Texte remanié de: Proefskrif--Universiteit van Pretoria, 1981. Titre de soutenance : Weefsel en web : Heilige beeste, Negester oor Ninevé en Komas uit 'n bamboesstok van D. J. Opperman binne verband van sy oeuvre.

In die Afrikaanse letterkunde speel voëls by verskeie digters ’n belangrike rol – as simbole of metafore, of bloot as onderwerp in tradisionele natuurgedigte. Ook in die oeuvre van D.J. Opperman, een van die grootste Afrikaanse digters van die vorige eeu, speel voëls ’n belangrike rol. In sy nege bundels is daar verwysings na 32 voëlspesies en 26 voëlsoorte. In 123 uit 389 Opperman-gedigte is daar voël-verwante verwysings. Opperman gebruik voëls baie effektief as simbole en metafore om onder meer menslike emosies en handelinge te suggereer of beklemtoon. Veral in sy eerste twee bundels, Heilige beeste (1945) en Negester oor Ninevé (1947), sy laaste bundel, Komas uit ’n bamboesstok (1979), asook sy bundel-in-wording waarin hy voor sy massiewe beroerte gewerk het, Sonklong oor Afrika, figureer voëls prominent. Die voëlkundige en bio-regionale akkuraatheid waarmee Opperman verwysings na voëls gebruik om die temas van gedigte toe te lig, is bevestiging van sy besondere fyn waarnemingsvermoë en dui daarop dat hy ’n meer as toevallige kennis van en belangstelling in voëls gehad het. Veral lesers met ’n kennis van voëls behoort ’n ryke leeservaring te hê by die lees en herlees van Opperman se gedigte. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Unit for Creative Writing / unrestricted

Hierdie studie is ʼn ondersoek na die rol wat ruimte en identiteit speel in D.J. Opperman se digbundel Komas uit ʼn bamboesstok (1979). Die studie maak gebruik van ʼn kommunikatiewe benadering wat die leser in staat stel om op ’n geïntegreerde wyse verslag te doen oor die hele proses wat plaasvind tussen die sender en ontvanger, deur middel van die gedrukte teks. Die teoretiese kennis sal hoofsaaklik op Opperman se digbundel toegepas word, asook tekste vanuit die Afrikaanse letterkunde wat daarby aansluit. Hierdie verhandeling sal verder ook klem plaas op hoe Opperman se digbundel sy persoonlike ruimte en identiteit aan die leser oordra, asook hoe die uitbeelding aansluit by die vorming van die identiteit van die leser/mens. Die struktuur van die studie sal bestaan uit vier hoofstukke: Hoofstuk een is ʼn kort inleiding waarin fokus geplaas word op die navorsing en redes vir die ondersoek. Die hoofstuk sal verder ook die nodige struktuur van die studie uiteensit, asook verskeie sleutelbegrippe wat deel sal vorm van die studie en sal bydra tot die leser se begrip van dit wat in die studie verduidelik of uitgebeeld word. In hoofstuk 2 word ’n kort oorsig van die Afrikaanse literatuur, met klem op die geskiedenis agter die ontwikkeling van Afrikaanse verhalende literatuur tot en met die publikasie van Opperman se digbundel Komas uit ’n bamboesstok gegee. Daar sal verder ook gekyk word na die literêre veranderings wat plaasgevind het in die Afrikaanse digkuns, met klem op ’n kommunikatiewe benadering tot literatuur, asook ’n Russiese Formalistiese bydrae daartoe. Die eksplisiete en implisiete motiewe en temas wat binne die Afrikaanse literatuur bestaan, en so ook dié van Opperman, sal verken word. Laastens sal twee aspekte, naamlik teorieë verbonde aan ruimte en identiteit, asook hoe die genoemde teorieë sigbaar en/of geïntegreer is in Opperman se digbundel Komas uit ’n bamboesstok (1979) bespreek word. Hoofstuk drie van hierdie studie verleen aandag aan Opperman as skrywer en legende, asook sy digbundel Komas uit ’n banbloesstok. Klem word geplaas op biografiese inligting van D.J. Opperman en agtergrondsinligting oor sy digbundel Komas uit ’n bamboesstok. ’n Diepgaande bespreking van Opperman se digbundel, d.w.s. die voorblad, die titelblad, kerngebeurtenisse en figure in Opperman se digbundel, motiewe en temas, geselekteerde gedigte vanuit die genoemde bundel, ensovoorts, sal dan volg. In die laaste hoofstuk wat deel sal vorm van die studie, hoofstuk vier, sal daar tot ʼn slotsom gekom word en klem geplaas word op hoe Opperman se digbundel Komas uit ’n bamboesstok (1979) bygedra het tot vernuwing in die Afrikaanse digkuns. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

D.Litt. et Phil. (Afrikaans) / Please refer to full text to view abstract

Drama translation is an area in the discipline of Translation Studies that has been neglected compared with the translation of other literary texts, especially in the South African context. This dissertation contributes to this neglected area by exploring to what extent and how the principles associated with foreignisation, dynamic equivalence and shift theory can aid in the process of translating a literary text, specifically a dramatic text, from Afrikaans into English. This dissertation also discusses translation challenges specific to the translation of the source text, Deon Opperman’s Kaburu, from Afrikaans into English. The source text, Kaburu, was selected because of the playwright’s interesting use of the Afrikaans language and the numerous culture-specific references in the text. In addition, it was theorised that a larger global audience would be able to relate to the international themes of identity and migration while being exposed to themes pertaining to socio-political issues that are prevalent in contemporary South Africa, such as crime, land disownment, name changes and political programs to redress the injustices of the past. In order to retain the culture-specific nature of the text, the decision was made to produce a foreignised translation of the source text. Numerous examples of challenges encountered during the production of the target text are provided and discussed. The examples and discussions provided demonstrates that the theoretical concepts of equivalence, domestication and foreignisation and shift theory can be useful tools in analysing and producing solutions for dealing with challenging translation in a literary translation between Afrikaans and English. / MA (English), North-West University, Potchefstroom Campus, 2014

Drama translation is an area in the discipline of Translation Studies that has been neglected compared with the translation of other literary texts, especially in the South African context. This dissertation contributes to this neglected area by exploring to what extent and how the principles associated with foreignisation, dynamic equivalence and shift theory can aid in the process of translating a literary text, specifically a dramatic text, from Afrikaans into English. This dissertation also discusses translation challenges specific to the translation of the source text, Deon Opperman’s Kaburu, from Afrikaans into English. The source text, Kaburu, was selected because of the playwright’s interesting use of the Afrikaans language and the numerous culture-specific references in the text. In addition, it was theorised that a larger global audience would be able to relate to the international themes of identity and migration while being exposed to themes pertaining to socio-political issues that are prevalent in contemporary South Africa, such as crime, land disownment, name changes and political programs to redress the injustices of the past. In order to retain the culture-specific nature of the text, the decision was made to produce a foreignised translation of the source text. Numerous examples of challenges encountered during the production of the target text are provided and discussed. The examples and discussions provided demonstrates that the theoretical concepts of equivalence, domestication and foreignisation and shift theory can be useful tools in analysing and producing solutions for dealing with challenging translation in a literary translation between Afrikaans and English. / MA (English), North-West University, Potchefstroom Campus, 2014

Thesis (MA)--PU for CHE

Thesis (MA)--PU for CHE

M.A. / The idea that parody can be used as an instrument of internal criticism and at the same time be a form of literary history is the point of departure for this study. By analysing and comparing the parody pendants of D.J. Opperman ("Met apologie" in Kuns-mis, 1964) and Johann Johl ("Dubbelloop: 'n pastiche" in Gewalste woord, 1990), the way in which parody functions as internal criticism and even as method of periodisation in literary history is examined. D.J. Opperman parodies the Afrikaans poets of the thirties. In the parodies he establishes a critical dialogue with these poets and their work by means of the intertextual nature of parody. Through these parodies he comments on each poet's oeuvre with regard to the mannerisms and personal style of writing apparent in their work by exaggeration and intentional ridicule. However, the parody does not only reduce the poet's work to a ridiculous level, but is also used as a vehicle of praise for the highlights in the poet's work. Furthermore, by restricting these parodies to the poets of the thirties and two of their successors of the forties, Opperman also establishes a kind of miniature literary history. One can deduce some aspects of the characteristics of the thirties poetry from these parodies. In the same way Johann Johl parodies the Afrikaans writers of the sixties and seventies. Here the critical dialogue is established on two levels. On the first level it serves as criticism on the work of D.J. Opperman and that done by the poets of the thirties by means of the intertextual relationship existing between the parody pendants. In doing so it compares and contrasts the renewal in Afrikaans literature by the poets of the thirties to the renewal brought by two writers of the sixties and seventies. In this study the focus will be on the writers of the sixties (Breyten Breytenbach and Etienne Leroux). On the second level it serves as criticism on the work of Breyten Breytenbach and Etienne Leroux as well as a form of miniature literary history of the writers of the sixties. Some characteristics of this period in the Afrikaans literature can be deduced from these parodies. The whole study is based on the statement made by Lyotard (Hutcheon, 1985:1) "Art forms have increasingly appeared to distrust external criticism to the extent that they have sought to incorporate critical commentary within their own structures in a kind of self-legitimizing short-circuit of the normal critical dialogue." From what has been said above, it is clear that parody may well be this "self-legitimizing short-circuit". The parodies analysed in this study are examples of parody being used as an internal instrument of criticism, thus incorporating critical commentary within art's own structures. Furthermore, due to its intertextual nature, parody also comments on the characteristics of (in this case) two important periods (the thirties and sixties) in the history of Afrikaans literature and therefore also serves as a kind of miniature literary history.

Die verhandeling ondersoek die wyse waarop Deon Opperman die versetmotief in sy Afrikanerdramas uitbeeld en vernuwe om die veranderende sosiale omgewing te weerspieël. Hoofstuk 1 verskaf ‘n oorsig oor verset as leefwyse en motief in die Afrikaanse drama. Hoofstuk 2 bied ‘n teoretiese ondersoek van The theatre of revolt (Brustein 1991), ’n bespreking van begrippe soos herskrywing, multikulturalisme, moderne diaspora en globalisasie sowel as ‘n kontekstuele studie van Deon Opperman se Afrikaanse oeuvre. Hoofstuk 3 (Donkerland) fokus op verset binne ‘n postkoloniale herskrywing van die Afrikanergeskiedenis. Hoofstuk 4 (Kruispad en Ons vir jou) sentreer rondom sosiale verset binne ‘n multikulturele omgewing, terwyl hoofstuk 5 Kaburu as weerkaatsende teks en die aktuele kwessie van die moderne diaspora as versetreaksie aanspreek. Die verhandeling kom tot die slotsom dat Opperman versetteater gebruik om kommentaar op aktuele probleme te lewer en om terselfdertyd‘n boodskap van transformasie oor te dra. / The dissertation examines how Deon Opperman portrays and regenerates the revolt motif in his Afrikaner dramas, in order to reflect the changing social environment. Chapter 1 provides an overview of revolt as lifestyle and as motif in Afrikaans drama. Chapter 2 offers a theoretical examination of The theatre of revolt (Brustein 1991), a discussion of concepts such as rewriting, multiculturalism, modern diaspora and globalization, as well as a contextual study of Deon Opperman’s Afrikaans oeuvre. Chapter 3 (Donkerland) focuses on revolt within the postcolonial rewriting of Afrikaner history. Chapter 4 (Kruispad and Ons vir jou) deals with social revolt within a multicultural milieu, whereas chapter 5 discusses Kaburu as a reflecting text and addresses the issue of the modern diaspora as a reaction to political transition. The dissertation reaches the conclusion that Opperman is using South African theatre as a platform for revolt as well as for transformation. / Afrikaans & theory of Literature / MA (Afrikaans en Algemene Literatuurwetenskap)