This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

This study investigates the representation of narrative space in the novel and the film of The Return of the King. As the two representations belong to two different mediums, the theories on narrative space in the novel and in the film are examined in order to distinguish between their modes of representation of space. In essence, the theory utilised for the spatial analysis focuses on the content, function and symbolic meaning within spaces, as created by the description of objects, the repetition and accumulation of spatial information, as well as the movement of characters within spaces and the interaction between characters and different spaces. This spatial interaction relates to the events, representations of time and the role of the narrator within the different dimensions of narrated space, that is, concrete and abstract space. The three most significant spaces within the novel and the film, namely Minas Tirith, Mount Doom and Hobbiton form the basis of the analysis, which focuses on the narrative spaces as they are represented. From this study, it becomes clear that there are different levels of meaning embodied within a space: the physical and geographical space, the social space of interaction and the abstract, symbolic space. The significant spaces and their meanings in the novel have been subjected to filmic transformation. Essentially, the spaces in both the novel and the film display the fact that space ultimately influences those events and people who interact with it and vice versa. These spaces thus embody specific meanings, which contribute towards the undertaken journey represented in Tolkien's fantastical, imaginative world. / MA (English), North-West University, Potchefstroom Campus, 2014

Child-friendly spaces are not successfully implemented in South Africa due to problems such as urbanization, development pressure, lack of qualitative open spaces and lack of policy and legislation guiding the planning and protection of such spaces. This study evaluates local and international planning approaches of childfriendly spaces in an attempt to identify best practices and explore how child-friendly spaces can be planned and utilized locally, in South Africa, (especially rural areas such as the Vaalharts district in the North West Province) to develop playful, educational, environmentally preserving and qualitative child-friendly spaces.The research methodology used in this study consist of (i) a literature investigation on concepts of child-friendly environments, qualitative open spaces, rural challenges, as well as current child-friendly policy and legislation, both from an international and local perspective; and (ii) an empirical study, conducted qualitatively by means of Pilot testing and case study evaluation. Local pilot tests were limited, due to a lack of child-friendly spaces in South Africa to, proposed Valhalla Water Park in Cape Town and Irene Village Mall in Pretoria. The case study evaluation consists out of Green Point Urban Park and the Vaalharts Water Innovation Project that is a newly planned, “still in progress”, project. International case studies included examples of successful child-friendly spaces such as La Louviere in Belgium, Chapefield play area and Darnley Park in Scotland, Play Field Farnborough in England, Caronport Spray Park in Canada and Bellevue Redmond Spray Park in Washington. Based on the findings, recommendations are made in terms of the planning and development of child-friendly spaces, incorporating examples such as the provision of spray parks in rural areas in order to create playful, educational, environmentally preserving and qualitative outdoor spaces. / MArt et Scien (Urban and Regional Planning), North-West University, Potchefstroom Campus, 2014

Child-friendly spaces are not successfully implemented in South Africa due to problems such as urbanization, development pressure, lack of qualitative open spaces and lack of policy and legislation guiding the planning and protection of such spaces. This study evaluates local and international planning approaches of childfriendly spaces in an attempt to identify best practices and explore how child-friendly spaces can be planned and utilized locally, in South Africa, (especially rural areas such as the Vaalharts district in the North West Province) to develop playful, educational, environmentally preserving and qualitative child-friendly spaces.The research methodology used in this study consist of (i) a literature investigation on concepts of child-friendly environments, qualitative open spaces, rural challenges, as well as current child-friendly policy and legislation, both from an international and local perspective; and (ii) an empirical study, conducted qualitatively by means of Pilot testing and case study evaluation. Local pilot tests were limited, due to a lack of child-friendly spaces in South Africa to, proposed Valhalla Water Park in Cape Town and Irene Village Mall in Pretoria. The case study evaluation consists out of Green Point Urban Park and the Vaalharts Water Innovation Project that is a newly planned, “still in progress”, project. International case studies included examples of successful child-friendly spaces such as La Louviere in Belgium, Chapefield play area and Darnley Park in Scotland, Play Field Farnborough in England, Caronport Spray Park in Canada and Bellevue Redmond Spray Park in Washington. Based on the findings, recommendations are made in terms of the planning and development of child-friendly spaces, incorporating examples such as the provision of spray parks in rural areas in order to create playful, educational, environmentally preserving and qualitative outdoor spaces. / MArt et Scien (Urban and Regional Planning), North-West University, Potchefstroom Campus, 2014

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2008. / The Northwestern Cape enjoys prominence in George Weideman’s comprehensive oeuvre. Weideman, who was raised in this area, explains that it is a region with which he has a strong emotional connection. In this study the representation of space will be examined with specific reference to Weideman’s portrayal of the Northwestern Cape in the volume of poetry 'n Staning onder sterre (1997). The focus will be on Weideman’s depiction of the Northwestern Cape and more specifically his portrayal of it as both a geographical space and a space of the landscape. Not only does Weideman represents the geographical space of the Northwestern Cape in great (objective) detail, he also presents the reader with a very personal (subjective) depiction of a landscape with which he has strong personal ties. In fact, it is the premis of my study that Weideman’s depiction of this space is more personal than objective. Rather than just a geographical space, it becomes a metaphysical domain with spiritual, creative and intertextual dimensions; a landscape that is accessed through memory and the imagination. Although 'n Staning onder sterre is filled with geographical markers and functions as a cultural and historical document which gives an account of an unique region and its people, this volume of poetry should rather be read as a petit histoire in which the poet’s personal convictions continuously surface during the representationprocess.

Die term speurverhaal impliseer ’n spesifieke soort verhaal of genre, tradisioneel triviaalliteratuur of ontspanningslektuur, met spesifieke kodes en konvensies. Enige konvensies is egter aanpasbaar en die grense tussen hoë kuns en populêre kultuur is vloeibaar, sodat dit moontlik is dat daar wel ʼn vertakking of subgenre wat die literêre speurverhaal genoem kan word, kon ontwikkel het. Die doel van hierdie verhandeling is om die volgende navorsingsvrae te beantwoord: Is daar wel speurverhale wat as literêre speurverhale gekategoriseer kan word? Indien nie, waarom word die kodes van die speurverhaal as narratiewe strategie gekies vir sekere romans? Wat is die verskille en ooreenkomste tussen die tradisionele speurverhaal en die sogenaamde literêre speurverhaal? Die verskynsel word ondersoek word deur twee romans wat moontlik as literêre speurverhale geklassifiseer kan word, nl. Een vir Azazel (Leroux, 1984) en Die boek van toeval en toeverlaat (Winterbach, 2006), te vergelyk met twee tradisionele speurverhale, nl. Reuk van die dood (Mouton, 2008) en Plaasmoord (Brynard, 2009), aan die hand van sekere struktuurelemente, nl. spanningslyn, plot, intrige, karakterisering, verteller, vertellersperspektief, tyd, en ruimte. ENGLISH : The term detective story indicates a specific kind of story or genre, traditionally recreational and light reading, with specific codes and conventions. However, any set of conventions are pliable and the boundaries between recreational and high art are fluid and constantly shifting. It is therefore possible that a subgenre of the detective story that can be called the literary detective story could have developed. The goal of this dissertation is to answer the following research questions: Are there detective stories that can be categorised as literary detective stories? If not, why is the detective element chosen as a narrative strategy for some novels? What are the differences and similarities between the traditional detective story and the so called literary detective novel? / Dissertation (MA)--University of Pretoria, 2010. / Afrikaans / unrestricted

The primary aim of this study in creative writing is research into an aspect of the writing process, namely the creation of spatial dynamics in a novel. This objective required the creation of an artefact. A novel titled Somersneeu was written in order to examine the very process of generating spatial dynamics in this novel in particular, as well as in the novel as such. Somersneeu was published by Human & Rousseau in 2010. Practice-based as well as practice-led research was fundamental to this study. An artistic creator registers intellectually whatever unfolds during the creative process and so new knowledge can simultaneously be created. The process of creating a work of art as well as the reflection thereon is fundamental to practice-led research. In other words, the creative process of an artefact like the novel Somersneeu is the source of a certain kind of knowledge that gradually emerges and can eventually be verbalised. Therefore a design concept for creating spatial dynamics may be articulated. It is a fact that a definite coherence exists between space and spatial dynamics. These two concepts are in reality inseparable and this cohesion is what is also being investigated in this study. Space actually consists of spatial dynamics since all the different facets of space, concrete as well as abstract, have definite and inseparable repercussions upon one another, causing a dynamic interaction among all facets of space. Apart from concrete or physical space, numerous abstractions of space take part in this interplay. These spatial abstractions are, for instance culture, identity, zeitgeist and the all-encompassing human psyche. The intense interplay among all the facets of space triggers spatial dynamics. This is the case in real life as well as in fiction. The above mentioned discussion of space and spatial dynamics is followed by an intense and heuristic view of the process of creating spatial dynamics. In order to create spatial dynamics in a novel, a novelist should have a strong sense of place. The essence of creating spatial dynamics in a novel consists mainly of the transformation of sense of place. The main aim of this study is then to present a design concept for the creation of spatial dynamics in a novel. This design concept may be used by other writers in order to create spatial dynamics in a novel. The novel Somersneeu as well as the questionnaire, reception documents and a list of publications of the writer are included as appendixes. / PhD (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

The primary aim of this study in creative writing is research into an aspect of the writing process, namely the creation of spatial dynamics in a novel. This objective required the creation of an artefact. A novel titled Somersneeu was written in order to examine the very process of generating spatial dynamics in this novel in particular, as well as in the novel as such. Somersneeu was published by Human & Rousseau in 2010. Practice-based as well as practice-led research was fundamental to this study. An artistic creator registers intellectually whatever unfolds during the creative process and so new knowledge can simultaneously be created. The process of creating a work of art as well as the reflection thereon is fundamental to practice-led research. In other words, the creative process of an artefact like the novel Somersneeu is the source of a certain kind of knowledge that gradually emerges and can eventually be verbalised. Therefore a design concept for creating spatial dynamics may be articulated. It is a fact that a definite coherence exists between space and spatial dynamics. These two concepts are in reality inseparable and this cohesion is what is also being investigated in this study. Space actually consists of spatial dynamics since all the different facets of space, concrete as well as abstract, have definite and inseparable repercussions upon one another, causing a dynamic interaction among all facets of space. Apart from concrete or physical space, numerous abstractions of space take part in this interplay. These spatial abstractions are, for instance culture, identity, zeitgeist and the all-encompassing human psyche. The intense interplay among all the facets of space triggers spatial dynamics. This is the case in real life as well as in fiction. The above mentioned discussion of space and spatial dynamics is followed by an intense and heuristic view of the process of creating spatial dynamics. In order to create spatial dynamics in a novel, a novelist should have a strong sense of place. The essence of creating spatial dynamics in a novel consists mainly of the transformation of sense of place. The main aim of this study is then to present a design concept for the creation of spatial dynamics in a novel. This design concept may be used by other writers in order to create spatial dynamics in a novel. The novel Somersneeu as well as the questionnaire, reception documents and a list of publications of the writer are included as appendixes. / PhD (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word. Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika. As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry. Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien. Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik. / Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

Daar is baie onbeskryfde ruimtes en identiteite in Suid–Afrika; gemeenskappe waarvan die woordkunspotensiaal van die vertellers en skrywers nie ontgin is nie. Die kompleksiteit van die Suid–Afrikaanse samelewing, veral met betrekking tot taal en die geletterdheidskontinuum, veroorsaak dat gemeenskapseie woordkunsprojekte nie op n eendimensionele vlak beskou kan word nie. In een gemeenskap is daar byvoorbeeld lede wat steeds in die mondelinge tradisie funksioneer, maar ook ander vir wie die skriftelike tradisie toeganklik is. n Nuwe, sogenaamde “sekondêre mondelinge tradisie” speel ook n rol, en daar is komplekse intervlakke tussen hierdie tradisies. In elke gemeenskap deel mense mini–narratiewe met mekaar, maar is daar ook meesternarratiewe waardeur die betrokke gemeenskap, en die samelewing as geheel, beïnvloed word. Die oorkoepelende doel van die studie is om vas te stel watter rol oraliteit en identiteit speel in die bevordering van gemeenskapseie woordkuns in Suid–Afrika. As navorsingsmetode word daar vanuit n heuristiese en interpretatiewe benadering afleidings uit bestaande literatuur en gevallestudies gemaak. Die studie bestaan uit n teoretiese en praktiese deel. Die teoretiese deel behels n metateoretiese raamwerk wat uit die literatuurstudie gevorm word. Dit vorm as't ware die “bril” waardeur die res van die studie beskou word. Drie teoretiese sfere word betrek, naamlik (1) identiteit en ruimte, (2) die woordkuns en (3) gemeenskapsontwikkeling. Tydens die praktiese deel word daar veral van die praktykgebaseerde navorsingsmetode gebruik gemaak, asook op deelnemende waarneming en outo–etnografie gesteun. Insigte word uit twee gevallestudies oor gemeenskapseie woordkunsprojekte en die bespreking van n aantal eenmalige woordkuns–projekte verkry. Uit beide die teoretiese en praktiese dele van die navorsing word sekere merkers afgelei wat vir die skep van n model ter bevordering van die woordkuns in Suid–Afrika gebruik word. Die model is nie algemeen geldend nie; dit bied slegs beginsels wat as riglyne in die bevordering van gemeenskapseie woordkuns kan dien. Na afloop van die navorsing word tot die gevolgtrekking gekom dat beide oraliteit en identiteit n sentrale rol in die woordkuns van gemeenskappe speel. Daar word gevind dat daar verskeie verbande bestaan tussen die identiteit en ruimte van n gemeenskap en die manier waarop hulle hulself in woordkuns uitdruk. Verder word vasgestel dat n deelnemende benadering tot gemeenskapsontwikkeling as n toepaslike filosofiese raamwerk vir gemeenskapseie woordkunsprojekte kan dien. Die benadering word ook (met inagneming van die konsepte ruimte en identiteit) as raamwerk vir die ontwikkeling van die model ter bevordering van gemeenskapseie woordkuns gebruik. / Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.