Thesis (MA)--Stellenbosch University, 2010. / ENGLISH ABSTRACT: Two separate texts are submitted towards the degree MA in Kreatiewe Afrikaanse Skryfkunde. Firstly, a thesis with the title ‘’n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme’, and secondly a novel titled Die nalatenis. The novel and the thesis are thematically related. The focus of the thesis is the ideological character of the Afrikaner cattle as a cultural phenomenon within the context of Afrikaner nationalism. The novel tells the story of a certain family’s fate and their special connection to the breeding of Afrikaner cattle in the Free State. Firstly I need to make it clear that the theme of this thesis was not lightly chosen, but that I do have a personal interest in the material. My uncle and aunt were well-know Afrikaner cattle breeders, each from families who have been renowned for their association with the stud breeding of these cattle for many generations. Since my aunt was an enthusiastic collector of family history, I have since childhood been familiar with the stories about certain family personalities and their love for their cattle. In my version of the stories, and my research on the subject, I wanted to explore the connection between this cattle breed and the Afrikaner culture. I aim to demythologize the histories to a certain extent and give a critical commentary on certain constructions of these histories. To examine these issues, J.B Thompson’s (1990) critical theory of ideology will be used as main theoretical tool. Thompson identifies certain ideological practices and strategies of symbolic construction through which relations of domination are established and sustained in the social world. These concepts will be used to examine the ideological character of the Afrikaner cattle breed as symbolic form and the strategies that were used to establish it as such. Through an analysis of a number of texts I will identify the different meanings and values that were associated with the Afrikaner cattle within the context of Afrikaner nationalism. I will aim to establish if and how these values served to sustain the relations of domination associated with Afrikaner nationalism. The novel tells the story of Ragel, ’n young photographer, who is her late uncle and aunt’s only heir. She inherits the farm and needs to decide what to do with it. She is also the last keeper of a family secret. She and her boyfriend are relocating to London and he has proposed to her. The news of her uncle’s death also triggers the pain of previous losses – especially her own mother traumatic death. Where she sits locked in her darkroom in this liminal state, the larger family saga is played out: the story of the patriarg Rooi Jakob, who blessed the wrong child; of Anna who had to flee during the war with her children and cattle; of Magriet who rejected her younger son and the resulting rivalry between the two brothers, Louis and Jakob; and of course the small love story of Beth and Louis, whose fateful relationship brought everything to a bitter end. The novel is based on the theory that a family photo album can also be a self-portrait in which one can (re)discover oneself. / AFRIKAANSE OPSOMMING: Twee afsonderlike werkstukke word hier ingehandig ter verkryging van die graad MA in Kreatiewe Afrikaanse Skryfkunde. Eerstens, ’n tesis met die titel: “’n Kritiese ondersoek na die Afrikanerbees as ideologiese kulturele fenomeen binne die konteks van Afrikanernasionalisme”. Tweedens ’n roman getiteld Die nalatenis. Die roman en tesis hou tematies met mekaar verband. Die fokus van die navorsing is die ideologiese aard van die Afrikanerbees as gekontekstualiseerde fenomeen gedurende, en ná, die opkoms van Afrikanernasionalisme. Die roman handel oor ’n sekere familie se lot en spesiale verbintenis met die teel van Afrikanerbeeste in die Vrystaat. Ek wil dit graag aan die begin van die betoog stel dat die tematiek van die tesis nie lukraak gekies is as studie-onderwerp nie, maar dat ek ’n persoonlike belang het in die stof waarmee ek hier omgaan. My oom en tannie was bekende Afrikanerbeestelers, elk uit families wat vir geslagte reeds geassosieer is met die stoet teling van dié beesras. Aangesien my tannie ’n entoesiastiese versamelaar van die familiegeskiedenis was, is ek van kleins af bekend met vertellings oor sekere familiepersoonlikhede en hul liefde vir hul beeste. In my weergawe van die verhale, en navorsing oor die onderwerp, wou ek die besondere verhouding tussen dié beesras en die Afrikanerkultuur ondersoek. In hierdie tesis poog ek om die geskiedenis tot ’n mate te ontmitologiseer en kritiese kommentaar te lewer op sekere konstruksies daarvan. Vir dié ondersoek sal J.B Thompson (1990) se kritiese teorie oor ideologie as belangrikste teoretiese gereedskap gebruik word. Thompson identifiseer sekere ideologiese praktyke en strategieë van simboliese konstruksie waardeur magsverhoudinge in stand gehou word in die sosiale wêreld. Aan die hand hiervan sal daar ondersoek ingestel word na die ideologiese aard van die Afrikanerbees as simboliese vorm en die strategieë wat gebruik is om dit te vestig. Deur die analise van enkele tekste sal daar gekyk word na die verskillende betekeniswaardes wat binne die konteks van Afrikanernasionalisme aan die Afrikanerbees toegeken is. Daar sal vasgestel word of en hoe hierdie betekenisse kon dien om die magsverhoudinge wat Afrikanernasionalisme gekenmerk het, te konstrueer en te ondersteun. Die roman vertel die verhaal van Ragel, ’n effens labiele jong fotograaf, wat die enigste erfgenaam is van haar pas oorlede oom en tante. Sy erf die plaas en beeskuddes, en moet besluit wat sy daarmee sal doen. Sy is ook die laaste bewaarder van ’n familiegeheim. Sy en haar kêrel staan op die punt om na Londen te verhuis en hy het haar gevra om te trou. Die nuus van haar oom se dood, die laaste van haar familie, roep vir Ragel alle vorige verliese op – veral ook die traumatiese dood van haar ma. Waar Ragel toegesluit in haar donkerkamer in hierdie liminale toestand verkeer, speel ook die groter familieverhaal homself af: die verhaal van familievader Rooi Jakob wat die verkeerde kind geseën het; van Anna wat in die oorlog moes vlug met haar kinders en beeste; van Magriet wat haar jonger seun verwerp het en die gevolglike wedywering tussen die twee broers, Louis en Jakob; en dan natuurlik ook die klein liefdesgeskiedenis van Beth en Louis, ’n lotsverbintenis wat alles tot ’n bitter einde gevoer het. Die verhaal is gevorm op die teorie dat ’n familie-fotoalbum ook ’n soort selfportret kan wees waarin ’n mens jouself kan (her)ontdek.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This study explores the way in which the construction of landscape interacts with the development of identity in Tikoes by Henk van Woerden. Taking the metaphor of traveling in Tikoes as vantage point, the coterminous development of the South African landscape and the characters' identities are explored. The study is placed in a theoretical framework by defining space, landscape and place, with specific reference to the interaction of landscape and identity, especially as portrayed in migrant literature. The difference between observation of space and the experiencing of landscape and place out of space through cultural processes are emphasized. It is postulated that these processes not only lead to the development of landscape and place out of space, but also contributes to the development of the characters' identities. Through an in-depth study of Tikoes, it is established that landscape and identity not only develop coterminously in this novel, but that these processes of development are actually interdependent. Tikoes, apparently a mere story about the journey of two lovers, is well constructed regarding the integration of themes and motives, which culminates in the cardinal interaction between observation and experience. The theme postulated by the motto is thus reflected in the structure of the novel: Let shallow people call me frivolous, when it comes to the point I have always been conscientiously precise. / AFRIKAANSE OPSOMMING: Die studie ondersoek die wyse waarop die konstruksie van landskap in wisselwerking tree met die ontwikkeling van identiteit in Tikoes deur Henk van Woerden. Met die reismetafoor binne Tikoes as uitgangspunt, word die samevallende ontwikkeling van die Suid-Afrikaanse landskap en die karakters se identiteite bestudeer. Die ondersoek word geplaas binne 'n teoretiese raamwerk oor ruimte, landskap en plek, met spesifieke verwysing na die verhouding tussen landskap en identiteit, soos veral verwoord in migranteliteratuur. Daar word onderskei tussen die waarneming van ruimte, en die gewaarwording van landskap en plek na aanleiding van die geografiese ruimte, deur kulturele prosesse. Dit word geponeer dat hierdie prosesse nie net lei tot die ontwikkeling van landskap en plek uit ruimte nie, maar ook bydra tot die ontwikkeling van die karakters se onderskeie identiteite. Deur 'n analise van Tikoes, word gevind dat landskap en identiteit nie net samevallend in dié roman ontwikkel nie, maar dat dié ontwikkelingsprosesse as't ware interafhanklik van mekaar staan. Tikoes, oënskynlik bloot 'n verhaaloor die reis van twee geliefdes, bied 'n deurgekomponeerdheid van temas en motiewe wat kulmineer in die kardinale wisselwerking tussen waarneming en gewaarwording, waardeur die roman die tema wat in die motto aangekondig word ook struktureel waar maak, naamlik: Laat de oppervlakkigen mij lichtzinnig noemen. Als het erop aankwam was ik altijd heel nauwgezet.

Thesis (MA) -- Stellenbosch University, 1998. / ENGLISH ABSTRACT: In this thesis the techniques of defamiliarisation in Gert Vlok Nel's Om te lewe is onnatuurlik (1993) are investigated, especially with the aid of the Russian Formalist concept ostranenie. The introductory chapter expounds the theoretical basis. With reference to some reviews the question is investigated whether the volume can be regarded as worker poetry. After this follows an explanation of the concept ostranenie as understood by the Formalists, especially Victor Shklovsky, and of the concept Verfremdungseffekt as formulated by Bertolt Brecht. These concepts are then compared with the postmodemist notion of de-naturalization as used by, for example, Linda Hutcheon. In addition to Formalist theory other theories will be used in an eclectic fashion: semiostructuralism (Mikhail Bakhtin and Michael Riffaterre), reception theory (Wolfgang Iser) and psychoanalysis (Harold Bloom). Because om te lewe is onnatuurlik was created in postmodemity, the theoretical approach is also predominantly of a poetmodern nature. In the practical part of the thesis seven poems are discussed in order to highlight the principal techniques of defamiliarisation in each one: the use of ellipses and parody ("die dag toe hulle vir Donkie Viviers"); selfreflexivity and metafidional elements (desember & see"); childlike focalisation and register (soeklig" and "boggellug"); typographical experimentation ("landskap"); spatial relativation ("Rita" and "hillside") and retardation ("hillside"). / AFRIKAANSE OPSOMMING: In hierdie tesis word ondersoek ingestel na die vervreemdingstegnieke in Gert Vlok Nel se bundel om te lewe is onnatuurlik (1993), veral met behulp van die Russiese Formalistiese teorie oor die begrip ostranenie. Die inleidende hoofstuk hied 'n uiteensetting van die teoretiese hegrollding. Met verwysing na enkele resensies word daar eerstens ondersoek of die bundel as werkerspoosie beskou kan word. Hierna volg 'n uiteensetting van die konsep ostranenie soos gehanteer deur die Formaliste, veral Viktor Sklovsky, en van die konsep Verfremdungseffekt, soos geformuleer deur Bertolt Brecht. Hierdie begrippe word dan vergelyk met die postmodernietiese begrip de-naturalisasie soos gebruik deur byvoorbeeld Linda Hutcheon. Naas die Formalistiese teorie word ander teoriee op eklektiese wyee in hierdie .tudie betrek: die semio-strukturalisme (Mikhail Bakhtin en Michael Riffaterre), resepsieteorie (Wolfgang Iser) en psigo-analise (Harold Bloom). Omdat die bundel om lewe is onnatuurlik in die post· moclemiteit geskep is, is die invalshoek hoofsaaklik p08tmodernisties van aard. In diepraktiese deel van die tesis word &ewe gedigte bespreek ten einde die belangrikste vervreemdingstegnieke in elk uit te lig: die gebruik van ellipee en parodiering ('"die dag toe hulle vir Donkie Viviers'); selfrefieksie en metapoitiese elemente ("desember & see"); kinderlike fokalisering en register reoeklig" en "boggellug"); tipografiese eksperimentering ("landskap"); ruimtelike relativering ("Rita" en ··hillside");en vertraging ("hillside").

Thesis (MA)--Stellenbosch University, 2012. / AFRIKAANSE OPSOMMING: J. M. Coetzee se werke ondersoek dikwels op intense en ongewone wyse wat kreatiwiteit is en hoe dit werk, wat die bronne en oorspronge daarvan is, en verwonder sig aan die onvoorspelbaarheid van die voorwaardes en katalisators vir, en die aard en uitkomste van, die kreatiewe proses. Hierdie essay ondersoek eerstens die teoretisering van literêre kreatiwiteit deur veral Derek Attridge, wat hy hoofsaaklik baseer op Coetzee se werk. Tweedens word die komplekse uitbeeldings – of performance – van kreatiwiteit en die kreatiewe proses in Coetzee se oeuvre, spesifiek aan die hand van The Master of Petersburg en die post-Disgrace werke, ontleed. Daar word gefokus op skeppende karakters en alter ego’s, veral skrywers, wat toenemend hul verskyning in Coetzee se prosa maak. Kwessies van skrywerlike mag, die etiek van skryf, die konflik tussen werklikheidsvlakke binne fiksie asook tussen werklikheid en fiksie, soos dit uitspeel in die hibriede en eksperimentele laat werke, kom aan bod. Die essay maak dikwels van stipleestegnieke gebruik in die lees van die betrokke werke. Ander strategieë word egter ook ingespan, veral by die lees van die laat werke. Die siening van kreatiewe impuls wat aldus blyk, is ‘n radikale een. Kreatiwiteit is blind vir moraliteit en dalk selfs etiek. Dit word onder andere gelykgestel aan die epileptiese val. Dit gaan oor die oopstelling vir – en die eksklusiewe verantwoordelikheid teenoor – die onverwagse, die Beckettiaanse/Derridiaanse proses van ‘n produktiewe/onproduktiewe gewag. Dit word vergestalt deur ‘n gebeurtenis wat beslag vind in die onverminderbare eiesoortigheid van die literêre werk. / ENGLISH ABSTRACT: J. M. Coetzee’s work often investigates in an intense and unusual manner the nature of creativity and how it works, what the sources and origins of creativity are, and marvels at the unpredictability of the preconditions and catalysts for, and the nature and outcomes of, the creative process. This essay investigates, in the first place, the theorisation of literary creativity by especially Derek Attridge, which he mainly bases on Coetzee’s work. In the second instance, the complex portrayals – or performances – of creativity and the creative process in Coetzee’s oeuvre are analysed, particularly with reference to The Master of Petersburg and the post-Disgrace works. The focus is on creative characters, particularly authors, who are increasingly making an appearance in Coetzee’s prose. Questions of authorial power, the ethics of writing, the conflict of reality levels within fiction as well as between reality and fiction, as it plays out in the hybird and experimental late works, are presented. The essay often uses close reading in the reading of the mentioned works. Other strategies are also used, particularly in the reading of the late works. The view of the creative impulse thus crystallising, is a radical one. Creativity is blind to morality, and perhaps also ethics. It is equated, inter alia, to the epileptic fit. It is about the opening up – and the exclusive responsibility – to the unexpected, to the Beckettian/Derridian process of a productive/unproductive waiting. It is represented by a happening which precipitates in the irreducible singularity of the literary work.

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this study the genre-theory of the ‘female’ Bildungsroman is utilised as a theoretical lens in the analysis of Annerkant die longdrop [Beyond sanity] by Anoeschka von Meck (1998) and De vriendschap [The friendship] by Connie Palmen. Differences and similarities between these narratives of female development, in comparison to the traditional Bildungsroman and ‘female’ Bildungsroman, are identified. This procédé leads to new insights regarding the female characters and their journeys to selfhood in Annerkant die longdrop and De vriendschap. The ‘female’ Bildungsroman is distinguished from her patriarchal counterpart by the central motifs of the developing female body and sexuality which are inscribed in the discourse. These motifs and the subversion of the traditional Bildungsroman are linked with French feminists’ concept of écriture féminine. By comparing Annerkant die longdrop and De vriendschap as ‘female’ Bildungsromane and examples of écriture féminine new derivations can be made about the genre and narratives of female development. The difference between male and female development is one of the aspects highlighted when the ‘female’ Bildungsroman is utilised as theoretical lens. Furthermore the fluidity and instability of the female subject and of the texts in which she comes to life are emphasized. This study raises new questions about the development and emancipation of the female character in Afrikaans literature from 1960 onwards. Furthermore it demonstrates that the theory of the Bildungsroman opens up new research possibilities, especially regarding identity, and can be utilised in the reading of a variety of Afrikaans texts. / AFRIKAANSE OPSOMMING: Die genre-teorie van die ‘vroulike’ Bildungsroman dien in hierdie studie as primêre teoretiese bril of lens by die analise van Annerkant die longdrop (1998) deur Anoeschka von Meck en De vriendschap (1995) deur Connie Palmen. Die ontwikkeling van vroulike protagoniste in hierdie romans word met die eienskappe van beide die tradisionele Bildungsroman én die ‘vroulike’ Bildungsroman in verband gebring en vergelyk. Dié procédé bring nuwe aspekte oor die ontwikkelende vrouekarakters en ontwikkelingsreise in Annerkant die longdrop en De vriendschap na vore. Die wyse waarop die ‘vroulike’ Bildungsroman die literêre grense van die tradisionele Bildungsroman ondermyn en die ontwikkelende vroulike liggaam en seksualiteit inskryf in die diskoers, word met Franse feministe se teoretiese konsep van écriture féminine in verband gebring. Uit die vergelyking van Annerkant die longdrop en De vriendschap blyk dit dat die genre-teorie van die ‘vroulike’ Bildungsroman en die feministiese tradisie van die écriture féminine nuwe aspekte oor narratiewe van vroulike ontwikkeling na vore bring. So beklemtoon hierdie teorie byvoorbeeld die verskil tussen manlike en vroulike ontwikkeling en wys op sowel die vloeiende, onvaste aard van hedendaagse vroulike subjekte as op die tekste wat die ontwikkeling van hierdie vroulike subjekte verwoord. Nuwe vrae oor die mate waarin Afrikaanse vrouekarakters sedert die sestigerjare ontwikkel het, kan na aanleiding van hierdie studie gestel word. Verder wys die ondersoek op nuwe navorsingsmoontlikhede, veral in terme van die soeke na identiteit, wat die Bildungsroman inhou by die bestudering van die Afrikaanse literatuur.

Thesis (MA)--Stellenbosch University, 1924. / No abstract available.

Thesis (MA)-- Stellenbosch University, 2013. / AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis is ʼn opstel met die titel Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners en die tweede deel is ʼn roman getiteld ʼn Duisend stories oor Johannesburg. Die roman en die opstel hou tematies met mekaar verband. Soos die roman, speel al drie bekroonde werke in Johannesburg af met Afrikaners as sentrale karakters. Die bepaalde historiese konteks waarin elkeen van die drie pryswenners verskyn het, dikteer die invalshoek van die opstel, hoe die werk krities ontvang is, sowel as die rol en waarde wat deur die Afrikaner-instelling daaraan toegeken is. Daar sal verder in die bespreking getoon word watter rol die Hertzogprys in die skepping van die Afrikaner-instelling gespeel het. Die gebruik van die begrip en eienaam “Afrikaner” in hierdie bespreking verwys na die wit, Afrikaanssprekende, Christelike gemeenskap in Suid-Afrika, in die sin dat dit ooreenstem met die (uiters aanvegbare) stelling dat alle wit Afrikaanssprekers saamgevoeg kan word in ʼn organiese “volkseenheid”. Hierdie voorveronderstelling aanvaar ook dat hierdie “Afrikanerdom” tradisionele, konserwatiewe volkswaardes deel, en altyd beskikbaar is vir mobilisering ter wille van gedeelde Afrikaner-belange, soos deur Dan O‟Meara gedefinieer in sy Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). Hierdie kwessies word, onder meer, deur die polisisteemteorie van die Israeliese kultuurnavorser, Itamar Even-Zohar, asook J.B. Thompson se kritiese teorie van ideologie gedoen. Daar word ook na Jacques Rancière se teorie oor “die verspreiding van die waarneembare” (the distribution of the sensible) verwys. Daar word tot die gevolgtrekking gekom dat die Hertzogprys van meet af aan in diens van die Afrikaner-instelling gestaan het en ten spyte van ʼn veranderende ideologiese landskap, ʼn voortgesette rol gespeel het in die daarstelling van die Afrikaner-repertoire. Binne die polisisteemteorie is die “repertoire” die versameling reëls en elemente wat die produksie van tekste bepaal. Die term “instelling” verwys na die faktore wat betrokke is by die instandhouding van die letterkunde as ʼn sosio-kulturele aktiwiteit. Die roman speel af in ʼn klein Johannesburgse hotelletjie, genaamd Mei Villa, in die buurt Belgravia, tydens ʼn uitbarsting van xenofobiese geweld in 2008. Binne ʼn raamverhaalstruktuur fokus die roman op twee karakters, naamlik die ontheemde argitek, Zweig van Niekerk, wat na 40 jaar na Johannesburg terugkeer, asook die hoteleienaar, die bekroonde maar mindere digter, Bosman Hiemstra. Omring deur hotelgaste en personeel met hulle uiteenlopende verhale, soek Zweig van Niekerk tevergeefs na die Johannesburg van sy jeug, terwyl Bosman Hiemstra met ewe min sukses ʼn tweede digbundel probeer skryf. Aan die einde van die boek begin die digter ʼn roman te skryf met sy gas se lewensverhaal as gegewe dalk ook die boek wat die leser pas klaar gelees het. / ENGLISH ABSTRACT: The first part of this thesis is an essay titled Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners (From farm yard to back yard: The depiction of Afrikaners in Johannesburg in three Hertzog Prize winners) and the second part is a novel called ʼn Duisend stories oor Johannesburg (A thousand tales of Johannesburg). The novel and the essay are thematically linked. Like the novel, the three Hertzog Prize winners takes place in Johannesburg with Afrikaners as central characters. The point of departure of the essay is the historical context in which the three literary works were published, the critical reception thereof and what role and value was attributed to it by the Afrikaner institution. The role played by the Hertzog Prize in the creation of the Afrikaner institution will also be discussed. The term “Afrikaner” in this discussion refers to the white Afrikaans-speaking, Christian community in South Africa, in the sense that it correlates with the (highly debatable) contention that all white Afrikaans-speakers can be combined in an organic “volkseenheid”. This use of the term assumes that “Afrikanerdom” also shares traditional, conservative national values, and is always available for mobilisation in service of shared Afrikaner interests, as defined by Dan O'Meara in his Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). To examine these issues, the polysystem theory of the Israeli cultural researcher, Itamar Even-Zohar, as well as J.B. Thompson's critical theory of ideology, will be used. Reference is also made to Jacques Rancière's theory around “the distribution of the sensible”. The conclusion is reached that despite a continuously changing ideological landscape, the Hertzog Prize served the interests of the Afrikaner institution from the very start and played an ongoing role in the Afrikaner repertoire. Within the polysystem theory the “repertoire” is the aggregate of rules and elements which determine the production of texts. The term “institution” refers to the factors involved in the maintenance of literature as a socio-cultural activity. The novel is set in a small hotel, Mei Villa, in the Belgravia neighbourhood in Johannesburg during an outbreak of xenophobic violence in 2008. Within the story structure it focuses on two characters, the displaced architect, Zweig van Niekerk, who returns to Johannesburg after 40 years, and the hotel owner and award-winning, but lesser poet, Bosman Hiemstra. Surrounded by other hotel guests and staff with their own stories, Zweig van Niekerk searches in vain for the Johannesburg of his youth, while Bosman Hiemstra attempts with equal lack of success, to write a second book of poetry. At the end of the book the poet starts to write a novel using his guest's life as material; that could be the book that the reader has just completed.

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 (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.

Dissertation (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: The main aim of this study is to investigate the possibility of using a postmodern reading strategy for Afrikaans poetry, in particular that type of poetry which, following Linda Hutcheon, I will call historiographic metapoetry. The investigation consists of four phases. Firstly, in order to implement Hutcheon's model, cognisance will be taken of the theory of postmodernism (chapters 1- 3), particularly with regard to poetry, since the latter is apparently a marginalised genre in this theorisation. The second phase of the investigation encompasses a discussion of the discourse on postmodernism and poetry in America, the NetherlandsIFlanders and in Afrikaans (chapters 4-6, respectively). Attention is given to matters such as the developmental history of postmodernism, theorising on postmodern poetry and the practice of anthologising. The third phase bridges the gap between research on postmodernism and that on historiographic metapoetry (chapter 7). The focus will be on Pirow Bekker's poem "Apollo Smintheus", with specific attention being given to the representation of the event (the journey of Jonas de la Guerre into the hinterland in 1664) in the journal texts and other historiographic sources. Hutcheon's distinction between event and fact will also be adopted in the analysis. The last phase of this study is an application of Hutcheon's model to Wilma Stockenstrëm's poem, Die heengaanrefrein, a self-reflexive text on the arrival of the Huguenots in South Africa in 1688 (chapters 8-12). As an introduction to the discussion of the text, the problematising of various types of borders in the poem is examined. This is followed by an analysis of extracts from Die heengaanrefrein with reference to four matters that are, according to Hutcheon, central to postmodern theory and practice. These are: intertextuality, parody and the discourses of history; the problem of reference; the subject and the representation of subjectivity; and lastly ideological implications and political double-coding. The discussion of Die heengaanrefrein is supplemented with shorter discussions of other texts, for example, George H. Weideman's "Kieselguhr-kleim", two short poems from Breyten Breytenbach's Soos die so and P.J. Philander's poems "Die klippe praat" and "Genesis". In Chapter 13, the final chapter, the findings are summarised and Hutcheon's model is evaluated. / AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is 'n ondersoek na die moontlikheid om 'n postmodernistiese leesbenadering aan te wend by die lees van die Afrikaanse poësie, in die besonder daardie soort gedigte wat ek na aanleiding van Linda Hutcheon historiografiese metapoësie wil noem. Die ondersoek bestaan uit vier fases. Ten einde Hutcheon se model te implementeer, word daar eerstens bestek geneem van die teoretisering oor die postmodernisme (hoofstukke 1-3), veral wat die poësie betref, aangesien laasgenoemde 'n gemarginaliseerde genre in hierdie teoretisering blyk te wees. Die tweede fase van die ondersoek omvat 'n bespreking van die diskoers oor postmodernisme en poësie in onderskeidelik Amerika, NederlandIVlaandere en Afrikaans (hoofstukke 4-6). Sake wat aandag geniet, is die ontwikkelingsgeskiedenis van die postmodernisme, die teoretisering oor postmodernistiese poësie en die antologiseringspraktyk. Die derde fase is 'n oorbrugging tussen die navorsing oor die postmodernisme en dié oor historiografiese metapoësie (hoofstuk 7). Pirow Bekker se gedig "Apollo Smintheus" kom onder die soeklig, met spesifieke aandag aan die representasie van die gebeurtenis (die sogenaamde landsreis van Jonas de la Guerre in 1664 die binneland in) in die joernaaltekste en ander historiografiese bronne; Hutcheon se onderskeid tussen event en fact word ook betrek. Die laaste fase van die studie is 'n toepassing van Hutcheon se modelop Wilma Stockenstrom se gedig Die heengaanrefrein, 'n selfbesinnende teks oor die koms. van die Hugenote na Suid-Afrika in 1688 (hoofstukke 8-12). Ter inleiding van die teksbespreking word die problematisering van verskillende soorte grense in die gedig nagegaan. Dit word gevolg deur analises van fragmente uit Die heengaanrefrein na aanleiding van vier kwessies wat volgens Hutcheon sentraal staan in die postmodernistiese teorie en praktyk. Hierdie sake is: intertekstualiteit, parodie en die diskoerse van die geskiedenis; die problematiek van referensialiteit; die subjek en die representasie van subjektiwiteit; en ideologiese implikasies en politieke dubbelkodering. In die loop van die studie word die bespreking van Die heengaanrefrein aangevul met korter besprekings van ander tekste, soos byvoorbeeld George H. Weideman se "Kieselguhr-kleim", twee gedigte uit Breyten Breytenbach se Soos die so en P.J. Philander se gedigte "Die klippe praat" en "Genesis". Inhoofstuk 13, die sluitstuk, word die bevindinge saamgevat en Hutcheon se model beoordeel.