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Die representasie van slaafskap in 'Die kremetartekspedisie' deur Wilma Stockenström : die voorstelling van die onvoorstelbareJordaan, Margarethé Maria 12 1900 (has links)
Thesis (MA)--Stellenbosch Universiteit, 2000. / ENGLISH ABSTRACT: In this study the role played by literature or fiction in historiography
is investigated. Firstly, the problem of representing an "objective
reality" is outlined, and subsequently applied to the domain of
historiography by questioning terms such as "objectivity", "reality"
and "truth". Due attention is given to changing perceptions about
the nature of history writing. It is indicated that historiography
cannot render or recreate the past as something which is present
here-and-now and, therefore, that history writing is of necessity
always an interpreted and subjectively construed representation of
an ephemeral "reality".
Against this background the thesis focuses on that part of South
African history (slavery) which for a variety of reasons lacks a
formalised historiography. It is indicated how the "gaps" created by
the failures of formalised historiography can be "filled" by the
suggestive power of the literary imagination.
Wilma Stockenstrëm's Die kremetartekspedisie (1981) is used to
exemplify the above claims by specifically noting how the personal
slave experience is described through the literary imagination in
Die kremetartekspedisie. / AFRIKAANSE OPSOMMING: In hierdie studie word daar ondersoek ingestel na die moontlike rol
wat letterkunde of fiksie kan speel in die geskiedskrywingsproses.
As agtergrond word die problematiek rondom die bestaan en
voorstelling van 'n 'objektiewe werklikheid' bespreek en uitgebrei
na die terrein van die historiografie deur die bevraagtekening van
terme soos 'objektiwiteit', 'werklikheid' en 'waarheid'. Daar word
aandag geskenk aan verskuiwende persepsies oor die aard van
geskiedskrywing en aangedui dat historiografie nooit die verlede
teenwoordig kan stel nie en dat geskiedskrywing altyd 'n
geïnterpreteerde en subjektief-gekonstrueerde representasie van 'n
verbygegane 'werklikheid' is.
Teen hierdie agtergrond word daar spesifiek gelet op 'n gedeelte
van die Suid-Afrikaanse geskiedenis wat, as gevolg van verskeie
redes, 'ontbreek' in formele geskiedskrywing, naamlik slawerny.
Daar word aangedui hoe hierdie gapings op suggestiewe wyse
deur die literêre verbeelding 'gevul' kan word.
Die kremetartekspedisie deur Wilma Stockenstr6m dien as
voorbeeldteks om bogenoemde punt te illustreer deur spesifiek te
let op die wyse waarop 'n slavin moontlik haar persoonlike ervaring
van haar slaafskap sou kon verwoord soos dit in Die
kremetartekspedisie deur die literêre verbeelding gedoen word.
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Die idioot : spieël en skadu ; Sirkus (roman)Anker, Willem P. P. 03 1900 (has links)
Thesis (MA)- Stellenbosch University, 2003. / ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled
Sirkus (Circus) is presented in which the main character figures as an idiot. It is
accompanied by a perspicacious formal essay which maintains the relationship between
theory and novel. The essay titled "Die idioot: spieël en skadu" (The idiot: mirror and
shadow) reflects on the problematics concerning the representation of the idiot in literary
texts.
The essay investigates the phenomenon of the idiot in literature according to well-known
literary texts presenting idiots. What these texts have in common is that the narrator acts
on behalf of a character who does not have the ability nor the will to narrate himself. The
problematics is viewed from a thematic as well as writing technique niveaux, according
to insights gleaned from literature, philosophy, narratology and psychology. The
argument concludes by reflecting on the responsibility of the author and the ethics of
creating an effigy of the idiot.
The novel Sirkus, (Circus), focuses on an idiot character with webbed hands and feet,
Siegfried Landman. It is an exposition of his journey to hell starting on a farm in the
Karoo. It takes him through a grotesque urban landscape where he eventually ends up in a
circus of freaks. The text starts with the death of Siegfried's father and is in the form of a
quest narrative, a quest for the vague image of his uncle Fischer. The tale emanates
predominantly from Siegfried's consciousness. During the course of the text he is
accompanied by varioius travelling companions who each fmd a voice in the text. / AFRIKAANSE OPSOMMING
Ter vervulling van die graad van Magister in Kreatiewe Afrikaanse skryfkunde is 'n
roman getiteld Sirkus voorgelê waarin die hoofkarakter 'n idiotefiguur is. Dit word
vergesel met 'n verbandhoudende beskoulike werkstuk: "Die idioot: spieël en skadu",
wat die vorm aanneem van 'n essay oar die problematiek rondom die representasie van
die idioot in literêre tekste.
In die werkstuk word die verskynsel van die idioot in die letterkunde ondersoek aan die
hand van bekende literêre tekste waarin idiotefigure gerepresenteer word. Hierdie tekste
het dit gemeen dat die verteller optree namens 'n karakter wat nie die vermoë óf die wil
het om self te vertel nie. Die problematiek word beskou op tematiese sowel as
skryftegniese vlakke aan die hand van insigte uit die letterkunde, filosofie, narratologie
en sielkunde. Die argument sluit uiteindelik af met 'n besinning oor die skrywerlike
verantwoordelikheid en 'n skrywerlike etiek ten opsigte van die uitbeelding van die
idioot.
Die roman Sirkus fokus op 'n idiote-karakter met gewebde hande en voete, Siegfried
Landman. Dit is 'n uitbeelding van sy hellevaart wat begin op 'n plaas in die Karoo en
hom voer deur 'n groteske stadslandskap voor hy uiteindelik opeindig in 'n sirkus van
fratse. Die teks begin met die dood van Siegfried se vader en is in die vorm van 'n
soektognarratief, 'n soektog na die vae beeld van sy oom Fischer. Die verhaal word
grotendeels vanuit Siegfried se bewussyn vertel. Hy word deur die verloop van die teks
vergesel deur verskeie reisgenote wat elk ook 'n eie stem in die teks verkry.
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Die reise van Isobelle (1995) van Elsa Joubert : reise deur 'n eeu Suider-Afrikaanse geskiedenisSmith, Mathilda C. (Mathilda Cecilia) 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 1998. / ENGLISH ABSTRACT: Elsa Joubert initially acquired her reputation for her travel writing which is mainly about Africa
during the fifties. In her texts she not only focusses on the curiosities and visually attractive sites of
the countries she tours, but also conveys her extensive knowledge of the history and her special
interest in the intimate human aspects of the people.
Ons wag op die kaptein (1963) established her name as startling novelist of Southern-African
themes. Missionaris (1988) and Die reise van Isobelle (1995) are based on identifiable SouthernAfrican
historical information and subtly place historiography under scrutiny. In these texts
Joubert thematizes and problematizes historiography, which she finds lacking in its ability to
convey a true representation of events. Photo's, recorded visions or other images of an experience
of reality still only remain representations of that "reality". Through the process of fictionalization
(as in a novel) "a truth" comes to the light, but at the same time the one-sided and relative nature
of canonised history is exposed.
Through this critical glance at the status quo and canonised white history, which originated under
the pressure of anti-colonialism, Joubert has sided with writers such as Jan Rabie and Andre P.
Brink in their opposition to Apartheid and desire to contribute toward the constitution of a new
South-Africa.
In Die reise van Isobel/e Joubert comments, through the use of characters in a family cronicle, on
the manner in which people are affected and shaped by their context. The author, through the use
of Leonora as sceptical narrator, focalisator and manipulator, ironises for example the steadfast
convictions of the patriotic Josias and Agnes, and thereby confers a critical view of politicalideological
problems. The romance between Belle, as group bound Afrikaner girl, and the
interesting foreign Indian Hussein Badir, which ends in his death, illustrates the discord when
racist prejudice clashes with personal experience. Leo serves as a model of freedom and hope
which coincides with detachment from conventional political convictions.
Different kinds of journeys can be identified in coherence with the characters, e.g. physical, literal
journeys, religious journeys and political journeys. The family chronicle eventually becomes an
example of Afrikaner society's emancipation or journey from a patriarchal to a free independent
way oflife. / AFRIKAANSE OPSOMMING: Elsa Joubert het aanvanklik bekendheid verwerf vir haar reisverhale oor veral Afrika uit die
vyftigetjare. Sy is in die tekste nie slegs toeristies ingestel op die wetens- en besienswaardighede
van die Iande wat sy besoek nie, maar toon, naas 'n omvattende kennis van die geskiedenis, ook
aandag vir die intiem menslike doen en late.
Ons wag op die kaptein (1963) het haar naam gevestig as opspraakwekkende romanskrywer oor
Suider-Afrikaanse temas. Ook Missionaris (1988) en Die reise van Isobelle (1995) is op
herkenbare gegewens gebaseer en plaas geskiedskrywing op 'n subtiele manier in die soeklig. In
hierdie tekste tematiseer en problematiseer Joubert die geskiedskrywing, wat volgens haar
tekortskiet om 'n oortuigende beeld te gee. Foto's, opgetekende visioene of andersoortige
weergawes van 'n werklikheidsbelewing bly steeds representasies. Deur die_ proses van
fiksionalisering (soos in 'n roman) kom minstens "'n waarheid" aan die lig, maar dit bevestig
terselfdertyd die eensydige en relatiewe aard van die gekanoniseerde geskiedenis.
Deur hierdie kritiese blik op die status quo en die gekanoniseerde wit geskiedenis, wat onder
andere weens die druk van die anti-kolonialisme ontstaan bet, sluit Joubert haar aan by skrywers
soos Jan Rabie en Andre P Brink se opposisie teen Apartheid en versugting om by te dra tot die
totstandkoming van 'n miwe Suid-Afrika.
In Die reise van lsobelle lewer Joubert, deur die gebruik van karakters in 'n familiegeskiedenis,
kommentaar oor die wyse waarop mense geraak en gevorm word deur bulle konteks. Die skryfster
ironiseer deur die gebruik van Leonora as skeptiese verteller, fokalisator en manipuleerder,
byvoorbeeld die vaste oortuigings van die patriotiese Josias en Agnes en gee sodoende 'n kritiese
blik op polities-ideologiese vraagstukke. Die liefdesverhouding tussen Belle as groepsgebonde
Afrikanermeisie en die vir haar interessant-vreemde Indiese Hussein Badir wat op sy dood uitloop,
illustreer die tweespalt wanneer rassistiese vooroordele bots met eie ervaring. Leo dien as
voorbeeld van vryheid en hoop wat gepaardgaan met die losbreek uit konvensionele politieke
oortuigings.
Verskillende soorte reise kan in samehang met die · karakters onderskei word, naamlik fisiese,
letterlike reise, geestelik-godsdienstige reise en politieke reise. Hierdie familiegeskiedenis word
uiteindelik eksemplaries van die Afrikanersamelewitig se emansipasie of reis van 'n patriargale tot
'n vrye, onafhanklike tipe leefwyse.
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SkoolKemp, Christiaan Theodorus 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: No abstract / AFRIKAANSE OPSOMMING: Geen opsomming
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Waar eeue wegtik met elke oogknip : fin de siecle-intertekste in die poesie van Johann de LangeFritz, Dawn 03 1900 (has links)
Thesis (MA)--University of Stellenbosch, 1998. / Blog by Johann de Lange: http://johanndelange.blogspot.com/ / AFRIKAANSE OPSOMMING: Hierdie studie stel hom ten doel om die 19de-eeuse kulturele fin de siecle-intertekste
in Johann de Lange se poësie, wat grotendeels postmodernisties
van aard is, na te gaan ten einde die hipotese te toets dat sy werk sterk
ooreenkomste met die kunsuitinge van die vorige eeuwending openbaar.
Hieruit blyk duidelik 'n korrespondensie of ekwivalensie tussen die tydsgees en
diskoers van die huidige fin de millennium en die van die 19de-eeuse fin de
siecle. Die titel van die tesis is ontleen aan die gedig "Greenwichtyd" uit Snel
grys fantoom (1986:29):
Dit als terwyl ek stil slaap anderkant
die horison, klein doen in 'n wêreld
waar eeue wegtik met elke oogknip,
'n dag gebeur tussen een asemteug
en die volgende [...]
Omdat al sewe bundels van die digter ondersoek is, kon slegs drie gedigte in
diepte geanaliseer word, naamlik "Correspondences" uit Wordende naak
(1990:22), "Studie van 'n portret van 'n man" uit Snel grys fantoom
(1986:56) en "Vlees van die berg" uit Vleiswond (1993:51-52). Die gedig
"Correspondences", wat seminaal is vir die hipotese wat in hierdie studie
gestel word, kom in 'n eie hoofstuk aan bod; "Studie van 'n portret van 'n
man" is aanvullend tot die hipotese dat De Lange hom met die kunstenaars van
die fin de siecle vereenselwig; terwyl "Vlees van die berg" op vele wyses De
Lange se digterlike preokkupasies weerspieël.
Enkele aspekte van die kunsstrominge van die Dekadentisme, Estetisisme en
Simbolisme, wat in die eeuwending voorkom en ook in De Lange se verse
neerslag vind, word in afsonderlike hoofstukke bespreek. Die digter se sosiopolitieke
betrokkenheid wat deur die meeste kritici in die verlede misken is,
word bevestig. As gevolg daarvan dat mistisisme en metapoësie by De Lange
dikwels in 'n enkele gedig saamsmelt, word hierdie aspekte ten slotte in 'n
afsonderlike hoofstuk onder die loep geneem.
Daar word deurgaans gebruik gemaak van verwysings na geselekteerde gedigte
uit De Lange se oeuvre, telkens gesitueer binne die konteks van die
postmoderniteit. Ten einde die dinamika van intertekstuele en interdiskursiewe
prosesse te demonstreer, word intertekstuele ekskursies of intertekstuele
cruising dikwels onderneem. / ENGLISH ABSTRACT: This study investigates the 19th century cultural fin de siecle intertexts in
Johann de Lange's predominantly postmodernistic poetry in order to test the
hypothesis that his work reveals strong correspondences to art forms of the
previous turn of the century. As a result a correspondence or an equivalence
between the cultural climates and discourses of the relevant ages, viz. the
present fin de millennium and the fin de siecle of the 19th century, is
indicated. The origin of the title of the thesis is the poem "Greenwichtyd"
from Snel grys fantoom (1986:29):
Dit als terwyl ek stil slaap anderkant
die horison, klein doen in 'n wêreld
waar eeue wegtik met elke oogknip,
'n dag gebeur tussen een asemteug
en die volgende [...]
The volume of work involved in the examination of the poet's entire oeuvre of
seven volumes precluded the exhaustive analysis of vast numbers of poems.
For this reason only three poems have been analysed in any depth. These are
"Correspondences" from Wordende naak (1990:22), "Studie van 'n portret van
'n man" from Snel grys fantoom (1986:56) and "Vlees van die berg" from
Vleiswond (1993:51-52). The poem "Correspondences" which is seminal to
the hypothesis posed in this study is discussed in a separate chapter; "Studie
van 'n portret van 'n man" is supplementary to the hypothesis that De Lange
identifies with the artists of the fin de siecle; while "Vlees van die berg"
reflects many of De Lange's poetic preoccupations.
A few aspects of decadence (in the cultural sense), aestheticism and
symbolism, schools of art prevalent at the turn of the century which all find
expression in De Lange's poems, are examined in separate chapters. The
sosio-political commitment of the poet, unrecognised by most critics in the
past, is confirmed. Because De Lange often merges mysticism and metapoetry
in a single poem, these aspects are finally investigated together in one chapter.
Reference is made throughout to selected poems from De Lange's oeuvre as
situated within the context of postmodernity. In order to demonstrate the
dynamics of intertextual and interdiscursive processes, intertextual excursions
or "cruises" are often undertaken.
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Deur die sleutelgat : ’n ondersoek na die voyeuristiese elemente in die poesie van Johann de LangeKemp, Christiaan Theodorus 12 1900 (has links)
Thesis (MA)--University of Stellenbosch, 2000. / Blog by Johann de Lange: http://johanndelange.blogspot.com/ / AFRIKAANSE OPSOMMING: Die term voyeurisme hoort normaalweg tuis binne die sielkunde, waar dit dui op 'n
seksuele abnormaliteit en afwyking. Hierdie siening stigmatiseer egter die fenomeen
voyeurisme as 'n perverse handeling. In die eerste hoofstuk van hierdie studie word 'n
poging aangewend om die begrip voyeurisme te verruim. Die voyeurisme wys nie net
op 'n seksuele afwyking nie, maar vorm 'n sentrale deel van die eietydse samelewing.
Die voyeurisme is dus ook van kardinale belang vir die letterkunde.
In hierdie tesis word die voyeuristiese elemente in die poësie van Johann de Lange ondersoek.
Aan die hand van tekste uit De Lange se oeuvre word die hipotese getoets dat
die voyeurisme 'n voorwaarde vir die letterkunde is. Voorts word daar beweer dat die
voyeurisme 'n onmisbare funksie in die skryf-en-lees-proses vervul; dat nie net die
digter nie, maar sowel die teks as die leser noodwendig deel in die voyeuristiese handeling.
Die letterkunde is dus, volgens hierdie hipotese, te danke aan die perspektiwiese
kompleksiteit van die voyeurisme.
Om die sprong van die sielkunde na die letterkunde te maak, word daar eerstens aandag
bestee aan die werk van die teoretici Jean-Paul Sartre, Jacques Lacan en Michel
Foucault en die bydraes wat hulle tot die teoretisering oor persepsie lewer. Voorts
word vier gedigte geanaliseer met konsentrasie op aspekte van die voyeurisme soos
wat dit in De Lange se oeuvre manifesteer en funksioneer, naamlik: die skilderkuns,
die fotografie, die religie en die verhouding tussen vader en seun.
Hoewel hierdie tesis uitsluitlik oor die werk van Johann de Lange handel, wil dit 'n
gesprek oor die voyeurisme in die Afrikaanse letterkunde tot stand bring. / ENGLISH ABSTRACT: The term voyeurism normally belongs to the field of psychology, where it is used to
describe a sexual abnormality and deviation. However, this view stigmatises the
phenomenon of voyeurism as a perverse act. In the first chapter of this study the
author attempts to broaden the notion of voyeurism. Voyeurism not only indicates
sexual deviation, it also forms a central part of contemporary society. Voyeurism is
therefore also of the utmost importance in literature.
In this thesis the voyeuristic elements in the poetry of Johann de Lange are examined.
Using texts from De Lange's oeuvre the hypothesis that voyeurism is a condition for
literature is tested. It is further argued that voyeurism fulfils an essential function in
the reading and writing process; that, not only the poet, but both the text and the
reader inevitably share in the voyeuristic action. Literature according to this
hypothesis, has its origins in the perspective complexity of voyeurism.
To explain the connection between psychology and literature attention is firstly
devoted to the works of the theorists Jean-Paul Sartre, Jacques Lacan and Michel
Foucault and the contributions they made on perception. Further four poems are
analysed in detail, with emphasis on aspects of voyeurism as they manifest and
function in De Lange's oeuvre, namely: the art of painting, photography, religion and
the relationship between father and son.
Although this thesis deals exclusively with the work of Johann de Lange, it wants to
bring about a discussion on voyeurism in the Afrikaans literature.
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Distopiese toekomsromans in die Afrikaanse literatuur na 1999Barendse, Joan-Mari 03 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This dissertation investigates the increase in Afrikaans novels set in the future at the time of publication in the period after 1999. The following seven Afrikaans futuristic novels were published in this time: Oemkontoe van die nasie (2001) by P.J. Haasbroek, Hotel Atlantis (2002) and Raka die roman (2005) by Koos Kombuis, Miskruier (2005) by Jaco Botha, Die nege kerse van Magriet (2006) by Barend P.J. Erasmus, Horrelpoot (2006) by Eben Venter and Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009) by Louis Krüger. These novels are discussed within the framework of dystopian literature since they all portray a future South Africa that is worse off than it was at the time of the novels’ publication. It is discussed whether the socio-political climate in South Africa after 1999 contributed to the increasing popularity of the dystopian genre in Afrikaans in this time. Dystopian literature in general comments on the present rather than the future. The social commentary in these novels is therefore also discussed.
The following aspects of dystopian literature, as identified by critics such as Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent and Brian Stableford, is focused on in the analysis of the seven novels: the typical narrative in dystopian works; the distinction between the classical dystopia, critical dystopia and pseudo-dystopia; the connection between dystopian literature and apocalyptic literature, and common themes within dystopian literature (for example the control of language and the media, history and ecological issues). This dissertation highlights the similarities to as well as differences between the seven Afrikaans dystopian novels and typical dystopian works. It is also discussed how the context of a postcolonial and post-apartheid South Africa makes these novels unique. / AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die toename van Afrikaanse romans in die tydperk ná 1999 wat ten tyde van publikasie in ʼn toekomstige Suid-Afrika afspeel. Die volgende toekomsromans verskyn in hierdie tyd: P.J. Haasbroek se Oemkontoe van die nasie (2001), Hotel Atlantis (2002) en Raka die roman (2005) deur Koos Kombuis, Miskruier (2005) deur Jaco Botha, Eben Venter se Horrelpoot (2006), Die nege kerse van Magriet (2006) deur Barend P.J. Erasmus en Louis Krüger se Wederkoms – Die lewe en geskiedenis van Jannes Hoop (2009). Dié sewe romans word binne die raamwerk van distopiese literatuur bespreek omdat hulle voldoen aan Lyman Tower Sargent se definisie van ʼn literêre distopie: hulle beeld almal ʼn toekomstige Suid-Afrika uit waarin dit slegter gaan as die tyd waarin die romans gepubliseer is. Daar word ondersoek of die sosio-politiese konteks waarin die toekomsromans van ná 1999 verskyn, moontlik ʼn bydrae gelewer het tot die toename van hierdie tipe roman in die tydperk. Toekomsvoorstellings binne distopiese literatuur lewer dikwels eerder kommentaar op die tyd waarin die werke verskyn as op die toekoms. Daar word ondersoek of dit ook die geval is met die Afrikaanse distopiese toekomsromans van ná 1999.
Na aanleiding van teorieë rondom distopiese literatuur deur kritici soos Raffaella Baccolini, Fredric Jameson, Tom Moylan, Lyman Tower Sargent en Brian Stableford word daar op die volgende aspekte van distopiese literatuur gefokus in die analise van die sewe romans: die handeling in tipiese distopiese werke; die onderskeid tussen die klassieke distopie, kritiese distopie en pseudo-distopie; die verband tussen apokaliptiese en distopiese literatuur en algemene temas binne distopiese literatuur (byvoorbeeld die beheer van die taal en media, die geskiedenis en ekologiese vraagstukke). In die bespreking word daar gewys op die ooreenkomste, maar ook die verskille, tussen die sewe Afrikaanse distopiese romans en tipiese distopiese werke. Daar word ook bespreek hoe die konteks van ʼn postkoloniale en postapartheid Suid-Afrika ʼn uniekheid verleen aan dié werke.
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Erotiek, geweld en die dood in 'n Gelyke kans van Jeanne GoosenLoubser, Henriette 03 1900 (has links)
Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005. / The aim of this study is to examine the relationship between eroticism, violence and death as it occurs in Jeanne Goosen's short story collection, ' n Gelyke kans. The research is based upon the hypothesis that these stories express in a particular manner the transgressive role of eroticism in breaking through social conventions and barriers.
As a possible framework for discussion reference is made in the first place to George Bataille's theories on the subversive nature of eroticism, Julia Kristeva's semiotic and pre-Oedipal theories, and Mikhail Bakhtin's notion of the carnivalesque. Subsequently a reading strategy was designed by means of an in-depth analysis of ten stories from the collection in accordance with general formalistic principles.
The conclusion is reached that Goosen with non-judgmental sympathy exposes man's inborn, continuous search for the illusion of perfect happiness. This state of bliss is sometimes achieved by the violent "incorporation" of the beloved/desired “other", and the final outcome is a concomitant and inevitable decline into an unwholesome, destructive, and fatal erotic power play.
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Die retoriese rol van literêre feeste, met toespitsing US Woordfees en die Amsterdamse WeerwoordfestivalLotter, Jacoba Catharina (Karin) 03 1900 (has links)
Thesis (MA)-- Stellenbosch University, 2012. / ENGLISH ABSTRACT: The establishment of literary festivals as a type of event that is presented both nationally
and internationally has expanded tremendously in recent years, but it has not as yet
received the necessary attention to fully understand its impact on and sociocultural function
in a host community. This thesis attempts to formulate a working definition for the
phenomenon, in order to gain more insight in its sociocultural function and impact in a host
community and thus to contribute towards a more substantial discourse on the subject. The
hypothesis is firstly that literary festivals come into existence due to specific needs in the
host society and secondly that the strategic application of rhetorical strategies have a
positive sociocultural impact.
It is argumented that literary festivals function according to the principles of Aristotle’s
rhetoric, by convincing festival visitors that books, reading, writing, debating and freedom of
speech are of great aesthetic, moral and educational value. The eventual aim is to cause
festival visitors to show greater appreciation for literary texts, as illustrated by their
increased participation in reading, writing and other literary activities. The following theories
serve as points of departure: the system theory as expounded by Itamar Even-Zohar, Gerard
Hauser’s application of rhetorics to the public sphere, the ritual theories of Victor Turner and
Jeremy Boissevain, as well as festival theories by Mikhail Bakhtin, Donald Getz, Henri
Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch and
Michael Kamp.
The programmes, festival contents and other relevant texts that form part of two selected
literary festivals, i.e. the Stellenbosch University’s (SU) Wordfest (Woordfees) and the
Amsterdam Weerwoordfestival, are scrutinised in order to prove that these festivals are
strategically constructed to have a persuasive effect on festivalgoers. A festival’s survival and
sustainability is determinated by its establishment of a strong own character; good
management (also in times of crisis); effective networks; and the persuasion of both target
groups and interest groups that supporting the festival is to their own advantage. / AFRIKAANSE OPSOMMING: Die literêre fees, as tipe gebeurtenis wat toenemend nasionaal én internasionaal aangebied
word, het tot dusver min aandag van navorsers geniet. Ten einde die sosio-kulturele funksie
en krag daarvan in ’n gasheergemeenskap te probeer vasstel en te omskryf, asook om by te
dra tot ’n meer omvangryke diskoers oor hierdie fenomeen, word bestaande teorieë oor
feeste in die algemeen dus in hierdie studie as vertrekpunt gebruik en aangepas by literêre
feeste. Die hipotese is eerstens dat literêre feeste ontstaan in reaksie op behoeftes in die
gasheergemeenskap en tweedens dat die aanwending van retoriese strategieë in literêre
feeste ’n positiewe sosio-kulturele impak tot gevolg kan hê.
Na aanleiding van Aristoteles se uitgangspunte oor die retorika word voorgestel dat die
funksie en werking van literêre feeste retories van aard is: Die organiseerders wil
feesdeelnemers oorreed dat lees, skryf, debattering en vrye meningswisseling esteties,
opvoedkundig en moreel waardevol is, om sodoende ’n groter belangstelling in en deelname
aan literêre aktiwiteite te probeer bewerkstellig. Die volgende teoretici se uitgangspunte
word veral gebruik: dié van Itamar Even-Zohar oor die sisteemteorie, Gerard Hauser se
toepassing van die retorika op ’n openbare sfeer, ritueelteorieë deur Victor Turner en Jeremy
Boissevain, sowel as feesteorieë van Mikhail Bakhtin, Donald Getz, Henri Schoenmakers,
Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch en Michael Kamp.
Deur ’n vergelykende studie van die ruimer konteks, feesprogramme en ander relevante
tekste wat deel uitmaak van twee literêre feeste, naamlik die Universiteit Stellenbosch
Woordfees en die Amsterdamse Weerwoordfestival, word nagegaan hoe hierdie feeste
strategies en oorredend funksioneer deurdat beide literêre én nie-literêre elemente
geselekteer (inventio) en gekombineer (dispositio) is om ’n sterker positiewe eventiserende
betekenis oor te dra as in die alledaagse lewe. Die gevolgtrekking is dat effektiewe retoriese
strategieë sterk afhanklik is van die konteks waarbinne feeste plaasvind. Die voortbestaan en
volhoubaarbaarheid van literêre feeste word veral bepaal deur die vestiging van ’n sterk eie
identiteit; goeie bestuur (ook in krisisse); doeltreffende netwerke, asook deur die oorreding
van beide teikengroepe én belanghebbers dat hulle wen deur die fees te ondersteun.
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A reading of Blood Meridian (Essay) and The Book Of War (Novel)Whyle, James 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2012. / Two separate texts are submitted towards the degree of MA in Creative Writing. The first is
this essay, A Reading of Blood Meridian. The second is a novel, The Book of War.
Essay
The general focus of the essay is the theme of free will in Blood Meridian and the techniques
with which the narrative elements of character, story, style and voice are deployed to focus
the reader's mind on this theme.
The central question: is the meaning, the final message, of Blood Meridian that as individuals
human beings lack agency and that as groups they are shackled to a common destiny?
The hypothesis is that Blood Meridian contains significant patterns, oppositions and
dialectics, designed to place arguments for and against agency in the mind of the reader, but
that the book's response to the theme is inherently and structurally ambiguous.
Novel
The novel was written before the essay. It was written in direct response to Blood Meridian
and to the realization that Blood Meridian was a text rooted in history.
Like Blood Meridian, The Book of War is based on, grows out of, first person accounts,
specifically Stephen Bartlett Lakeman's What I saw in Kaffir-Land (1880) and William Ross
King's Campaigning in Kaffirland: Or Scenes and Adventures in The Kaffir War of 1851-
1852 (1853). The novel takes characters devolved from Lakeman and places them in King’s
journey through the war. These characters create, around a child called the kid, the social
backdrop of a coming of age tale.
The novel uses its source texts as a lens through which to view, and tell the story of, the War
of The Prophet (Eight Frontier War 1850-53). Readers seeking to answer the question: Why is South Africa a violent society? might find at least part of the answer in the nature of, and
the relationships between, English, Xhosa, Dutch, Khoi and Mfengu cultures in the 19th
Century.
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