentrale vraagstuk wat ondersoek word, is: wat is die posisie van die wit skeppende vrau in Suid-Afrika en hoe word hierdie posisie ingeskryf in die diskoers van die Afrikaanse letterkunde? In samehang hiermee word gelet op kwessies soos subjektiwiteit, beskrywing van die objek, asook die subjek se posisie met betrekking tot die tradisie waarin sy die teks inskryf. / ENGLISH ABSTRACT: This dissertation centers on the discourse in Antjie Krog's seventh volume of poetry, Lady Anne (1989). The central thesis of the dissertation is to analyse the way in which the discourse of the text under discussion is being ordered and produced. The theoretical approach is based on Foucault's discourse analysis. Foucault (1981) defines discourse as, among others, the social usage of language within specific contexts and as part of specific institutions. According to Foucault, discourse has an internal order or formation which one can reveal by way of an archaeological approach; it also has a regulatory function which not only delineates meaning, but produces meaning in the more positive sense of the word (Foucault, 1981). If one analyses this regulatory function by way of a genealogical approach, it appears as if discourse exercises power over mechanisms such as knowledge, truth and self (Foucault, 1980). Discourse articulates knowledge that the self claims as a particular truth. This calls to mind issues such as the problem of freedom and political resistance. This dissertation focuses on the following issues pertaining to the discourse in Lady Anne: the discursive patterns in the text, the limitations placed on the production of discourse (Foucault, 1981), the author function as used by Foucault (1979), the fictionalization of the history of Lady Anne Barnard by means of a genealogical approach (Foucault, 1970; 1972). Another pertinent issue that will be analysed is the aestheticisation of the political discourse in South Africa, as well as the manner in which a voice is given to the so-called Other. The central issue of this investigation is the following: What is the position of white creative women in South Africa and how is this position being inscribed into the discourse of Afrikaans literature? Concomitantly, issues such as subjectivity, the description of the object, as well as the subject's position within the literary tradition will be analysed.

Thesis (MPhil (Afrikaans and Dutch))—University of Stellenbosch, 2005. / In this thesis the translating strategies of domestication and foreignisation in Antjie Krog’s anthology die sterre sê ‘tsau’ (2004) are investigated. A descriptive approach is followed in the analysis, with the main focus on Descriptive Translation Studies (DTS) and the poststructuralist concept différance (Derrida 1982). The researcher states that Krog, in her translation of the /Xam narratives, 1) follows a foreignising strategy by moving the target reader towards the source text; 2) is visible as translator as a result of her use of annotations, for example; and 3) that, in addition to foreignisation, she moves the source text towards the target reader by domesticating towards her own poetic style. The introductory chapter is followed by a discussion of those translational models relevant to the analysis. The discussion focuses on Venuti’s (1995) model of domestication/ foreignisation, as well as on some aspects of deconstruction and différance. Lambert and Van Gorp’s (1985) descriptive model is expounded as the primary model for the analysis of the anthology. The following chapter involves a literary historic overview of the language and culture of the /Xam in order to fully contextualise both the source and target texts. In the following chapter the most relevant aspects of Krog’s poetics and translational strategy are discussed as far as they coincide with the main argument of the thesis. In the practical part of the thesis five poems from the anthology are discussed on macro-, micro- and systemic level in order to establish Krog’s translational strategy as well as the presence in the translation of her poetic style. In the final chapter the extent to which the findings in the analysis correspond to the hypothesis is concluded.

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 (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Autobiography is a growing, but elusive literary genre. However, when texts are read as autobiographical – and thus as a form of self-representation – the theme of identity provides the reader with an interesting and useful method by which to approach it. In this study, two Afrikaans autobiographical texts are approached in a comparative manner, with the aim being to examine the writers’ representations of themselves. The texts studied are ’n Wonderlike geweld (2005) by Elsa Joubert, and ’n Ander tongval (2005) by Antjie Krog. Besides the autobiographical nature of these texts, the comparison is also based on: the writers’ status in the Afrikaans literary system, similarities beween them and their backgrounds, and the corresponding publication dates. The theoretical basis from where the concepts autobiography and identity are viewed is explained briefly. The emphasis falls on autobiography as a hybrid genre, that is defined mainly by how it is read. The use of identity as a reading strategy is suggested, with identity being understood as an unstable construction that changes constantly, depending on the context in which it is constructed. Consequently, the different identities according to which Joubert and Krog reveal themselves to the reader and the autobiographical forms through which they achieve this, are examined and discussed in separate chapters. Specific emphasis is placed on how they convey the spirit of the time and on the influence of the context in which the texts are published. Finally, the differences and similarities in the writers’ representation of themselves are summarised. In the end it emerges that the reading strategy focused on identity provides the reader with a useful approach to the study of texts in the autobiographical genre, since it is possible to successfully apply it to two texts with diverse autobiographical qualities. Furthermore, it becomes clear that the structure and style of these texts mirror the writer’s approach to identity to a great extent. / AFRIKAANSE OPSOMMING: Outobiografie is ’n groeiende, maar onpeilbare literêre genre. Wanneer tekste as outobiografies – en dus as ’n vorm van self-representasie – benader word, bied die tema van identiteit egter ’n interessante en nuttige invalshoek. In hierdie studie word twee Afrikaanse outobiografiese tekste vergelykend benader, met die doel om die skrywers se voorstellings van hul identiteit daarin te ondersoek. Die twee tekste wat gebruik word, is ’n Wonderlike geweld (2005) van Elsa Joubert, en ’n Ander tongval (2005) van Antjie Krog. Benewens die outobiografiese aard van die tekste, sluit die basis vir vergelyking ook die skrywers se status binne die Afrikaanse literêre sisteem, ooreenkomste tussen hulle en hul agtergronde, en die ooreenstemmende publikasiedatums in. Die teoretiese basis vanwaar die begrippe outobiografie en identiteit beskou word, word kortliks uiteengesit. Die klem val op outobiografie as ’n hibridiese genre wat veral gedefinieer word op grond van hoe ’n mens dit lees. Die gebruik van identiteit word dan as ’n lees-strategie voorgestel, met identiteit wat verstaan word as ’n onstabiele konstruksie wat konstant verander op grond van die konteks waarbinne dit gekonstrueer word. Die verskillende identiteite waarvolgens Joubert en Krog hulself aan die leser openbaar en die outobiografiese vorme wat hulle hiervoor gebruik, word dan ondersoek en bespreek in twee afsonderlike hoofstukke. Spesifieke klem word gelê op die tydsgees wat vasgevang word en die invloed wat die konteks waarbinne die tekste gepubliseer word, het. Uiteindelik word die verskille en ooreenkomste in die skrywers se voorstellings van hulself saamgevat. Ten slotte blyk dit dat die lees-strategie wat fokus op identiteit ’n nuttige invalshoek bied vir die studie van tekste binne die outobiografiese genre, aangesien dit met vrug op twee tekste met uiteenlopende outobiografiese eienskappe toegepas kan word. Verder word dit ook duidelik dat die struktuur en styl van die tekste in ’n groot mate die skrywer daarvan se benadering tot identiteit weerspieël.

Thesis (MA)--Stellenbosch University, 1990. / ENGLISH ABSTRACT: The aim of this investigation was to provide a theoretical overview of the predominant feminist literary movements and their theoretical theses. I concentrated specifically on providing an historical overview of the major theories and by doing so accumulating them into one theoretical model. Concommitantly theories coined by post-structuralist thinkers such as Derrida and deconstruction are also employed in furnishing the reading model with a deconstructivi i-.>"": base. It proved appropriate to analyse postmodernist poetry ~<ch as that of Joan Hambidge by means of this strategy. In the second chapter I focused specifically on the poetry of Antj ie Krog until her latest volume of poetry, Lady Anne. From the latter texts dealing especially with the husband and wife relationship within the traditional marriage were selected and analysed. I focused on the three main female figures in the text, viz. Lady Anne Barnard, Mrs. Van Reenen, and Antjie Krog herself. I indicated what the implications of the marital relationship were on the lives of the characters. Often there is also a prevalent sexual rivalry within the realms of the patriarchal marriage. In the case of Lady Anne Barnard the relationship reveals the tension inherent to their situation at large. Andrew Barnard is regarded as a weak man who is subj ected to his powerful wife. This is evident from their marital relationship too. The man as instigator and head of the household within the patriarchy wishes to establish himself as bearer of that power and by doing so comes in conflict with his wife. In the third chapter I analysed the Lesbianfeminist poems of Joan Hambidge and especially those in her third volume of poetry. The codes of a Lesbian relationship are subversive in that it questions the morality of society at large. Lesbian love affairs are regarded as "strange" and immoral by the rUling patriarchal hegemony. This is the result of its undermining attitude towards sexism in society at large. In my conclusion I indicated that a feminist reading model is feasible for the reading of literary texts in that it aims to deconstruct the predominant sexist binary oppositions in our society. / AFRIKAANSE OPSOMMING: Die doel van hierdie ondersoek was om in die inleidende teoretiese gedeelte In oorsig te gee van die belangrikste feministiese teoretici se bevindings. Daar is veral gekonsentreer op In historiese oorsig van die feministiese teoriee en hieruit is probeer om een teoretiese model daar te stel, waarvolgens literere tekste in die besonder gelees kon word. In aansluiting by die post-strukturalistiese teoriee van Jacques Derrida is aan die feministiese leesmodel In dekonstruktivistiese basis gegee. Dit het veral geblyk van pas te wees, by die lees van die postmodernistiese poesie soos in die geval van Joan Hambidge. In die tweede hoofstuk is veral gefokus op die poes1e van Antjie Krog en is die eiesoortige kenmerke van haar poesie eers uitgelig. Daarna is veral gekonsentreer op haar mees onlangse digbundel Lady Anne. Uit die bundel is veral tekste geselekteer wat pertinent fokus op uitbeelding van die man-vrou-verhouding binne die huwelik. Daar word veral gekonsentreer op die drie bel~ngrikste vrouefigure in die bundel, naamlik Lady Anne Barnard, Mev. Van Reenen en die digteres Antjie Krog self. Daar is veral aangetoon wat hulle verhoudings met hulle mans was en die huweliksrelasie is met behulp van In feministiese leesmodel beskou en gedekonstrueer. Dikwels is daar sprake van In seksuele magstryd in die huwelik aan die gang. In die geval van Lady Anne Barnard weerspieel die huweliksverhouding tussen man en vrou die spanning wat inherent aanwesig is, veral omdat Barnard so In swakkeling is en hy onderdanig aan sy vrou staan. Hierdie magsbalans wat versteur word, kern ook voor in die verse oor Antjie Krog en haar man. Die man as verteenwoordiger van die patriargale waardesisteem, sien dit as sy plig om oor die vrou te heers. In die derde hoofstuk word veral gekonsentreer op Joan Hambidge se Lesbiesfeministiese verse en wel uit haar derde digbundel, Die anatomie van melancholie. Die kodes van die Lesbiese verhouding tussen twee vroue is ondermynend van aard en dit gee aanleiding tot kontroversiele bevraagtekening van die heersende ideologie binne die same1ewing. Die heersende seksistiese ins1ag van die patriargie het tot gevolg dat Lesbiese liefde as IIvreemd" bestempel word en gevolglik strydig is met die wese van die ideologiese apparatuur in so 'n staat. Ten slotte word aangetoon, dat In feministiese leesmodel weI sinvol is vir die lees van tekste en dat dit veral daarop gemik is am die seksistiese binere opposisies binne ' n seksistiese denksistee~ te ondermyn.

Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This dissertation explores Antjie Krog as translator within the Afrikaans and English literary field in South Africa. The focus of the study is primarily on Krog’s translation of her own work, namely her prose works Country of my skull and A change of tongue/’n Ander tongval, and poetry Down to my last skin, die sterre sê ‘tsau’/the stars say ‘tsau’ and Verweerskrif/Body bereft. Although Krog is also renowned for her work as translator of others’ work, the concept self translation is particularly relevant for this study: to write through translation and translate through writing. The study has a dual objective: on a polysystemic level Krog’s position and status as translator and that of her translation products within the Afrikaans and English literary field in South Africa is researched; on a sociocultural level Bourdieu’s concept habitus is employed in order to explore the underlying force behind Krog’s translation process. The focus throughout is on Krog’s double writing, the overlapping of the act of writing and the act of translating as it resonates on textual and metatextual level. Although a Bourdieusian reading of translations is a relatively unexplored terrain in the South African translation field, this study aims to add fresh insights into a dispositional view of the translator in his or her space within the literary field. In the course of this study philosophical concepts of Deleuze and Guattari, Kristeva and Bhabha are employed. Deleuze and Guattari’s concept minor literature is employed insofar the act of translation and the translation product reflects a different subjectivity. Kristeva’s concept the abject is likewise explored in the way it is reflected in Krog’s writing and translating. In the end it is argued that Krog, when writing in her non-mother tongue and when translating, is situated in a hybrid space, an in-between space. This study thus shifts from a polysystemic analysis of Krog’s translation products to a more individual approach and the notion that Krog’s habitus as writer is inextricably linked to her habitus as translator; that translation is an embodied process. / AFRIKAANSE OPSOMMING: Hierdie proefskrif is ’n studie van Antjie Krog as vertaler binne die Afrikaanse en Engelse literêre veld in Suid-Afrika. In hierdie studie word daar slegs op Krog se vertaling van haar eie werk gekonsentreer, naamlik die prosawerke Country of my skull en A change of tongue/’n Ander tongval, en die poësie Down to my last skin, die sterre sê ‘tsau’/the stars say ‘tsau’ en Verweerskrif/Body bereft. Hoewel Krog ook as vertaler van ander skrywers se werk bekend is, is dit veral die konsep selfvertaling wat in hierdie studie van belang is: om te skryf deur vertaling en vertaal deur te skryf. Die studie neem ’n tweeledige vorm aan: op ’n polisistemiese vlak word die posisie en status van Krog as vertaler, en ook van haar vertaalprodukte binne die Afrikaanse en Engelse literêre veld in Suid-Afrika ondersoek; op ’n sosiokulturele vlak word Bourdieu se konsep habitus ingespan ten einde die onderliggende dryfvere agter die vertaalproses van Krog te ondersoek. Die deurlopende fokus is op die dubbele skrywerskap van Krog; die oorvleueling van die skryfhandeling en vertaalhandeling soos dit op tekstuele en metatekstuele vlak resoneer. Alhoewel ’n sosiokulturele (Bourdieuaanse) lesing van vertaaltekste ’n relatief onbekende terrein in Suid-Afrikaanse vertaalteoretiese kringe is, wil hierdie studie aantoon dat ’n disposisionele beskouing van die vertaler in sy of haar ruimte binne die literêre veld vars insigte bring. Deur die loop van die studie word filosofiese konsepte van Deleuze en Guattari, Kristeva en Bhabha betrek. Deleuze en Guattari se denkinstrument van ’n mineurletterkunde word ingespan sover die vertaalhandeling en -produk ’n andersoortige subjektiwiteit weerspieël. Hierbenewens word Kristeva se konsep van die abjekte in Krog se skryf- en vertaalhandeling ondersoek. Uiteindelik word dit aangevoer dat Krog as vertaler binne ’n hibriede ruimte, ’n tussenruimte funksioneer wanneer sy in Engels skryf en wanneer sy vertaal. Hierdie studie beweeg dus van ’n polisistemiese ondersoek na Krog se vertaalprodukte tot by ’n meer individuele ondersoek na die beskouing dat Krog se habitus as skrywer onlosmaaklik verbind is aan haar habitus as vertaler, en dat die proses van vertaling ’n beliggaamde proses is.

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2006). / Nelson Mandela’s autobiography, ‘Long walk to freedom’, can be viewed as a milestone in South African history. Although it is not necessarily significant in a literary sense, it played an important role in making many South Africans aware of another side to their country’s history, and introduced them to a man who, besides being the world’s most famous political prisoner and a respected statesman, is also an ordinary human being. The Afrikaans translation of the autobiography, Lang pad na vryheid, formed part of a project to translate the original document into all the languages of South Africa (three other translations have been completed thus far). This project is discussed in relation to the ideological motive for it, and also in relation to the ideological position of Afrikaans in South Africa and the ideology and poetics of the translator. The study is based on a descriptive approach, specifically as manifested in the manipulation theory of André Lefevere. It attempts to place the translation of autobiography as a genre within translation theory, and suggests that the translator of autobiography has little ‘leeway’ with regard to the application of translation strategies, specifically those that change the original narrator’s ‘voice’. The various ways in which the text has been ‘manipulated’ in the production of its translation, both to make it function as a text in the target language and in ways that cannot always be justified on that basis, lead to the conclusion that it is very difficult to translate autobiography without interfering with the very personal telling of a person’s life story by that person, and without modulating the narration in a way that cannot always be reconciled with the autobiographer’s ideology. The modulation of the autobiographer’s voice, whether this takes place consciously, subconsciously or unconsciously, is finally argued to produce a translation that can no longer be viewed as the autobiography of Nelson Mandela in the strict sense.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis examines the work of two contemporary South African poets, Antjie Krog and Joan Metelerkamp. Through an analytical-discursive engagement with their work, it explores the relationship between confession and embodiment, drawing attention to the ethical potential located at the confluence of these theories and modes. The theory informing this thesis is drawn from three broad fields: that of feminism, embodiment studies and ethical philosophy. More specifically, foundational insights will come from the work of Simone de Beauvoir, Maurice Merleau-Ponty and Emmanuel Levinas. While much of the theory used originates from Western Europe and North America, this will be mediated by sensitivity towards Krog and Metelerkamp’s South African location, as is fitting for a study focused on embodied confession and the ethical treatment of the other. The first chapter will establish Krog and Metelerkamp as confessional poets and explore the ethical implications of this designation. It will also explore the contextual grounds for the establishment for a confessional culture in both the United States of America of the 1950s that gave rise to the school of confessional poets, and in South Africa of the 1990s. The second chapter will use embodiment theory to discuss the relationship between poetry and the body in their work, and the ethics of this relationship. The remaining chapters concentrate on three forms of embodiment that frequently inhabit their poetry: the maternal body, the erotic body and the ageing body. Throughout the analyses of their poetic depictions of, and engagements with, these bodies, the ethical potential of these confessional engagements will be investigated. Through the argument presented in this thesis, Metelerkamp’s status as a minor South African poet will be re-evaluated, as will that of Krog’s undervalued English translations of her acclaimed Afrikaans poetry. The importance of confessional poetry and poetry of the body, often pejorative classifications, will also be asserted. Ultimately, through drawing the connections between confession, embodiment and ethics in poetry, this thesis will re-evaluate the way poetry is read, when it is read, and propose alternative reading strategies. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die werk van twee kontemporêre Suid-Afrikaanse digters, Antjie Krog en Joan Metelerkamp. Analities-beredeneerde benadering tot hulle werk verken die verband tussen belydenis en beliggaming. Klem word gelê op die etiese implikasies waar hierdie teorieë en vorme bymekaarkom. Die teorie waarop hierdie tesis berus, word vanuit drie breë velde geput: feminisme, beliggamingsteorie en etiese filosofie. Daar word meer spesifiek op die fundamentele beskouings van Simone de Beauvoir, Maurice Merleau-Ponty en Emmanuel Levinas gesteun. Alhoewel die teorie grotendeels ontstaan het in Wes-Europa en Noord-Amerika, sal dit met begrip benader word ten opsigte van Krog en Metelerkamp se Suid-Afrikaanse agtergrond, wat meer gepas is vir studie wat fokus op beliggaamde belydenis en die etiese hantering van die ander. Die eerste hoofstuk vestig Krog en Metelerkamp as belydenisdigters en verken die etiese implikasies van hierdie benaming. Die kontekstuele beweegredes vir die vestiging van belydeniskultuur word ook ondersoek, in beide die Verenigde State van Amerika van die 1950s (wat geboorte geskenk het aan die era van belydenisdigters) en in Suid-Afrika van die 1990s. Die tweede hoofstuk rus op beliggamingsteorie om die verband tussen poësie en liggaam in hul werk te bespreek, asook die etiese implikasies binne hierdie verband. Die oorblywende hoofstukke fokus op drie vorme van die liggaam wat dikwels in hulle digkuns neerslag vind: die moederlike lyf, die erotiese lyf en die verouderende lyf. Die etiese implikasies van hierdie belydende betrokkenheid word deurgaans in ag geneem in die analise van hulle digterlike uitbeelding van en omgang tot hierdie liggame. Die argument in hierdie tesis herevalueer Metelerkamp se status as meer geringe Suid-Afrikaanse digter asook Krog se onderskatte Engelse vertalings van haar bekroonde Afrikaanse gedigte. Die waarde van belydenispoësie en gedigte oor die liggaam, dikwels pejoratiewe klassifikasies, sal ook verdedig word. Deur belydenis, beliggaming en etiek in digkuns met mekaar te verbind, herevalueer hierdie tesis uiteindelik die manier waarop gedigte gelees word, wanneer dit gelees word, en stel alternatiewe leesstrategieë voor.

Thesis (MA)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: The stories and histories of the human race are littered with the remnants of utopia. These utopias always exist in some "far away" place, whether this place be removed in terms of time (either as a nostalgically remembered past, or an idealistically projected future), or in terms of space (as a place that one must arrive at). In our attempts to attain these utopias, we construct our worlddefinitions in accordance with our projections of these ideal places and ways of "being". Our discourses come to embody and perpetuate these ideals, which are maintained by excluding any definitions of the world that run counter to these ideals. The continued existence of utopia relies on the subjects of that utopia continuing their belief in its ideals, and not questioning its construction. Counter-discourse to utopia manifests in the same space as the original utopia and gives rise to questions that threaten the stability of the ideal. Questions challenge belief, and therefore the discourse of the ideal must neutralise those who question and challenge it. This process of neutralisation requires that more definitions be constructed within utopian discourse - definitions that allow the subjects of the discourse to objectify the questioner. However, as these new definitions arise, they create yet more counter-definitions, thereby increasing the fragmentation of the aforementioned space. A subject of any "dominant" discourse, removed from that discourse, is exposed to the questions inherent in counter-discourse. In such circumstances, the definitions of the questioner - the "other" - that have previously enabled the subject to disregard the questioner's existence and/or point of view are no longer reinforced, and the subject begins to question those definitions. Once this questioning process starts, the utopia of the subject is re-defined as dystopia, for the questioning highlights the (often violent) methods of exclusion needed to maintain that utopia. Foucault's theory of heterotopia, used as the basis for the analysis of the three texts in question, suggests a space in which several conflicting and contradictory discourses which seemingly bear no relation to each other are found grouped together. Whereas utopia sustains myth in discourse, running with the grain of language, heterotopias run against the grain, undermining the order that we create through language, because they destroy the syntax that holds words and things together. The narrators in the three texts dealt with are all subjects of dominant discourses sustained by exclusive definitions and informed by ideals that require this exclusion in order to exist. Displaced into spaces that subvert the definitions within their discourses, the narrators experience a sense of "madness", resulting from the disintegration of their perception of "order". However, through embracing and perpetuating that which challenged their established sense of identity, the narrators can regain their sense of agency, and so their narratives become vehicles for the reconstitution of the subject-status of the narrators, as well as a means of perpetuating the counter-discourse. / AFRIKAANSE OPSOMMING: Utopias spikkel die landskap van menseheugenis as plekke in "lank lank gelede" of "eendag", in "n land baie ver van hier", en is dus altyd verwyderd van die huidige, óf in ruimte, óf in tyd. In ons strewe na die ideale, skep ons definisies van die wêreld wat in voeling is met hierdie idealistiese plekke en bestaanswyses. Sulke definisies sypel deur die diskoers, of taal, waarmee ons ons omgewing beskryf. Die ideale wat dan in die diskoers omvat word, word onderhou deur die uitsluiting van enige definisie wat teenstrydig is met dié in die idealistiese diskoers. Die volgehoue bestaan van utopie berus daarop dat die subjekte van daardie utopie voortdurend glo in die ideale voorgehou in en onderhou deur die diskoers, en dus nie die diskoers se konstruksie bevraagteken nie. Die manifestering van teen-diskoers in dieselfde ruimte as die utopie, gee aanleiding tot vrae wat die bestaan van die ideaal bedreig omdat geloof in die ideaal noodsaaklik is vir die ideaal se voortbestaan. Aangesien bevraagtekening dikwels geloof uitdaag en ontwrig, lei dit daartoe dat die diskoers wat die ideaal onderhou, diegene wat dit bevraagteken, neutraliseer. Hierdie neutraliseringsproses behels die vorming van nog definisies binne die diskoers wat die vraagsteller objektiveer. Die vorming van nuwe definisies loop op sy beurt uit op die vorming van teen-definisies wat bloot verdere verbrokkeling van die voorgenoemde ruimte veroorsaak. "n Subjek van die "dominante" diskoers van die utopie wat hom- /haarself buite die spergebiede van sy/haar diskoers bevind, word blootgestel aan vrae wat in teen-diskoers omvat word. In sulke omstandighede is die subjek verwyder van die versterking van daardie definisies wat die vraagsteller - die "ander" - se opinies of bestaan as nietig voorgestel het, en die subjek mag dan hierdie definisies bevraagteken. Sodra hierdie proses begin, vind "n herdefinisie van ruimte plaas, en utopie word distopie soos die vrae (soms geweldadige) uitsluitingsmetodes wat die onderhoud van die ideaal behels, aan die lig bring en, in sommige gevalle, aan die kaak stel. Hierdie tesis gebruik Foucault se teorie van "heterotopia" om die drie tekste te analiseer. Dié teorie veronderstel "n ruimte waarin die oorvleueling van verskeie teenstrydighede (diskoerse) plaasvind. Waar utopie die bestaan van fabels en diskoerse akkommodeer, ondermyn heterotopia die orde wat ons deur taal en definisie skep omdat dit die sintaks vernietig wat woorde aan konsepte koppel. Die drie vertellers is elkeen "n subjek van "n "dominante diskoers" wat onderhou word deur uitsluitende definisies in "n utopia waar die voortgesette bestaan van die ideale wat in die diskoers omvat word op eksklusiwiteit staatmaak. Omdat die vertellers verplaas is na ruimtes wat hulle eksklusiewe definisies omverwerp, vind hulle dat hulle aan "n soort waansin grens wat veroorsaak is deur die verbrokkeling van hul sin van "orde". Deur die teen-diskoers in hul stories in te bou as verteltaal, of te implementeer as die meganisme van oordrag, kan die vertellers hul "selfsin" herwin. Deur vertelling hervestig die vertellers dus hul status as subjek, en verseker hulle hul plek in die opkomende diskoers deur middel van hulle voortsetting daarvan.