Hierdie studie is ʼn ondersoek na die rol wat ruimte en identiteit speel in D.J. Opperman se digbundel Komas uit ʼn bamboesstok (1979). Die studie maak gebruik van ʼn kommunikatiewe benadering wat die leser in staat stel om op ’n geïntegreerde wyse verslag te doen oor die hele proses wat plaasvind tussen die sender en ontvanger, deur middel van die gedrukte teks. Die teoretiese kennis sal hoofsaaklik op Opperman se digbundel toegepas word, asook tekste vanuit die Afrikaanse letterkunde wat daarby aansluit. Hierdie verhandeling sal verder ook klem plaas op hoe Opperman se digbundel sy persoonlike ruimte en identiteit aan die leser oordra, asook hoe die uitbeelding aansluit by die vorming van die identiteit van die leser/mens. Die struktuur van die studie sal bestaan uit vier hoofstukke: Hoofstuk een is ʼn kort inleiding waarin fokus geplaas word op die navorsing en redes vir die ondersoek. Die hoofstuk sal verder ook die nodige struktuur van die studie uiteensit, asook verskeie sleutelbegrippe wat deel sal vorm van die studie en sal bydra tot die leser se begrip van dit wat in die studie verduidelik of uitgebeeld word. In hoofstuk 2 word ’n kort oorsig van die Afrikaanse literatuur, met klem op die geskiedenis agter die ontwikkeling van Afrikaanse verhalende literatuur tot en met die publikasie van Opperman se digbundel Komas uit ’n bamboesstok gegee. Daar sal verder ook gekyk word na die literêre veranderings wat plaasgevind het in die Afrikaanse digkuns, met klem op ’n kommunikatiewe benadering tot literatuur, asook ’n Russiese Formalistiese bydrae daartoe. Die eksplisiete en implisiete motiewe en temas wat binne die Afrikaanse literatuur bestaan, en so ook dié van Opperman, sal verken word. Laastens sal twee aspekte, naamlik teorieë verbonde aan ruimte en identiteit, asook hoe die genoemde teorieë sigbaar en/of geïntegreer is in Opperman se digbundel Komas uit ’n bamboesstok (1979) bespreek word. Hoofstuk drie van hierdie studie verleen aandag aan Opperman as skrywer en legende, asook sy digbundel Komas uit ’n banbloesstok. Klem word geplaas op biografiese inligting van D.J. Opperman en agtergrondsinligting oor sy digbundel Komas uit ’n bamboesstok. ’n Diepgaande bespreking van Opperman se digbundel, d.w.s. die voorblad, die titelblad, kerngebeurtenisse en figure in Opperman se digbundel, motiewe en temas, geselekteerde gedigte vanuit die genoemde bundel, ensovoorts, sal dan volg. In die laaste hoofstuk wat deel sal vorm van die studie, hoofstuk vier, sal daar tot ʼn slotsom gekom word en klem geplaas word op hoe Opperman se digbundel Komas uit ’n bamboesstok (1979) bygedra het tot vernuwing in die Afrikaanse digkuns. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

No abstract available. / Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1993.

Thesis (MPhil) -- Stellenbosch University, 2012. / The purpose of this study was to investigate the interpreting services in the Parliament of South Africa (POSA). The impetus to embark on such an investigation arose after Members of Parliament claimed that the interpreting service in the Parliament of South Africa (POSA) is poor. In seeking to determine why Members of Parliament made such claims, I therefore investigated the interpreting service rendered by staff of Parliament’s Interpreting Unit. Consequently, an investigation to whether the simultaneous interpreters currently employed by Parliament of South Africa possess the amalgam of skills attributes and qualifications necessary for them to render an interpreting service of good quality. Questionnaires were distributed to Members of Parliament and to interpreters, interviews were conducted with Control Language Practitioners (CLPs), observation of recruitment panels for interpreters also followed, and interpreters were recorded during the sitting of Parliament House in an attempt to check whether interpreters do deliver an interpreting service that is up to standard. The results of this study show that Members of Parliament have a valid claim as 65% of the sample of interpreters had joined Parliament without interpreting skills and had, to date, never been sent for interpreting training and most interpreters are demoralised by the working conditions of the Language Services Section at the Parliament of South Africa.

Thesis (MA)-- Stellenbosch University, 2012. / ENGLISH ABSTRACT: The establishment of literary festivals as a type of event that is presented both nationally and internationally has expanded tremendously in recent years, but it has not as yet received the necessary attention to fully understand its impact on and sociocultural function in a host community. This thesis attempts to formulate a working definition for the phenomenon, in order to gain more insight in its sociocultural function and impact in a host community and thus to contribute towards a more substantial discourse on the subject. The hypothesis is firstly that literary festivals come into existence due to specific needs in the host society and secondly that the strategic application of rhetorical strategies have a positive sociocultural impact. It is argumented that literary festivals function according to the principles of Aristotle’s rhetoric, by convincing festival visitors that books, reading, writing, debating and freedom of speech are of great aesthetic, moral and educational value. The eventual aim is to cause festival visitors to show greater appreciation for literary texts, as illustrated by their increased participation in reading, writing and other literary activities. The following theories serve as points of departure: the system theory as expounded by Itamar Even-Zohar, Gerard Hauser’s application of rhetorics to the public sphere, the ritual theories of Victor Turner and Jeremy Boissevain, as well as festival theories by Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch and Michael Kamp. The programmes, festival contents and other relevant texts that form part of two selected literary festivals, i.e. the Stellenbosch University’s (SU) Wordfest (Woordfees) and the Amsterdam Weerwoordfestival, are scrutinised in order to prove that these festivals are strategically constructed to have a persuasive effect on festivalgoers. A festival’s survival and sustainability is determinated by its establishment of a strong own character; good management (also in times of crisis); effective networks; and the persuasion of both target groups and interest groups that supporting the festival is to their own advantage. / AFRIKAANSE OPSOMMING: Die literêre fees, as tipe gebeurtenis wat toenemend nasionaal én internasionaal aangebied word, het tot dusver min aandag van navorsers geniet. Ten einde die sosio-kulturele funksie en krag daarvan in ’n gasheergemeenskap te probeer vasstel en te omskryf, asook om by te dra tot ’n meer omvangryke diskoers oor hierdie fenomeen, word bestaande teorieë oor feeste in die algemeen dus in hierdie studie as vertrekpunt gebruik en aangepas by literêre feeste. Die hipotese is eerstens dat literêre feeste ontstaan in reaksie op behoeftes in die gasheergemeenskap en tweedens dat die aanwending van retoriese strategieë in literêre feeste ’n positiewe sosio-kulturele impak tot gevolg kan hê. Na aanleiding van Aristoteles se uitgangspunte oor die retorika word voorgestel dat die funksie en werking van literêre feeste retories van aard is: Die organiseerders wil feesdeelnemers oorreed dat lees, skryf, debattering en vrye meningswisseling esteties, opvoedkundig en moreel waardevol is, om sodoende ’n groter belangstelling in en deelname aan literêre aktiwiteite te probeer bewerkstellig. Die volgende teoretici se uitgangspunte word veral gebruik: dié van Itamar Even-Zohar oor die sisteemteorie, Gerard Hauser se toepassing van die retorika op ’n openbare sfeer, ritueelteorieë deur Victor Turner en Jeremy Boissevain, sowel as feesteorieë van Mikhail Bakhtin, Donald Getz, Henri Schoenmakers, Paul Kaptein, William Sauter, Don Handelman, Temple Hauptfleisch en Michael Kamp. Deur ’n vergelykende studie van die ruimer konteks, feesprogramme en ander relevante tekste wat deel uitmaak van twee literêre feeste, naamlik die Universiteit Stellenbosch Woordfees en die Amsterdamse Weerwoordfestival, word nagegaan hoe hierdie feeste strategies en oorredend funksioneer deurdat beide literêre én nie-literêre elemente geselekteer (inventio) en gekombineer (dispositio) is om ’n sterker positiewe eventiserende betekenis oor te dra as in die alledaagse lewe. Die gevolgtrekking is dat effektiewe retoriese strategieë sterk afhanklik is van die konteks waarbinne feeste plaasvind. Die voortbestaan en volhoubaarbaarheid van literêre feeste word veral bepaal deur die vestiging van ’n sterk eie identiteit; goeie bestuur (ook in krisisse); doeltreffende netwerke, asook deur die oorreding van beide teikengroepe én belanghebbers dat hulle wen deur die fees te ondersteun.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: In this descriptive study, the rewriting of translated politically coloured texts on News24.com is investigated. Afrikaans articles, which were originally published in Die Burger, Beeld and Volksblad, are selected and then translated for the English target text reader. This reader does not necessarily differ from the source text reader in terms of geography and culture, but in terms of his or her past and the emotional baggage, such as the era of apartheid and the guilt that the white Afrikaans person has to carry. While it is claimed that the articles from the above-mentioned dailies are merely translated paragraph for paragraph for the purpose of being published online on News24, a lot more happens to the text. The texts are edited, rewritten, reshaped and repackaged to be presented in a new context. The target text is studied to establish whether it is rewritten with an ideological purpose in mind and what adaptations are made to achieve an ideological influence. Lexical and other linguistic means are used to reframe a text and present it differently in the target text. The way in which a post apartheid South Africa is being presented in the English texts (as opposed to the Afrikaans print version) is the focus of the study. The hypothesis is that the News24 rewriter’s purpose is to send an adapted ideological message with the text. These conclusions are being drawn based on narrative theory and the concepts of frames. This theory as well as other relevant theories form a framework according to which one can study and compare the texts and the rewriting of the source texts. While the literal changes made for practical reasons such as readability are broadly discussed, the focus is on the ideological implications these lexical and other linguistic adaptations cause. Conclusions are then made according to the skopos of News24 with the rewriting of the texts, namely to represent the image of a post apartheid South Africa more negatively than it is represented in the source text. / AFRIKAANSE OPSOMMING: In hierdie beskrywende studie word die herskrywing van vertaalde polities gekleurde berigte wat op News24.com verskyn, ondersoek. Afrikaanse berigte wat oorspronklik gepubliseer is in Die Burger, Beeld en Volksblad, word gekies en dan vertaal vir die Engelse doelteksleser. Hierdie leser verskil nie noodwendig van die bronteksleser ten opsigte van geografie en kultuur nie, maar wel ten opsigte van sy of haar verlede en emosionele bagasie, soos die apartheidsera en die skuld wat die wit Afrikaanssprekende dra. Hoewel daar beweer word dat berigte uit die bogenoemde dagblaaie bloot paragraaf per paragraaf vir News24 vertaal word, gebeur daar heelwat meer met die teks. Die tekste word redigeer, herskryf, hervorm en herverpak sodat dit in ’n nuwe konteks aangebied kan word. Die doelteks word ondersoek om vas te stel of dit herskryf is en watter veranderinge, spesifiek ideologiese, die teks tydens hierdie herskryfproses ondergaan het. Leksikale en ander linguistiese middele word gebruik om ’n teks te herraam en anders uit te beeld as in die bronteks. Die wyse waarop die beeld van ’n postapartheid Suid-Afrika in die aanlyn Engelse berigte teenoor die gedrukte Afrikaanse berigte voorgestel word, word hier ondersoek. Die hipotese is dat die News24-herskrywer ten doel het om ’n aangepaste ideologiese boodskap met die herskrywing daarvan oor te dra. Hierdie afleidings word in verband gebring met die narratiefteorie en die konsep van rame. Hierdie teorie, asook ander teorieë, vorm ’n raamwerk om die vergelyking van die tekste en die herskrywing daarvan te ondersoek. Die meer letterlike leksikale aanpassings wat gemaak word vir praktiese doeleindes, soos leesbaarheid, word eerstens bespreek. Daarna word die aanpassings wat gemaak word ter wille van ’n ideologiese motivering bespreek. Afleidings word dan gemaak en in verband gebring met News24 se skopos of doel met die herskrywing van die tekste, naamlik om die beeld van die regering in ’n postapartheid Suid-Afrika negatiewer as die bronteks uit te beeld.

Thesis (MA)--Stellenbosch University, 2012. / Two separate texts are submitted towards the degree of MA in Creative Writing. The first is this essay, A Reading of Blood Meridian. The second is a novel, The Book of War. Essay The general focus of the essay is the theme of free will in Blood Meridian and the techniques with which the narrative elements of character, story, style and voice are deployed to focus the reader's mind on this theme. The central question: is the meaning, the final message, of Blood Meridian that as individuals human beings lack agency and that as groups they are shackled to a common destiny? The hypothesis is that Blood Meridian contains significant patterns, oppositions and dialectics, designed to place arguments for and against agency in the mind of the reader, but that the book's response to the theme is inherently and structurally ambiguous. Novel The novel was written before the essay. It was written in direct response to Blood Meridian and to the realization that Blood Meridian was a text rooted in history. Like Blood Meridian, The Book of War is based on, grows out of, first person accounts, specifically Stephen Bartlett Lakeman's What I saw in Kaffir-Land (1880) and William Ross King's Campaigning in Kaffirland: Or Scenes and Adventures in The Kaffir War of 1851- 1852 (1853). The novel takes characters devolved from Lakeman and places them in King’s journey through the war. These characters create, around a child called the kid, the social backdrop of a coming of age tale. The novel uses its source texts as a lens through which to view, and tell the story of, the War of The Prophet (Eight Frontier War 1850-53). Readers seeking to answer the question: Why is South Africa a violent society? might find at least part of the answer in the nature of, and the relationships between, English, Xhosa, Dutch, Khoi and Mfengu cultures in the 19th Century.

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 (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The focus in this paper is on terms of endearment, and initially linking it with love, affection and care, which prominently feature in the oldest ancient languages. Users of dictionaries are motivated by finding and understanding the unbelievable variety of words in languages. In many faiths/religions people give credence to a perception that love and understanding of one another's needs and aspirations form the true basis of successful interpersonal relationships but as yet no consensus has been reached. The data was empirically collected through personal conversations with local people, including children, the young generation, parents and grandparents, staff of banks, supermarkets and bookshops. A distinction is made between terms generally used for kids, adults, men and women according to context in usage and the meanings thereof as reported by respondents, varying from seriously meant (dearest), to affectionate (darling, beloved) to mere superficial friendship (pal, love). As the focus was on Afrikaans which is the home language of the most residents in the Western Cape, according to information received from Statistics South Africa, and the knowledge as well as present usage of the word 'troetel' as a term of endearment, the English equivalents and additional similar terms are not of importance here. The impression is, however, that a special nuance of emotion is attached to the usage of the mentioned examples. Dictionaries should include terms of endearment known in the colloquial language at the time of their compilation and must be reliable sources of information regarding vocabulary, ways to address people and the varying degrees of communication in the wide distinguishable variety of contexts. / AFRIKAANSE OPSOMMING: Woordeboekverklarings vir die woord troetel sluit onder meer in met liefde behandel, liefkoos, streel en versorg. Hierdie besonder positiewe konnotasie het gelei na ʼn soekroete in die oudste antieke tale as vertrekpunt om die ontstaan, bekendheid en gebruik van hierdie woordjie in Afrikaans te probeer vasstel. Omdat liefde in verskeie gelowe as basis vir suksesvolle menseverhoudinge deur die eeue aanbeveel, uitgeleef of geopponeer is, en tog nog geen algemeen aanvaarde konsensus, ten spyte van al die slim argumente en beredenerings deur briljante geleerdes bereik is nie, kan troeteltaal wat meestal met ʼn ondertoon van ʼn nuanse van liefde gepaard gaan, gebruikstaal positief beïnvloed. Deur middel van onoffisiële proefvraelysies aan die publiek plaaslik en op die platteland en deur persoonlike empiriese navorsing in gemeenskappe is die verlangde inligting by oud en jonk versamel, bank-, supermark- en boekwinkelpersoneel se menings is ingewin. Daar is onderskei tussen troetel- of troetelverwante name vir babas tot jongmense en seniors, mans en dames, met betekenisse volgens konteks soos deur respondente verstrek. Alhoewel troetel as sulks nie by die jonger geslag juis algemeen, soos vroeër, bekend is nie, veral in dorpsgemeenskappe, kom dit nog redelik wyd in die Wes-Kaap, streek- en gesinsgebonde voor. Daar word probeer om leksikograwe te beïnvloed om meer aandag aan troetelwoordjies soos bokkie, dingetjie, kleintjie en pikkie in woordeboek te gee en die gebruik daarvan en krag daarin opgesluit by gebruikers te laat ervaar en weer in gebruik te laat herlewe, veral by ouers en jongmense. ʼn Doel van woordeboeke vir die algemene taalgebruiker is in hoofsaak om ʼn data-aanbod daar te stel wat verteenwoordigend is van die gewone omgangstaal in die tydsgewrig van samestelling, maar om verder ook as interessante inligtingsbronne van data in gebruikstaal te dien.

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)--Stellenbosch University, 2012 / ENGLISH ABSTRACT: “A verse might be complete, but then I fiddle with it again and it is not complete anymore,” Ina Rousseau says in an interview. When one compares poems from her Versamelde gedigte 1954-1984 and Die stil middelpunt with their predecessors in magazines and in her volumes of poetry, one sees that Rousseau often made revisions. Over the years her poetry has come into being like a “living organism”. It reminds one of the rewritings of Martinus Nijhoff. This study aims to discuss the variants in the poetry of Ina Rousseau, by means of a variant system that unlocks the printing history of all 253 published poems. My discussion focuses on 17 poems (at least one from each volume of poetry) that is printed in full in the variant edition. I’ve used supplement material and reception texts to give the reader a perspective on Rousseau as poet, and the involvement of other roll players. By bringing in these secondary texts I aim to situate the poem discussions and try to show that theme and textgenesis should not be viewed as separate entities. / AFRIKAANSE OPSOMMING: “’n Vers kan miskien afgerond wees en dan gaan peuter ek weer aan hom en dan is hy nie meer afgerond nie,” sê Ina Rousseau in ’n onderhoud. Wanneer ’n mens dan gedigte uit haar Versamelde gedigte 1954-1984 en Die stil middelpunt vergelyk met vroeër weergawes in tydskrifte en in bundels, sien ’n mens dat sy lief was daarvoor om veranderinge aan te bring. Haar poësie, wat deur die jare soos ’n “lewende organisme” tot stand gekom het, herinner aan die verbete herdigtings van Martinus Nijhoff. Hierdie studie het ten doel om die variante in die poësie van Ina Rousseau van naderby te beskou aan die hand van ’n variante-apparaat wat die volledige drukgeskiedenis van 253 gedigte ontsluit. My bespreking fokus op 17 gedigte (minstens een uit elke bundel) wat volledig in ’n variante-edisie afgedruk staan. Ek gebruik ook aanvullende materiaal en resepsietekste om die leser ’n perspektief op Rousseau se digterskap en die betrokkenheid van ander rolspelers te gee. Deur die byhaal van hierdie sekondêre bronne probeer ek om die gedigbesprekings te situeer en te toon dat tematiek en teksontwikkeling nie losmaaklik van mekaar is nie.