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Henk van Woerden se Een mond vol glas en die skep van 'n kultureel meerstemmige Suid-Afrikaanse geskiedenisConradie, Rachelle (Rachelle Willene) 12 1900 (has links)
Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: The aim of this study is to investigate Henk: van Woerden's Een mond vol glas (1998) (A
Mouthful of glass (2000) translated by Dan Jacobson) as a contribution to the creation of
a multi-voiced South African history. Een mond vol glas clearly contributes to such a
project, because it recognises the histories of the Dutch immigrants, die Cape Muslims
and especially the Cape "Coloured" community through the figure of Demitrios
Tsafendas, better known as the murderer of Hendrik Verwoerd. The key concepts in this
study are cultural diversity and a processing of the trauma caused by apartheid.
Postcolonial theory will be used to explain cultural diversity as the result of transference
and to contextualize the growing interest in the transnational histories of migrants in
literature. Een mond vol glas cannot easily be described according to one specific genre
or classification. This study will make use of the description "literature produced in a
context of cultural diversity" to show the problematic nature of two classifications of Een
mond vol glas that is currently being used. Processing the trauma caused by apartheid in
literature, comes down to a resistance to the isolating force of trauma. This study uses
the trauma theory of Judith Herman which states that the healing process or the
processing of traumatic experiences can only take place in the sharing of people's stories
in the connectedness with others. In South Africa this process begins to take place in a
society where cultural multi-voicedness has become possible. In the end I will conclude
that Een mond vol glas proves to be a reconstruction of history that is multi-voiced,
making this part of South African history accessible for a larger audience. / AFRIKAANSE OPSOMMING: Die doelstelling met hierdie studie is om ondersoek in te stel na Henk van Woerden se
Een mond vol glas en hoe dit bydra tot die skepping van 'n kultureel meerstemmige Suid-
Afrikaanse geskiedenis. Een mond vol glas lewer duidelik hierdie bydrae omdat die werk
ook erkenning gee aan die geskiedenisse van die Nederlandse immigrante, die Kaapse
Moslems en die Kaapse bruin mense in die besonder deur die figuur Demitrios
Tsafendas, beter bekend as die moordenaar van Verwoerd. Die sleutelbegrippe in hierdie
studie is kulturele meervoudigheid en verwerking van die trauma veroorsaak deur
apartheid. Postkoloniale teorie word gebruik om kulturele meervoudigheid te verduidelik
as die resultaat van verplasing sowel as om die toenemende fokus op die transnasionale
geskiedenisse van migrante in die letterkunde te kontekstualiseer. Een mond vol glas kan
nie volgens een erkende genre of klassifikasie beskryf word nie. Hierdie studie hanteer
die omskrywing "letterkunde geproduseer in 'n konteks van kulturele meervoudigheid"
waarbinne twee reeds erkende klassifikasies van Een mond vol glas geproblematiseer sal
word. Die verwerking van die traumatiese gevolge van apartheid in die letterkunde kom
neer op die teenwerking van die isolerende uitwerking daarvan. Hierdie studie gebruik
die traumateorie van Judith Herman dat verwerking en herstel slegs kan begin deur die
vertel van traumatiese verhale in die verbondenheid met ander. In Suid-Afrika het hierdie
verwerking en herstel begin plaasvind in 'n samelewing waar kulturele meerstemmigheid
moontlik geword het. Ek sal uiteindelik tot die slotsom kom dat Een mond vol glas 'n
herkonstruksie van die geskiedenis bied wat kultureel meerstemmig is en ook toelaat dat
die hierdie deel van die Suid-Afrikaanse geskiedenis vir 'n groter publiek toeganklik
word.
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Die representasie van Kwasi/Aquasi : 'n ondersoek na die voortsetting al dan nie van die koloniale diskoers in De zwarte met het witte hart deur Arthur JapinFaasen, Petro 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: The term 'representation' is often used to refer to the possibility of a link between
literature and reality. The word also suggests the reiteration of an event and is used in
literary studies to indicate that a representation should be read as the author's
interpretation of events and thus as a mediated rendition thereof.
This study focuses on the representation of a black character who lived in the 19th
Century by a white author from the zo" Century, Arthur Japin, in his novel, De
zwarte met het witte hart (1997). This novel, based on historical events, is a rendering
of the lives of two Ashanti princes who were taken to the Netherlands in 1837 as
guarantee to an agreement between the king of the Ashanti and the Netherlands. This
study therefore looks at the way in which Japin interpreted and represented the
available information in his novel.
This study furthermore focuses on ways in which this novel, written in what may be
termed a postcolonial era could be read as a continuation of the colonial discourse in
the 21st Century. This is demonstrated by identifying and examining the
characteristics of colonial discourse, postcolonial discourse, the historic novel and the
didactic novel, as well as ways in which these genres deal with representation. The
study refers to the work of literary and social theoreticians such as Edward Said,
Frantz Fanon, Homi Bhabha, Gayatri Spivak, Linda Hutcheon and Maaike Meijer.
The study indicates that this novel can partially be read as a continuation of the
colonial discourse. The results of this study also indicates that an uncritical reading of
the novel De zwarte met het witte hart could lead to a continuation of the colonial
discourse in the 21st Century. The role and responsibility of the reader in the
interpretation and the subversion of the colonial discourse could therefore be further
investigated. / AFRIKAANSE OPSOMMING: Die term 'representasie' word dikwels gebruik om die moontlikheid van 'n verband
tussen die letterkunde en die werklikheid aan te dui. Die woord suggereer die
herhaling van 'n gegewe en word in die letterkunde gebruik om aan te dui dat die
representasie wat gelees word, die outeur se interpretasie en dus bemiddelde
weergawe van gebeure is.
Hierdie ondersoek fokus op die representasie van 'n swart hoofkarakter uit die 19de
eeu deur 'n blanke outeur in die 20ste eeu soos dit in die roman, De zwarte met het
witte hart (1997) deur Arthur Japin, weergegee word. Hierdie roman, gebaseer op
historiese gegewens, handeloor die lewens van twee Ashanti prinse wat in 1837 as
onderpand vir 'n ooreenkoms tussen Nederland en die Ashantynse koning na
Nederland geneem is en die gevolge wat dit vir hulle ingehou het. Daar word dus in
dié ondersoek gekyk na die manier waarop Japin die gegewens tot sy beskikking
geïnterpreteer en in die roman weergegee het.
Verder fokus die ondersoek op die manier waarop hierdie roman, geskryf in wat as 'n
postkoloniale era gesien kan word, moontlik as 'n voortsetting van die koloniale
diskoers in die 21ste eeu gelees kan word. Dit word gedoen deur kenmerke van die
koloniale diskoers, die postkoloniale diskoers, die historiese roman en die
tendensroman te identifiseer en ondersoek, saam met die wyses waarop hierdie genres
met representasie omgaan. Daar word verwys na die werk van letterkundige en sosiale
teoretici soos Edward Said, Frantz Fanon, Homi Bhabha, Gayatri Spivak, Linda
Hutcheon en Maaike Meijer.
Uit die ondersoek blyk dat hierdie roman gedeeltelik as 'n voortsetting van die
koloniale diskoers gelees kan word. Die resultate van hierdie ondersoek dui ook aan
dat 'n onkritiese lees van die roman De zwarte met het witte hart kan lei tot die
voortsetting van die koloniale diskoers in die 21ste eeu. Die rol en die
verantwoordelikheid van die leser in die interpretasie en ondermyning van die
koloniale diskoers kan dus verder ondersoek word.
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Binêre opposisies en perspektiewe op die 'ander' in Pieternella van die Kaap deur Dalene MattheeSymington, Cornelia Isabel 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2004 / ENGLISH ABSTRACT: This study investigates the binary oppositions in Dalene Matthee's historic novel,
Pieternella van die Kaap, and the extent to which it correlates with the
perspectives on "the other" and the influence of the spatial context on the two
main characters, Eva-Krotoa and Pietemella. The study ascertains in which way
Matthee's novel falls within the post-colonial framework; whether a tendency
towards hybridity can be found and in which cases the binary opposition of "the
self" versus "the other", is consequently suspended. Attention is also given to key
concepts associated with this, like stereotyping and convention.
After exploring the term post-colonial literature, a number of related elements
are discussed, such as the post-colonial focus on identity. Via the focalisation of
PietenelIa the novel firstly presents a general view of her experiences in the
Cape, on Robben Island, on the ship the Boode, and on Mauritius. In the process
it also foregrounds the life of her mother, Eva-Krotoa. Both of them are so much
affected by the binary oppositions relating to their existence within different,
contrasting spaces, that it is justified to call them "two-head" women. While Eva-
Krotoa's life is torn apart by the binary oppositions, there are indications that
Pietemella moves in the direction of a growing hybridity, that brings about a
synthesis between the oppositions and allows her to reconcile herself with her
own identity. This is even more pronounced in the case of her daughter, Maria.
The study comes to the conclusion that stereotyping is based on convention and
that time, place and circumstances determine whether and to what extent the
binary opposition of "the self'/"the other" is suspended. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die binêre opposrsres in Dalene Matthee se
historiese roman Pieternella van die Kaap en die mate waarin die
perspektiewe op 'die ander' en die invloed van die ruimtelike konteks op die
twee vernaamste karakters, Eva-Krotoa en Pieternella, hiermee in verband
gebring kan word. Daar word vasgestel in watter mate hierdie roman binne 'n
postkoloniale raamwerk val, in watter opsigte sprake is van hibriditeit en in
watter gevalle die binêre opposisie van 'die ek'teenoor 'die ander' gevolglik
opgehef word. Aandag word ook bestee aan sleutelbegrippe wat hiermee
saamhang, soos stereotipering en konvensie.
Na 'n verkenning van die term postkoloniale literatuur word verskeie elemente
wat hiermee verband hou bespreek, soos die postkoloniale fokus op identiteit.
Die roman bied eerstens, via die fokalisasie van Pieternella, 'n oorsig oor haar
lotgevalle aan die Kaap, op Robbeneiland, op die skip die Baade en op
Mauritius, maar stel in die proses ook die lewe van haar moeder Eva-Krotoa
voorop. Beide word in so 'n mate geaffekteer deur binêre opposisies van hulle
bestaan binne verskillende, kontrasterende ruimtes, dat hulle tereg
'tweekopvroue' genoem kan word. Waar Eva-Krotoa ten onder gaan aan die
binêre opposisies is daar met betrekking tot Pieternella aanduidings van 'n
groeiende hibriditeit wat 'n sintese bring tussen die opposisies en haar met
haar eie identiteit laat versoen. Dit is in In nog groter mate die geval met haar
dogter Maria.
Die studie kom tot die slotsom dat stereotipering berus op konvensie en dat
tyd, plek en omstandighede bepaal of en in watter mate die binêre opposisie
van ekl'ander' opgehef word.
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Die ondermynende potensiaal van die huis en die huishoudelike, met spesifieke verwysing na die liggaam en kos in Klaaglied vir Koos en Erf deur Lettie Viljoen, en Louoond deur Jeanne GoosenBurger, Barbara 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Traditionally the body has been neglected within Western philosophical thought. In this tradition man is seen as a dualist organism whose mind is more highly valued than his or her body. Since the start of the twentieth century, especially, there has also been Western thinkers who deconstruct the traditional, opposisional view of the mind and body. Most of these thinkers are men, and they argue from a male perspective. The deconstruction of the opposition between mind and body is, however, also useful for feminism, as the woman was traditionally seen as more bodily, and less rational, than the man. This view of woman can be used to support arguments that her place is within the home, where she should look after the bodily and emotional needs of her husband and children. First and second wave feminists criticised above-mentioned traditional view of women by arguing that the woman is just as rational as the man. Other feminists make use of the 'male' criticism of the body-mind opposition by arguing that traditionally female attributes and activities are not less valuable than male ones. In this thesis it is argued that the novellas Klaaglied vir Koos, Erf and Louoond should be read against this background as feminist texts in which the traditionally female space of the kitchen is celebrated as a space in which the female subject can create art and develop a perspective on the outside world. Focusing on the body and on traditionally female values (such as the domestic space) have implications for, amongst others, epistemology, ethical thought and literary theory. The way these implications are developed in the three novellas are explored in this thesis. Domestic spaces are not only celebrated in these texts, they are also represented as problematical, limited spaces which isolate the protagonists of the novellas and withhold them from the potential of political solidarity. The novellas are therefore treated in this thesis as complex texts in which the literary focus on domestic space, female embodiment and man‘s relationship with food is both celebrated and problematised. / AFRIKAANSE OPSOMMING: Tradisioneel is die liggaam afgeskeep in die Westerse filosofie. Binne hierdie tradisie is die mens beskou as ‘n dualistiese organisme wie se verstand meer waardevol is as sy of haar liggaam. Veral sedert die begin van die twintigste eeu is daar ook Westerse denkers wat die tradisionele, opposisionele siening van die liggaam en die verstand dekonstrueer. Die meeste van hierdie denkers is mans en neem slegs die manlike perspektief in ag. Die dekonstruksie van die opposisie tussen liggaam en verstand is egter ook nuttig vir die feminisme, omdat die vrou tradisioneel gesien is as meer liggaamlik en minder rasioneel as die man. Hierdie tradisionele siening van die vrou kan gebruik word om te argumenteer dat haar plek in die huishoudelike ruimte is, waar sy kan omsien na die liggaamlike en emosionele behoeftes van haar man en kinders. Eerste- en tweedegolf-feministe het bogenoemde tradisionele opvattings veral gekritiseer deur te argumenteer dat die vrou net so rasioneel soos die man is. Latere feministe bou egter voort op 'manlike‘ kritiek teen die opposisie tussen liggaam en verstand deur te argumenteer dat tradisioneel vroulike eienskappe en aktiwiteite nie minder waardevol is as sogenaamde manlike eienskappe nie. In hierdie tesis word geargumenteer dat die novelles Klaaglied vir Koos en Erf deur Lettie Viljoen en Louoond deur Jeanne Goosen teen hierdie agtergrond gelees kan word as feministiese tekste waarin die tradisioneel vroulike ruimte van die kombuis gevier word as ‘n ruimte waarin die vroulike subjek ‘n perspektief op die buitewêreld kan ontwikkel en kuns kan skep. ʼn Fokus op die liggaam en op tradisioneel vroulike elemente (soos die huishoudelike ruimte) behels implikasies vir onder andere die epistemologie, etiese denke en literêre teorie. Hierdie implikasies word verken soos wat hulle na vore kom in die drie novelles. In die novelles word die huishoudelike ruimte egter ook uitgebeeld as ʼn problematiese, beperkende ruimte wat die hoofkarakters van die novelles afsny van die buitewêreld en van die moontlikheid van politieke solidariteit. Daar word geargumenteer dat die novelles dus komplekse tekste is waarin literatuur wat fokus op die huishoudelike ruimte, vroulike liggaamlikheid en die mens se verhouding met kos sowel gevier en geproblematiseer kan word.
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Gender-ambivalensie : aspekte van beliggaming, performatiwiteit en ondermyning in Ek stamel ek sterwe van Eben VenterHaupt, Marlies 04 1900 (has links)
Thesis (MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: In this thesis the potential of Eben Venter’s novel Ek stamel ek sterwe (1996) as a
subversive text is investigated. The primary goal is to illustrate how Eben Venter depicts the
stigmatisation of homosexuality, aids and death, but more specifically the death of a
homosexual individual who has aids, in society. The secondary goal is to investigate the
ways in which Venter depicts the impact that the heteronormative ideal has on homosexual
individuals by means of the regulation of norms. Judith Butler’s theorisation of sex, gender,
identity and performativity is used as a lens with which Ek stamel ek sterwe is read. The
finding is that Ek stamel ek sterwe is a novel with subversive potential and the implications
that this has is discussed. / AFRIKAANSE OPSOMMING: In hierdie tesis word die potensiaal van Eben Venter se roman Ek stamel ek sterwe (1996)
as ’n ondermynende teks ondersoek met as primêre doel om die wyse na te gaan waarop
Eben Venter die stigmatisering van homoseksualiteit, vigs en die dood, maar ook spesifiek
die dood van ’n homoseksuele individu en ’n vigslyer, in die samelewing uitbeeld. Die
sekondêre doel is om ondersoek in te stel na die maniere waarop Venter met die roman die
impak van die heteronormatiewe ideaal se regulering van norme op veral homoseksuele
individue uitwys. Judith Butler se teoretisering oor geslag, gender, identiteit en
performatiwiteit, sowel as die ondermyning van heteronormatiewe norme, word as lens
gebruik waarmee Ek stamel ek sterwe gelees kan word. Daar word uiteindelik tot die
gevolgtrekking gekom dat Ek stamel ek sterwe wel as ’n ondermynende teks beskou kan
word en die implikasies hiervan word bespreek.
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Bitterkomix : teks, konteks, interteks, en die literere strokies van Conrad Botes en Anton KannemeyerRheeder, A. O. I. 03 1900 (has links)
Thesis (M.Phil) -- University of Stellenbosch, 2000 / 230 leaves printed single pages,numbered pages 1-230.Includes bibliography.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: Anton Kannemeyer and Conrad Botes have been publishing Bitterkomix,, their comics magazine,
for nearly a decade in South Africa. These comics are a structured satyrical attack on the South
African and specifically Afrikaans culture. Both artists employ different narrative strategies to
convey their sometimes shocking message. The reaction on their writing and drawing shows an
unwillingness in certain academic circles to analyse their texts critically. As a result Bitterkomix
has drawn very little academic attention. This unwillingness is a product of the modernist
approach to the comic as "low" literature. Modernists didn't regard comics as worthy material
for critical analyses. The literary paradigm shift towards popular culture, and therefore comics,
and the pluralistic reading strategy ofpostmodemism make it possible for an academic approach
towards this previously ill-treated art form.
This thesis is an attempt to suggest an approach strategy to Bitterkomix as a South African
underground comics magazine. As a backdrop the study looks at the development of comics in
general, as well as the changes that took place in the traditional approach strategies to the modem
comic. It also focusses on selected texts by Kannemeyer and Botes to demonstrate how
Bitterlwmix functions as an underground comic in the changing South African society. The
writers draw upon methods and strategies used by underground comix artists in the United States
during the sixties. Their specific employment of the drawing styles and narrative contents of
artists like Robert Crumb, S. Clay Wilson and also the Belgian artist, Herge, makes
intertextuality one of the strongest postmodemist aspects of Bitterlwmix. Botes's and
Kannemeyer's combined use of intertextuality and other postmodemist metafictional narrative
strategies gives Bitterlwmix a literary value that requires an academic approach. / AFRIKAANSE OPSOMMING: Anton Kannemeyer en Conrad Botes se strokiestydskrif Bitterkomix verskyn reeds bykans 'n
dekade in Suid-Afrika. Hulle strokies, wat van 'n akademiese en literere uitgangspunt getuig, is
'n berekende satiriese aanval op die Suid-Afrikaanse samelewing en meer spesifiek die
Afrikanerdom. Beide skrywers span 'n verskeidenheid vertelstrategiee in om hulle somtyds
skokkende boodskap oor te dra. Die reaksie op hulle skryf- en tekenwerk spreek egter van 'n
onvermoe ofonwilligheid by die akademici om die tekste op kritiese wyse te analiseer. Gevolglik
het Bilterkomix tot dusver min akademiese aandag gekry. Hierdie onvermoe stam myns insiens
moontlik uit 'n modemistiese miskenning van die strokie as kunsvorm. Strokies is as "lae"
literatuur gekategoriseer en is volgens modemiste dus nie geskikte materiaal vir 'n diepsinnige
bespreking me. Die literere paradigma ten opsigte van populere kultuur en dus strokies het egter
intussen verander en die pluralistiese leesstrategie van 'n postrnodemistiese benadering maak dit
moontlik om akademiese aandag aan hierdie voorheen miskende kunsvorm te skenk.
Die tesis is 'n poging om 'n benaderingswyse voor te stel tot Bitterkomix as Suid-Afrikaanse
underground-strokiestydskrif. As agtergrondstudie ondersoek dit die ontstaan en ontwikkeling
van die strokie in die algemeen, asook die veranderinge wat plaasgevind het in die tradisionele
benaderingswyses tot die modeme strokie. Daama fokus die bespreking op geselekteerde tekste
uit die oeuvres van Botes en Kannemeyer om te probeer aantoon hoe Bitterkomix as
underground-strokie binne die veranderende Suid-Afrikaanse samelewing funksioneer. Die
skrywers gebruik onder andere uitgangspunte en strategiee van die underground-strokie, soos dit
veral in die sestigerjare in Arnerika gevind is. Hulle doelbewuste inspeling op beide die
tekenstyle en verhaalinhoude van skrywers soos Robert Crumb, S. Clay Wilson asook die
Belgiese Herge maak intertekstualiteit een van die sterkste postmodemistiese kenmerke van
Bitterkomix. Botes en Kannemeyer se gebruik van intertekstualiteit, metafiksionaliteit, en ander
postrnodemistiese vertelstrategiee verleen aan Bitterkomix 'n literere kwaliteit wat om 'n
akademiese benaderingswyse vra. / Instituut vir Navorsingsontwikkeling van die Raad vir
Geesteswetenskaplike Navorsing
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Sosio-literêre perspektiewe op die eietydse digkuns van vroue in die Afrikaanse en Nederlandse taalgebiedeBezuidenhout, Zandra 12 1900 (has links)
Thesis (PhD)-- Stellenbosch University, 2005. / ENGLISH ABSTRACT: A study of poetry by six contemporary women in the Afrikaans and Dutch-speaking
worlds points toward a multi-focal approach. While texts by poets of a marked diversity
are presented as aesthetic objects, the scope of my research has been determined by
considerations of gender, language and culture. The central line of investigation
concerns the interplay between the poem as an artefact and the changing socio-cultural
contexts by which the respective poets have been informed.
My dissertation was inspired by Pierre Bourdieu's argument in favour of a fusion
between the close reading practices of the New Critics (and in this case, their Dutch
counterparts, the Merlinists) and the contextual approach advocated by literature
sociologists. Concomitantly the art philosophical standpoint of Marcia Eaton and the
views on the écriture féminine or "women's style of writing" held by Helene Cixous are
applied to poetry. By incorporating insights from adjacent disciplines and thereby
decentering the relative autonomy of the poetic text, I hope to demonstrate how the
study of literature could acquire new relevance, either by expanding its own parameters,
or by enriching the field of cultural and gender studies.
In conclusion I regard the poetry written by contemporary women as a polyphonic
discourse voicing women's newly-found position as subjects and challenging notions
such as a monolithic "female identity" and the marginalization of "women's poetry".
From this perspective, the aesthetic value of the poetic genre is paralleled by its function
as a source of knowledge and a cultural agency. / AFRIKAANSE OPSOMMING: 'n Ondersoek na die poësie van ses eietydse vroue in die Afrikaanse en Nederlandse
taalgebiede veronderstel reeds 'n multifokale invalshoek. Nie alleen word tekste van
uiteenlopende digters as estetiese objekte aan die orde gestel nie, maar staan
oorwegings soos geslag, taal en kultuur sentraal by die afbakening van die ondersoeksterrein.
Daarby vorm die wisselwerking tussen die gedig as artefak en die veranderende
sosio-kulturele konteks die riglyn van die betoog.
Pierre Bourdieu se aandrang op 'n fusie tussen die stipleesmetode van die New Critics
(in Nederland nagevolg deur die Merlinisten) en die kontekstuele benadering van
literatuur wat deur literatuursosioloë voorgestaan word, het as aanset tot hierdie studie
gedien. Terselfdertyd word die kunsfilosofiese standpunte van Marcia Eaton en die
siening van Héléne Cixous omtrent die écriture féminine ("vroulike skryfwyse") op die
poësie betrek. Deur insigte uit naasliggende dissiplines te betrek en die outonomie van
die poësieteks te relativeer, wil die ondersoek aantoon dat literatuurstudie 'n nuwe
relevansie verkry wanneer die parameters van die vakgebied versit, of kultuur- en
genderstudies daardeur verryk word.
Uiteindelik beskou ek die digkuns van eietydse vroue as In polifoniese diskoers waarin
vroue op uiteenlopende wyses stem gee aan hul nuutverworwe subjekposisie, en wat
daarmee die nosie van In monolitiese "vroulike identiteit" en dié van "damespoësie" as
afsonderlike en gemarginaliseerde kategorie dekonstrueer. Naas die estetiese waarde
daarvan, verkry die poësie uit hierdie perspektief ook In nuts- of instrumentele waarde
as 'n alternatiewe bron van kennis en In kultuurskeppende agens.
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Postkoloniale kulturele identiteit in Afrikaanse kortverhale na 1994Wasserman, Herman,1969- 12 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: This thesis contains the results of an investigation into constructions of cultural identity
in recent works of short fiction written in Afrikaans. The investigation was conducted
within the framework of postcolonial literary theory, with specific reference to the work
ofHomi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra and Bob Hodge. The
conceptual apparatus concerning postcolonial reconstruction of cultural identities in
reaction to the discourse of colonialism were applied to certain Afrikaans short stories to
establish to what extent these texts could be considered a '<writing back" to the colonial
discourse of Afrikaner nationalism and apartheid. The research focused on texts that had
been published after 1994, being the date of the first democratic elections in South
Africa, but also investigated their relation to certain literary traditions that preceded this
date. From the Afrikaans short stories that were read within a postcolonial framework, it
could be concluded that Afrikaans literature after 1994 could still be read in terms of
what Mishra and Hodge (1994) called a fused postcolonial, a typification that according
to Viljoen (1996) was applicable to the Afrikaans literature of before 1994. The cultural
identity that was constructed in these texts showed similarities with the two moments of
cultural reconstruction that Hall (1992) mentioned, namely either a strategic essentialism
of the colonized subject or a hybridized cultural identity as the result of an ongoing,
dynamic process of negotiation in a Third Space as Bhabha (1994) pointed out. A
discourse of resistance against new forms of cultural imperialism, arising from a broader
disillusion with the perceived dystopia of post-colonial South Africa, could also be
inferred from certain Afrikaans short stories that have appeared since 1994. As far as a
renewed undermining of imperialising tendencies is concerned, these texts can therefore
be considered a continuation of the dissidence that has been characteristic of Afrikaans
literature for several decades. / AFRIKAANSE OPSOMMING: Hierdie proefskrif bevat die resultate van 'n ondersoek na konstruksies van kulturele
identiteit in onlangse kortverhale in Afrikaans. Die ondersoek is gedoen binne die
raamwerk van die postkoloniale literêre teorie, met spesifieke verwysing na die werk van
Homi Bhabha, Stuart Hall, Gayatri Spivak, Vijay Mishra en Bob Hodge. Konseptuele
apparatuur rakende postkoloniale herkonstruksie van kulturele identiteit in reaksie op
diskoerse van kolonialisme, is toegepas op bepaalde Afrikaanse kortverhale om vas te
stel in watter mate hierdie tekste beskou kon word as 'n terugskrywing teen die koloniale
diskoers van Afrikanernasionalisme en apartheid. Die navorsing het gefokus op tekste
wat gepubliseer is na 1994, die datum van die eerste demokratiese verkiesings in Suid-
Afrika, maar het ook hul verhouding ondersoek tot sekere literêre tradisies wat hierdie
datum voorafgegaan het. Uit die Afrikaanse kortverhale wat gelees is binne 'n
postkoloniale raamwerk, is daar tot die gevolgtrekking gekom dat die Afrikaanse
letterkunde na 1994 steeds gelees kan word in terme van wat Mishra en Hodge (1994) 'n
"saamgestelde postkolonialisme" genoem het, 'n tipering wat volgens Viljoen (1996)
toepasbaar was op die Afrikaanse letterkunde van voor 1994. Die kulturele identiteit wat
gekonstrueer is in hierdie tekste toon ooreenkomste met die twee momente van kulturele
herkonstruksie waarna Hall (1992) verwys, naamlik enersyds 'n strategiese essensialisme
van die gekoloniseerde subjek en andersyds 'n gehibridiseerde kulturele identiteit as die
gevolg van 'n voortgaande, dinamiese proses van onderhandeling in wat Bhabha (1994)
'n Derde Ruimte genoem het. 'n Diskoers van weerstand teen wat ervaar word as nuwe
vorme van kulturele imperialisme, voortspruitend uit 'n breër ontnugtering met wat
beskou word as 'n distopiese post-koloniale Suid-Afrika, kon ook afgelei word uit sekere
Afrikaanse kortverhale wat sedert 1994 verskyn het. Wat betref 'n hernieude
ondermyning van imperialiserende tendense kan hierdie tekste daarom gesien word as 'n
voortsetting van die tradisie van weerstand wat die Afrikaanse literatuur dekades lank
reeds kenmerk.
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Bybelse intertekste in resente Afrikaanse gedigte en lirieke, met spesifieke verwysing na identiteitsformasies in die (post)-postmoderniteitEngelbrecht, Gertruida Cornelia 12 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The 11 September 2001 terror attacks on America are regarded by many as the end of the postmodern era and as a landmark event that irrevocably changed the world. Similarly, the 1994 South African political revolution and transition to democracy was a milestone that had far-reaching effects on all population groups in the country. This study examines evolving identity formation among Afrikaans-speaking South Africans in a new political dispensation and (post-) postmodern era – and specifically the ways in which religion still finds expression in Afrikaans-speakers‟ identity. With theoretical grounding from, among others, Stuart Hall and Zygmunt Bauman, a variety of recent poems and lyrics – representative of various generations and backgrounds – are studied. The conclusion drawn is that religion still forms part of Afrikaans-speakers‟ identity in various ways, but this does not necessarily equate to affiliation with any church. In some instances church and religion are seen as part of the rejected apartheid establishment, but in many cases Afrikaans-speakers‟ religious affiliations are in line with Jacques Derrida‟s “religion without Religion” school of thought, and panentheism is increasingly gaining ground. / AFRIKAANSE OPSOMMING: Die terreuraanval op Amerika op 11 September 2001 word uit verskeie oorde bestempel as die einde van die postmodernisme en as ‟n mylpaalgebeurtenis wat die wêreld onherroeplik verander het. In Suid-Afrika was die politieke om-wenteling met die oorgang na ‟n demokrasie in 1994 eweneens ‟n mylpaal wat alle bevolkingsgroepe in die land ingrypend geraak het. In hierdie studie word ondersoek ingestel na Afrikaanssprekendes se identiteitsformasies in ‟n nuwe politieke bestel en in die (post)-postmoderniteit, en spesifiek na die wyse waarop die religie steeds beslag kry in die Afrikaanssprekende se identi-teit. Met bydraes deur onder andere Stuart Hall en Zygmunt Bauman as teo-retiese begronding, word ‟n verskeidenheid resente gedigte en lirieke van 1994-2012, wat verteenwoordigend is van verskeie generasies en agter-gronde, ondersoek. Die gevolgtrekking is dat religie steeds op verskillende wyses deel van Afrikaanssprekendes se identiteitsformasies is, maar dat dit nie noodwendig met kerkverbondenheid gepaard gaan nie. In sommige gevalle word die kerk en die religie beskou as deel van die establishment wat ná apartheid verwerp word, maar in baie gevalle hou Afrikaanssprekendes se religieuse betrokkenheid nou verband met Jacques Derrida se sogenaamde religie sonder Religie, en wen die panenteïsme toenemend veld.
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Vertaling en die kindervers : ’n vergelykende studie van Afrikaanse en Franse vertalingsFouche, Marietjie 12 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Few people realize exactly how complicated the translation of children’s poetry is. Translators do not
only have to adhere to the young readers’ desires and satisfy the adult critics, but are constantly
confronted with choices concerning the translation of the ‘play-element’ (structure) and the ‘visual
element’ (content) of children’s verses, i.e. the translation of cultural elements, figurative language,
pun, nonce words, onomatopoeia, alliteration, rhyme and meter. In addition, their translation strategies
are continually subjective to and restricted by the visual text (illustrations) in the source texts, which
interrelate with the verbal text (verses). In this descriptive, systematic analysis the Afrikaans and
French translations of Mother Goose’s nursery rhymes, Dr. Seuss’s rhyming picture books and Roald
Dahl’s verse fragments are compared to one another and the source texts in order to identify the
various translation strategies and theoretical translation approaches used by the various Afrikaans and
French translators, to make concrete observations about the translation of children’s poetry that can
be useful for translators, and to establish if it is indeed possible to create translations of children’s
verses that remain true to the ‘spirit’ of the original poetic texts, can function as autonomous texts in
the target system, and that can supplement the Afrikaans and French children’s literature systems.
__________________________________________________________________________ / AFRIKAANSE OPSOMMING: Min mense besef hóé ingewikkeld die vertaling van kinderverse eintlik is. Vertalers moet nie net
tegelykertyd aan jong lesers se behoeftes voldoen en volwasse kritici tevrede stel nie, maar word ook
deurgaans gekonfronteer met keuses wat betref die vertaling van die spel-element (struktuur) en
visuele element (inhoud) van kinderverse, o.a. die vertaling van kultuurgebonde verwysings,
beeldspraak, woordspel, neologisme, onomatopee, alliterasie, rym en metrum. Daarbenewens word
die vertalers se vertaalstrategieë beïnvloed en beperk omdat die visuele teks (illustrasies) in die
brontekste deurgaans met die verbale teks (verse) in gesprek tree. In dié deskriptiewe
sisteemondersoek word die Afrikaanse en Franse vertalings van Moeder Gans se kinderrympies, Dr.
Seuss se versverhale en Roald Dahl se prosimetriese kinderstories met mekaar en die brontekste
vergelyk om die verskillende vertaalstrategieë en teoreties gefundeerde vertaalbenaderings wat deur
die onderskeie Afrikaanse en Franse vertalers toegepas is, te identifiseer, konkrete bevindinge oor die
vertaling van die kindervers te maak wat vir toekomstige vertalers van praktiese nut kan wees, en te
bepaal of dit inderdaad moontlik is om vertalings van kinderverse te skep wat getrou bly aan die ‘gees’
van die oorspronklike gedigtekste, as selfstandige tekste in die doelsisteem kan funksioneer, en die
Afrikaanse en Franse kinder- en jeugliteratuursisteme kan aanvul.
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