This study explores the implications of the post-structuralist discursive theories for a new approach to the study of communication. Drawing on the theories of discourse developed by Foucault and Bourdieu, the study suggests a theoretical framework for a critical analysis of discursive practices. The framework is applied to the analysis of the discourse on pornography in South Africa. The application of the theoretical framework illustrates the utility of such a framework as a method for analysis and critique of discourse and provides insights into the controversy about pornography. The implication of the discursive theories for the study of communication are explored. / Communication Science / M.A. (Communication)

D.Litt. et Phil.

This study explores the implications of the post-structuralist discursive theories for a new approach to the study of communication. Drawing on the theories of discourse developed by Foucault and Bourdieu, the study suggests a theoretical framework for a critical analysis of discursive practices. The framework is applied to the analysis of the discourse on pornography in South Africa. The application of the theoretical framework illustrates the utility of such a framework as a method for analysis and critique of discourse and provides insights into the controversy about pornography. The implication of the discursive theories for the study of communication are explored. / Communication Science / M.A. (Communication)

N.P. van Wyk Louw redefined the context-bound Afrikaans literature and criticism in the thirties to establish a new ‘national’ creative and critical discourse in Afrikaans. The central premise of this study is the correlation between Louw’s conceptualisation of a ‘national’ literature and Paul Ricoeur’s interpretation of utopia. In the essay collections Berigte te velde and Lojale verset (1939) Louw offers a new and confrontational grasp on the established Afrikaans literature and criticism (social and literary) within the context of Afrikaans nationalism. Louw formulates his directives for literature and society in a system of oppositional concepts. The central dualism in as well as the intellectual and structural foundation of his innovative ideas is the conceptualisation of a ‘national’ and ‘colonial’ literature. In accordance with Ricoeur’s oppositional analysis of utopia and ideology (1978a, 1981b, 1986), Louw’s distinction between a ‘national’ and ‘colonial’ literature is investigated in this study as a binary opposition based on the dualism utopia/ideology. The exploration of the ‘national’ literature as utopia and the ‘colonial’ as ideology includes the role of subordinate oppositions, among which are individual/nation and individual/national identity, in the sustaining of this polar structure. The unavoidable conflict between and exclusion of opposing elements are demonstrated by an analysis of the breaks in the reconciliation which Louw tries to effect between the ‘national’ and ‘colonial’ literatures. With reference to Ricoeur and Thompson (1984) the function of power as the common factor in utopia/ideology and the ‘national’/’colonial’ literature is investigated, and the realisation of an element of power in Louw’s critical discourse is explored. Key words: N.P. van Wyk Louw, Paul Ricoeur, binary opposition, Afrikaner nationalism, national literature, utopia, ideology, identity, power

Thesis (MPA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

M.Litt. et Phil. (Afrikaans-Nederlands) / Most stories are presented in the text through the mediation of some 'angle of vision' or a specific perspective. Not only is the story told from a certain 'point of view' as far as the narrator is concerned, but it is often presented in such a way that different 'perspectives' concerning certain matters are clearly voiced by character and statement. As far as the drama as genre is concerned, perspective can be described as the narrator's angle of vision, the way that certain aspects of life are seen in their relation to each other as well as the varying attitudes towards these aspects of life. The aim of this scription is to discuss perspective and its place in the drama introductory and then to concentrate on the way in which it is manifested in a few dramas from N P van Wyk Louw of which the most important will be Die pluimsaad waai ver, staged in 1966 in commemoration of South Africa becoming a republic in 1961.

M.A. (Afrikaans) / The particular manner in which N.P. van Wyk Louw makes use of the adjective in his work RAKA, soon becomes evident to the reader. The grammatical approach taken in this study endeavours to emphasise the manner in which, and the frequency with which the adjective is applied as well as its functional relationship within the structure of the text. Lexical relationships involving the adjective in this specificwork serve as a basis upon which this study has been formulated. Initially" adjectives in the mentioned work have been identified from a theoretical point of view. Further more the nature" of the syntagmatic and paradigmatic relationships are examined against the background of their potential to function as lexical cohesive elements within the specific textual context. Particular attention is given to the colour adjective owing to the frequency of its use in the work. The study reveals the important role of the colour adjective in the text: Areas of different semantic representation are drawn together, important structural elements of character, time and place are identified while the importance of changing character perspectives are manifested by the functioning of this type of adjective. Adjectives other than colour adjectives are subjected to analysis in terms of syntagmatic and paradigmatic relations established in the text. This study emphasises the significance of the cohesive role played by the adjective in the macrostructure of the text. Lastly, it can be concluded that while this study has concentrated on grammatical research, students of literature will benefit from a literary study of the adjective in RAKA.

M.A. (Afrikaans) / In this epic poem, Raka, N.P. van Wyk Louw made abundant use of prepositions. A linguistic analysis of these preposition structures explains and reveals the nature of this syntactic category in Afrikaans. From this it is evident that prepositions are vital in accomplishing cohesion in the text. Cognitive linguistics argue that syntactic organisation and semantics cannot stand independently from each other. Therefore the meaning of 'n phrase of expression cannot be reduced to an objective categorization of the situation that is being described. Against this background it is evident that structures conveying meaning are expressed through prepositions and prepositional structures. Certain semantic values and meaning structures of prepositions in RAKA are dealt with to help clarify some implied cognitive dimensions. A closer analysis shows that the preposition structures in RAKA represent intricate syntactic patterns. The semantic values of prepositions in RAKA are categorized through image schemas in terms of space Qncluding place, perspective and proximity), time, movement, part-whole, reason and cause, as well as manner and means. Finally it is indicated how the epic structures can be made more explicable by image schemas. Through the use of prepositions in the language, aspects of the epic, namely characterization, time and spatial placing are endorsed. Progression, in terms or epic movement is supported through the use of prepositions that specifically imply space and movement. It is therefore apparent that although the research was approached from a linguistic angle, it also contributes to literary analysis.

D.Phil. (Afrikaans-Nederlands) / Please refer to full text to view abstract

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