Thesis (PhD)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: At the start of the twentieth century Afrikaans humour was researched quite intensively. Since then, however, such research has been relatively sporadic and has concentrated on related sub-genres of humour, such as satire, irony and wit. This dissertation investigates anew the phenomenon of humour as manifested in Afrikaans short story texts, from the dual starting points of a current context and of the extensive theoretical studies done by other researchers worldwide. In the process, humour is viewed as a communicative strategy, a combination of codes which writers utilize within a specific socio-political context in order to create humorous effects and elicit resultant reactions from readers. One of the primary aims of this investigation into the codes and strategies employed by Afrikaans writers in the humorous short story genre, is to determine whether they coincide with universal tendencies or whether they have certain unique features. After a broad exposition of the historical background and of the evolution of the continually changing concept humour, attention is paid to theories regarding its nature and effect. The creative interaction between related modi, like comedy, satire, irony, wit, burlesque, travesty, parody, caricature, grotesque, absurd and black humour and their contribution to one's experience of humour are all researched. Initially, the Afrikaans humour-tradition is set against its historical background. Following this, a more detailed investigation considers strategies of humour selected from Afrikaans short story texts from 1884 to 2001. These are selected for their variety of types of humour and according to criteria relating to structure, style and convention. The major emphasis is placed on short stories of the past two decades, in an attempt to measure the era-relatedness of humour and the interaction with the prevailing socio-political context. These various stylistic strategies are contextualized in writers' deliberate attempts to create a humorous outcome. Along with generally universal characteristics - like the interaction of humorous and non-humorous texts, with time-bound trends (in common with other literatures) - it is concluded that the Afrikaans humorous short story is strongly ancho.ed both in relevance and contextuality. Humour remains a vibrant aspect of the Afrikaans short story and, by keeping this tradition alive, it also remains popular with the reading public. / AFRIKAANSE OPSOMMING: Nadat daar aan die begin van die twintigste eeu betreklik intensiewe navorsing oor humor in Afrikaans gepubliseer is, het sedertdien slegs sporadiese studies verskyn oor verwante humormodi soos satire, ironie en geestigheid. Hierdie proefskrif wil gevolglik vanuit 'n huidige konteks, en na aanleiding van die uitgebreide teoretisering en navorsing elders ter wêreld, die verskynsel humor opnuut ondersoek, soos gemanifesteer in Afrikaanse kortverhaaltekste. Humor word in die proses benader as 'n kommunikatiewe strategie, 'n versameling kodes wat skrywers binne 'n bepaalde sosio-politieke konteks aanwend, met die oogmerk om humoristiese effekte te bewerkstellig en bepaalde reaksies by lesers uit te lok. Dié studie wil veral vasstel watter kodes en strategieë Afrikaanse humoristiese kortverhaalskrywers hierby gebruik, of dit ooreenstem met breë tendense elders of eie is aan Afrikaans. Na 'n oorsigtelike uiteensetting van die historiese grondslae en die evolusie van die steeds veranderende begrip humor, word aandag bestee aan teorieë oor die aard en effek daarvan. Die vrugbare interaksie tussen verwante modi soos die komedie, satire, ironie, geestigheid, die burleske, travestie, parodie, karikatuur, die groteske, die absurde en swart humor, asook die bydrae daarvan tot die humorbelewing, word vervolgens ondersoek. Die Afrikaanse humortradisie word eers oorsigtelik histories nagespeur, waarna nadere ondersoek ingestel word na humorstrategieë aan die hand van Afrikaanse kortverhaaltekste wat dateer van 1884 tot 2001, geselekteer op grond van sowel verskeidenheid met betrekking tot die tipe humor as kriteria soos struktuur, styl en konvensie. Die klem val op kortverhale uit die afgelope twee dekades, ten einde aspekte soos die tydgebondenheid van humor en die interaksie met die heersende sosiopolitieke konteks te probeer bepaal. Die verskillende stylstrategieë wat geïdentifiseer is, word in verband gebring met die skrywers se berekende opset om 'n humoristiese uitkoms te bewerkstellig. Naas meer universele kenmerke, soos die wisselwerking tussen humor en erns in dié tipe tekste en tydspesifieke neigings (in ooreenstemming met ander letterkundes), soos die toename in groteske en absurde tipe verhale, word bevind dat die Afrikaanse humor- en humoristiese verhaal sterk kontekstueel veranker is. Humor in die Afrikaanse kortverhaal word steeds op 'n lewenskragtige wyse beoefen deur skrywers en bly gewild by lesers.

Thesis (PhD) -- Stellenbosch University, 1988. / ENGLISH ABSTRACT: no abstract available / AFRIKAANSE OPSOMMING: geen opsomming

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.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2007. / This study compares Etienne Leroux’s Die eerste siklus and Jaco Fouché’s Die avonture van Pieter Francken. In Chapter 1, similarities between their works, as discussed by critics in reviews and articles, are examined. The different theories that exist about the field of comparative literature are also discussed, and a theory is formulated which can be applied to this study. Aspects of the novels that are going to be discussed are also set out. Chapter 2 deals with the socio-political as well as the literary-historical contexts in which Leroux and Fouché published their work. In the case of the socio-political context, a distinction is made between the time and place in which the works were published, and the context in which the narration of the novels are set. Chapter 3 deals with the figure of the outsider. The outsider figures in the novels are identified and compared to each other. Chapter 4 deals with the way in which the traditional knight tales function as an inter-text and how some of the characters are portrayed as the Jungian archetype of the “knight” or “hero”. In the conclusion the main points of the comparison are brought together.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Since the sixties many short story collections referred to as ‘eenheidsbundels’ (‘unified volumes’) have appeared in Afrikaans. Especially those collections published since the eighties and nineties prominently display an overall unity suggestive of the greater unity found in the novel. These collections are usually characterised by the recurring appearance of characters beyond the borders of the individual stories and the use of themes and recurring motifs that run through the collection. Sometimes the separate stories within a collection share the same time period or geographical space. The same narrator may also appear throughout the collection. Although the individual stories within a volume may be regarded in isolation (or even published in isolation), they will inevitably be deprived of possible interpretations that would otherwise have been evident in relation to the collection as a whole. As a result, it would seem that the boundary between the short story volume and the novel becomes blurred in these unified collections. The main objective of this thesis is to try to determine whether the short story collections under discussion represent a new genre or subgenre or whether they could possibly constitute a continuation of an existing genre. The point of departure is the suggestion by J.P. Smuts (1989: 23) that the phenomenon is linked to the writers of the sixties’ rebellion against stereotyped literary forms and that these collections appear to represent an intermediate form, something that lies between the traditional short story collection and the novel. Chapter 2 serves as the theoretical foundation of the research: the traditional characteristics of the short story and novel are investigated. Postmodernism as school of thought associated with the problematisation of the boundaries between genres is also investigated. In Chapters 3 and 4 two unified collections from the nineties are analysed: Jaco Botha’s Sweisbril (1999) and S.P. Benjamin’s Die lewe is ’n halwe roman (1999). The purpose of these analyses is to determine the extent to which the extensive unity in these collections can be compared to the unity found in the novel. The secondary goal of the thesis is to suggest (in response to Maritha Snyman’s appeal (2011)) a more suitable Afrikaans name for the study object (“eenheidsbundel”). Neil Cochrane and Nina Botes’s proposed term “kortverhaalsiklus” (“short story cycle”) (2011) is considered, but Andr P. Brink’s reference to “’n soort kortverhaal-roman” (“a kind of short story novel”) finally takes precedence. The conclusion finds that the type of collection under discussion does represent a hybrid intermediary form located somewhere between the traditional short story collection and the novel, a form the development of which was probably influenced by postmodernism. The form seems to be a continuation of the tradition of the short story collection, one that has evolved towards the novel. Cochrane and Botes’s term “kortverhaalsiklus” is rejected in favour of the proposed term “kortverhaal-roman” (with some qualifications). This term can co-exist with terms such as “hibridiese bundel” (“hybrid volume”) or the more vague “eenheidsbundel”. The observation that the term “kortverhaalsiklus” does not convey the hybrid quality of the form, and the fact that Suzanne Ferguson (2003) points out that not all unified volumes are necessarily cycles, was decisive. / AFRIKAANSE OPSOMMING: Van die sestigerjare af het daar verskeie kortverhaalbundels in Afrikaans verskyn waarna literatore as ‘eenheidsbundels’ verwys. Veral di sedert die tagtiger- en ne ntigerjare toon ’n opvallende hegtheid wat selfs aan die groter eenheid van die roman herinner. Hierdie bundels word byvoorbeeld gekenmerk deur karakteroorvleuelings oor die grense van die verskillende verhale heen, die gebruik van oorkoepelende temas en die deurgaanse herhaling van motiewe. Soms deel die verskillende verhale in ’n bundel dieselfde tydvak of geografiese ruimte. Dieselfde vertellende instansie kan ook regdeur die bundel voorkom. Alhoewel die aparte bundelverhale in isolasie beskou (of selfs gepubliseer) kan word, word hulle so van interpretasiemoontlikhede ontneem wat slegs binne bundelverband waargeneem kan word. Dit wil gevolglik voorkom of die grens tussen die kortverhaalbundel en die roman in die eenheidsbundel vervaag. Die hoofdoelwit van hierdie tesis is om te probeer vasstel of die hegte eenheidsbundel van veral sedert die tagtigerjare in Afrikaans ’n nuwe genre of subgenre verteenwoordig en of dit moontlik ’n voortbouing op ’n bestaande genre is. Daar word uitgegaan van J.P. Smuts (1989: 23) se stelling dat die betrokke verskynsel aan die jare sestig se opstand teen geykte liter re vorme te koppel is en dat hierdie bundels ’n tussenvorm is, iets wat tussen die tradisionele kortverhaalbundel en die roman l . Hoofstuk 2 dien as die teoretiese basis van die ondersoek: die algemene kenmerke van die tradisionele kortverhaal en roman word ondersoek. Die postmodernisme as denkrigting wat met die opheffing van genregrense geassosieer word, word ook kortliks ondersoek. In hoofstukke 3 en 4 word twee hegte eenheidsbundels uit die ne ntigerjare breedvoerig bespreek: Jaco Botha se Sweisbril (1999) en S.P. Benjamin se Die lewe is ’n halwe roman (1999). Die oogmerk is om vas te stel in hoeverre die uitgebreide eenheid in hierdie bundels aan die hegte eenheid van die roman herinner. Die sekond re doelwit van die tesis is om, na aanleiding van Maritha Snyman (2011) se pleidooi, ’n meer geskikte benaming vir die studieobjek (“eenheidsbundel”) te probeer voorstel. Neil Cochrane en Nina Botes (2011) se keuse van die term “kortverhaalsiklus” vir die hegter soort eenheidsbundel word bekyk, maar Andr P. Brink se verwysing na “’n soort kortverhaal-roman” geniet voorlopige voorkeur. In die konklusie word bevind dat die bespreekte bundels wel ’n hibridiese tussenvorm verteenwoordig wat iewers tussen die tradisionele kortverhaalbundel en die roman gele is en waarvan die ontstaan en ontwikkeling waarskynlik deur die postmodernisme be nvloed is. Die vorm blyk ’n voortsetting van die kortverhaalbundeltradisie te wees wat in die rigting van die roman ge volueer het. Cochrane en Botes se term “kortverhaalsiklus” word afgewys ten gunste van die voorgestelde term “kortverhaal-roman” (met voorbehoude) wat naas terme soos “hibridiese bundel” en die vaer “eenheidsbundel” sou kon bestaan. Die waarneming dat die term “kortverhaalsiklus” niks oor die romanagtigheid of die hibriditeit van die vorm oordra nie, terwyl Suzanne Ferguson (2003) onder andere daarop wys dat nie alle eenheidsbundels noodwendig siklusse is nie, was hier deurslaggewend.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005. / The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images. Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution. I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself. This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2006. / This study explores the manner in which the incomprehensibility of people’s lives and the relativity of history are portrayed in Sleuteloog by Hella Haasse. The expansion of these two themes focuses on the roles of perspective and focalisation and their connection to the identity of the self and the “other” against the backdrop of Dutch India /Indonesia and the Netherlands.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007. / In this thesis I examine the Gothic elements in François Bloemof’s debut novel, Die nag het net een oog (1991). There are two reasons this novel can be seen as an exemplary text in Afrikaans: firstly, it contributes to a genre of which there are very few examples in Afrikaans, namely the Gothic novel. Secondly, it leads to a reevaluation of texts of C.J. Langenhoven, C. Louis Leipoldt and Marius Gie (pseudonym of Martha C Gieseke). Apart from a discussion of the Gothic novel in general and specifically Bloemhof’s novel, this thesis also examines his large oeuvre, constant focus on renewal and his position in the Afrikaans literary system. The Gothic novel is generally regarded as a form of popular literature. This aspect, together with the history, function, development and characteristics of the Gothic novel, is also looked at in the thesis in an attempt to contribute to the minimal theoretization on this subject in Afrikaans. Lastly I will discuss the Gothic elements in Bloemhof’ s debut novel. Die nag het net een oog has many of the characteristics of the earlier Gothic novels, but Bloemhof renews them by crossing over conventional boundaries. The heroine being the rescuer instead of the rescuee, is one such example. The study is concluded with short summarizing comments and suggestions for further study.

Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This study investigates the representation of the female subject in Marlene van Niekerk’s novel, Agaat (2004). The female subjects, Milla and Agaat, are the focus of this study. Both women are subjected to drastic situations, which not only influence their relationship, but also their respective identities. This turn of events lead up to a power struggle between Milla and Agaat, which eventually gets reversed throughout the course of the narrative. The focus is essentially on the complex structure of the novel, where a prologue and epilogue serve as a framework for the four different story lines, each with its own narrative technique. A number of theoretical approaches will be employed in order to explore the discussion of the female subject. The novel, which is presented throughout by a single narrator, leads the study to concepts such as representation, subjectivity and identity. In an attempt to understand “the other”, the central role of language and mirrors with regard to representation is explored. Van Niekerk’s reinvention and even subversion of the farm novel of the late twentieth century involves ideologies of the Afrikaner such as land and religion, gender, politics and culture. This strategy results in the focus on concepts like subjectivity and identity. Both these processes will be explored in an attempt to gain insight into the characters. Key elements such as displacement, substitution and revenge give momentum to the chain of events in the story and lead up to introspection by both women. It is especially Milla’s terminal illness that induces introspection and preparation, for both Milla and Agaat, towards death. The influence of all these events, Milla and Agaat’s mutual dependence on each other, as well as the way in which they position themselves in the face of death, prompt this study. This study explores the influence of these events on women, the power struggle that developed out of this and the way in which their respective roles are reversed. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die representasie van die vroulike subjek in Marlene van Niekerk se roman Agaat (2004). Daar word gefokus op die twee vroue in die verhaal, Milla en Agaat. Beide vroue word aan ingrypende situasies onderwerp, wat ʼn invloed op hulle verhouding sowel as hulle onderskeie identiteite het. Hierdie gebeure lei tot ʼn magspel tussen Milla en Agaat, wat tydens die verloop van die verhaalgebeure volledig omgekeer word. Die fokus val eerstens op die roman se ingewikkelde vertelstruktuur waarin daar sprake is van ʼn pro- en epiloog as raamwerk waarbinne vier verhaallyne, elk met sy eie verteltegniek, gebruik word. ʼn Verskeidenheid teoretiese uitgangspunte word nagegaan ten einde die representasie van die vroulike subjek te ondersoek. Die roman, wat deurentyd uit die perspektief van een verteller aangebied word, lei die studie na ondersoekterreine soos representasie, subjektiwiteit en identiteit. Die sentrale rol van taal en spieëls ten opsigte van representasie en in die poging om die “ander” te kan verstaan, word nagegaan. Van Niekerk se herskrywing van die plaasroman in die laat twintigste eeu betrek op subtiele wyse die ideologieë van die Afrikaner rondom grond en religie, gender, politiek en kultuur. Dit lei tot die fokus op subjektiwiteit en identiteit. Beide hierdie prosesse word in die studie ondersoek ten einde begrip vir die karakters te probeer vind. Elemente soos verplasing, plaasvervangerskap en vergelding gee stukrag aan die verhaalgebeure en lei tot besinning by albei vroue. Dit is veral Milla se terminale siekte wat aanleiding gee tot bestekopname en voorbereiding op die dood. Die invloed van al dié gebeure en hoe twee vroue wat op mekaar aangewese is, hulleself posisioneer ten opsigte van die dood, gee aanleiding tot hierdie studie. Die studie onderneem om ondersoek in te stel na die invloed van gebeure by beide vroue, die magspel wat hieruit ontwikkel en hoe die rolle stelselmatig omruil in die verhaalgebeure.

Thesis (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Lewis Carroll’s classic children’s tale Alice’s Adventures in Wonderland, as well as its sequel, Through the Looking-Glass and What Alice Found There, have the reputation of being the most quoted and translated texts of all time, after the Bible and Shakespeare. The status of the Alice books as timeless classics is confirmed by the numerous translations and adaptations of the texts that have already been made and is still being made. In this study, a descriptive investigation of André P. Brink’s Afrikaans translation of Carroll’s classic children’s books is undertaken in order to investigate whether the translation is still suitable for Afrikaans readers today. Brink’s Afrikaans translation of Alice’s Adventures in Wonderland was published in 1965, and his translation of Through the Looking-Glass and What Alice Found There in 1968. Firstly, an overview of the most important theoretical contributions to translation studies since the nineteen-eighties is given to provide a foundation for the investigation and description of translations. Relevant terminology, such as adequacy and acceptability, will be explained. Emphasis will especially be placed on the interaction between the theoretical contributions, which will serve as a basis for the conclusion drawn regarding the suitability of the translation. The conclusion will be based on an application where the translation will be investigated. The translation is studied from a theoretical point of view on macrostructural as well as microstructural level. In the macrostructural analysis, references to the title, cover pages, illustrations, chapter titles, and the (in)visibility of the translator will be made. The microstructural analysis comprises an investigation of how Brink dealt with translation problems that arose during the particular translation. As a result of the investigation of the translation, conclusions can be drawn regarding the suitability of the translation for current readers. A recommendation on the possibility of a retranslation is also offered. / AFRIKAANSE OPSOMMING: Lewis Carroll se klassieke kinderverhaal Alice’s Adventures in Wonderland en die opvolg Through the Looking-Glass and What Alice Found There, het die reputasie as die tekste wat, naas die Bybel en Shakespeare, die meeste aangehaal word en vertaal word van alle tekste. Die status van die Alice-verhale as tydlose, klassieke verhale word bevestig deur die verskeie vertalings en verwerkings daarvan wat reeds gedoen is en steeds onderneem word. In hierdie studie word ’n beskrywende ondersoek van André P. Brink se Afrikaanse vertaling van Carroll se verhale onderneem om vas te stel of die vertalings vir huidige lesers steeds gepas is. Brink se Afrikaanse vertaling van Alice’s Adventures in Wonderland is reeds in 1965 gepubliseer en die vertaling van Through the Looking-Glass and What Alice Found There in 1968. ’n Oorsig oor die vernaamste vertaalteoretiese bydraes sedert die tagtigerjare word eerstens gebied as gronding vir die bestudering en beskrywing van vertalings. Relevante terminologie, waaronder geskiktheid en aanvaarbaarheid, kom ook aan bod. Daar word veral klem gelê op die interaksie tussen die teoretiese bydraes, wat gesamentlik dien as ’n grondslag vir die gevolgtrekking wat gemaak word oor die gepastheid van die vertaling. Die oordeel oor die gepastheid, al dan nie, van die vertaling word gegrond op ’n toepassing waar die vertaling bestudeer word. Die vertaling word vanuit ’n vertaalteoretiese oogpunt op makro- sowel as mikrovlak bestudeer. Op makrovlak word daar onder andere verwys na die titel, voorblaaie, illustrasies, hoofstuktitels en die (on)sigbaarheid van die vertaler. Die bestudering van die vertaling op mikrovlak behels ’n ondersoek na Brink se hantering van vertaalprobleme wat in die betrokke vertaalsituasie ontstaan. Na aanleiding van die bestudering van die vertaling kan daar afleidings gemaak word oor die gepastheid daarvan vir huidige lesers en word ’n aanbeveling gemaak oor die moontlikheid van ’n hervertaling.