M.Litt. et Phil. (Afrikaans-Nederlands) / Most stories are presented in the text through the mediation of some 'angle of vision' or a specific perspective. Not only is the story told from a certain 'point of view' as far as the narrator is concerned, but it is often presented in such a way that different 'perspectives' concerning certain matters are clearly voiced by character and statement. As far as the drama as genre is concerned, perspective can be described as the narrator's angle of vision, the way that certain aspects of life are seen in their relation to each other as well as the varying attitudes towards these aspects of life. The aim of this scription is to discuss perspective and its place in the drama introductory and then to concentrate on the way in which it is manifested in a few dramas from N P van Wyk Louw of which the most important will be Die pluimsaad waai ver, staged in 1966 in commemoration of South Africa becoming a republic in 1961.

M.A. (Afrikaans) / The particular manner in which N.P. van Wyk Louw makes use of the adjective in his work RAKA, soon becomes evident to the reader. The grammatical approach taken in this study endeavours to emphasise the manner in which, and the frequency with which the adjective is applied as well as its functional relationship within the structure of the text. Lexical relationships involving the adjective in this specificwork serve as a basis upon which this study has been formulated. Initially" adjectives in the mentioned work have been identified from a theoretical point of view. Further more the nature" of the syntagmatic and paradigmatic relationships are examined against the background of their potential to function as lexical cohesive elements within the specific textual context. Particular attention is given to the colour adjective owing to the frequency of its use in the work. The study reveals the important role of the colour adjective in the text: Areas of different semantic representation are drawn together, important structural elements of character, time and place are identified while the importance of changing character perspectives are manifested by the functioning of this type of adjective. Adjectives other than colour adjectives are subjected to analysis in terms of syntagmatic and paradigmatic relations established in the text. This study emphasises the significance of the cohesive role played by the adjective in the macrostructure of the text. Lastly, it can be concluded that while this study has concentrated on grammatical research, students of literature will benefit from a literary study of the adjective in RAKA.

M.A. (Afrikaans) / In this epic poem, Raka, N.P. van Wyk Louw made abundant use of prepositions. A linguistic analysis of these preposition structures explains and reveals the nature of this syntactic category in Afrikaans. From this it is evident that prepositions are vital in accomplishing cohesion in the text. Cognitive linguistics argue that syntactic organisation and semantics cannot stand independently from each other. Therefore the meaning of 'n phrase of expression cannot be reduced to an objective categorization of the situation that is being described. Against this background it is evident that structures conveying meaning are expressed through prepositions and prepositional structures. Certain semantic values and meaning structures of prepositions in RAKA are dealt with to help clarify some implied cognitive dimensions. A closer analysis shows that the preposition structures in RAKA represent intricate syntactic patterns. The semantic values of prepositions in RAKA are categorized through image schemas in terms of space Qncluding place, perspective and proximity), time, movement, part-whole, reason and cause, as well as manner and means. Finally it is indicated how the epic structures can be made more explicable by image schemas. Through the use of prepositions in the language, aspects of the epic, namely characterization, time and spatial placing are endorsed. Progression, in terms or epic movement is supported through the use of prepositions that specifically imply space and movement. It is therefore apparent that although the research was approached from a linguistic angle, it also contributes to literary analysis.

D.Phil. (Afrikaans-Nederlands) / Please refer to full text to view abstract

M.A. (Afrikaans en Nederlands) / Please refer to full text to view abstract

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: In this study an investigation into Arnold van Wyk’s song oeuvre — including the published and unpublished (completed and incomplete) songs — is done on the basis of the available composition sketches in the Arnold van Wyk Collection at Stellenbosch University. Firstly, Van Wyk as composer of art song in South Africa was put in perspective against the broader cultural context, especially in relation to Afrikaans poets who were his contemporaries. An overall view is also provided of possible influences that other composers had on his work. This provides an holistic picture of Van Wyk as composer of the art song. In his Juvenilia a surprisingly large amount of his music language is present, though not yet mature. Four prominent periods characterise the discussion of Van Wyk’s song oeuvre. In addition to these periods the study provides a summary that clearly shows his development as an art song composer as well as the musical devices which, in the course of time, became characteristic as part of his style in song writing. Owing to the fact that the setting to music of each song’s vocal part is analysed in close relationship to the source text, the complete text have been provided, with Afrikaans verbatim translations for the Latin and Old Dutch poems. Even though the composer sometimes only sets a couple of stanzas of the text, the complete poem is provided to properly orientate the reader. This allows the complete picture of each song to be taken into account. The relationship between each text and its setting to music of the song’s vocal part is analysed. This also applies to the illustrative meaning of where in the vocal range each text lies (the range as well as tessiture of the vocal part) and the illustrative use of intervals and other melodic devices such as melismas, setting to rhythmic patterns, etc. The accompaniment is investigated, regarding the relationship to and illustrative of the text, complementary to and in support of the vocal part as well as to which extent it supports the song’s formal design. Only the most prominent characteristics of Van Wyk’s highly complex harmonic usage are pointed out. An important aspect of this study is the investigation from a vocal technical point of view into how Van Wyk merged the writing of a vocal melody with his knowledge of the human voice, for instance in Van liefde en verlatenheid as well as in the Petronius songs. Where available, the history of how a song evolved is recorded in great detail, to illustrate the inception of a specific musical idea as well as its development and finalisation, but moreover, to allow the sketches to reveal how tedious (and sometimes even laid-back) the composition process took place most of the time. Van Wyk’s method and tempo of composing can be clearly deduced from the compositional sketches. These conclusions are confirmed and illustrated by his fairly regular dating of his work, and by information such as an address and/or some diary information that he occasionally added. Particulars like these are often included in this study, to shed light on the compositional process as well as on the composer as a human being. To avoid scanning numerous examples of notes, the C1 tot c3 way of spelling the notes is used. / AFRIKAANSE OPSOMMING: In hierdie studie word Arnold van Wyk se liedoeuvre — die gepubliseerde asook die ongepubliseerde (voltooide en onvoltooide) liedere — ondersoek aan die hand van die beskikbare komposisiesketse in die Arnold van Wyk-versameling by die Universiteit Stellenbosch. Ten aanvang word Van Wyk as komponis van die kunslied in Suid-Afrika in perspektief tot die breër kulturele konteks geplaas, veral in verband met sy Afrikaanse digter-tydgenote. Daar word ook oorsigtelik verwys na moontlike invloede van ander komponiste op sy werk. ’n Omvattende beeld van Van Wyk as liedkomponis kom sodoende na vore. Verrassend baie van die musiektaal van sy liedkuns is reeds (wel nog in die kinderskoene) in sy juvenilia aanwesig. Vier prominente tydperke kenmerk die bespreking van Van Wyk se liedoeuvre en word telkens aangevul deur ’n samevatting waaruit sy ontwikkeling as liedkomponis duidelik blyk, asook watter musikale middele mettertyd as kenmerkend van sy liedstyl gevestig het. Omdat die verloop van elke lied sover moontlik aan die hand van die verloop van die teks omskryf word, word die volledige tekste deurlopend gegee, met Afrikaanse woordelikse vertalings by die Latynse en Oudnederlandse gedigte. Al toonset die komponis soms net enkele strofes van ’n gedig, word die hele gedig of ’n gedeelte daarvan nogtans verskaf ter wille van oriëntasie. Die geheelbeeld van die liedere word sodoende in aanmerking geneem. Die toonsetting van die stemparty word ondersoek veral met betrekking tot die woord-toonverhouding. Dit geld ook vir die illustratiewe betekenis van die plasing van die teks in die stemomvang, die omvang en tessituur van die stemparty en die illustratiewe gebruik van intervalle en ander melodiese middele soos melismas, ritmiese verklanking, en so meer. Begeleiding word ondersoek rakende die verwantskap met en illustratief van die teks en as aanvulling en ondersteuning van die stemparty asook in hoeverre dit die vormskema ondersteun. Slegs die opvallendste eienskappe van Van Wyk se uiters komplekse harmoniek word uitgewys. ’n Belangrike aspek van dié studie is dat Van Wyk se vereniging van melodiegewing en sy kennis van die menslike stem, onder meer in Van liefde en verlatenheid en die Petronius-liedere, ook uit ’n sangtegniese perspektief ondersoek word. Waar die ontstaansgeskiedenis van ’n lied beskikbaar is, is dit in fyn besonderhede geboekstaaf, om te toon wanneer ’n spesifieke musikale idee ontstaan het en hoe dit ontwikkel en finale beslag gekry het, maar meer nog, om die komposisiesketse self te laat verslag doen van die meestal werklik moeisame (soms trae) komposisieproses. Van Wyk se komposisionele werkwyse en die tempo van komposisie kan duidelik afgelei word uit die komposisiesketse. Dié gevolgtrekkings word gestaaf en toegelig deur die feit dat hy redelik getrou die werk gedateer en dikwels ook ’n adres en/of ’n stukkie dagboekinligting bygeskryf het. Laasgenoemde word dan meestal bygebring aangesien dit lig werp op die komposisieproses asook die komponis van dié liedere as mens gestalte laat kry. Om inskandering van talryke notevoorbeelde te vermy, word die C1 tot c3-skryfwyse gebruik.

D.Litt. et Phil.

Text in Afrikaans with abstracts in Afrikaans and English. / Hierdie verhandeling handel oor die radiodramas van N.P. van Wyk Louw se afhanklikheid van die gesproke woord en die gebruik van ouditiewe middele ter ondersteuning daarvan. In radiodramas soos Dias, Kruger breek die pad oop en die eerste voortrek, is die gesproke woord hoofsaaklik as betekenisdraer gebruik. Gaandeweg word byklanke in Blomme vir die winter aangewend en in Die vonnis speel musiek n strukturerende rol by die opbou van die handeling. In Die held en Lewenslyn eksperimenteer Louw met radiotegniese moontlikhede ten einde die ouditiwiteit en verbeelde visualiteit te verhoog. In Dagboek van n soldaat word die byklank soms oorheersend, maar in sy laaste radiodrama, Die val van n regvaardige man, keer hy weer terug na die uitsluitlike krag van die woord. Die aanwending van dramatiese tegnieke, sowel as aktuele temas, komplekse karakterisering en die vooropstel van die idee, dra alles by tot die "toneelmatigheid" van sy radiodramas. / This dissertation deals ·with the radio dramas of N.P. van Wyk Louw, describes its dependence on the spoken word and the use of acoustical forms to reinforce the dialogue. Louw uses the spoken word as the prime bearer of meaning in Dias, Kruger breek die pad oop and Die eerste voortrek. Gradually he makes use of sound-effects in Blornme vir die winter and music plays a structural role in the action in Die vonnis. In Die held and Lewenslyn technical possibilities increase the auditory effect and imagined visuality. Sometimes the sound-effects dominate in Dagboek van n soldaat, but in his lastradio drama, Die val van n regvaardige man, Louw returns to the exclusive force of the spoken word. Louw's use of dramatical techniques, together with actual themes, complex characterization and the bringing forth of the idea, is responsible for the radio dramas being "fit for the stage". / Afrikaans and Theory of Literature / M.A. (Afrikaans en Nederlands)

M.A. (Afrikaans en Nederlands) / Please refer to full text to view abstract

Arnold van Wyk (1916 - 1983) frequently referred to the extramusical concepts of the elegiac, and of mournfulness, introspection and death when describing the intended content of his works. The import of these concepts seems to have been a constant element spanning his entire oeuvre. In this dissertation, William Kimmel's theory concerning the Phrygian Inflection and the Appearance of Death in Music is applied to Van Wyk's Five Elegies for String Quartet. Kimmel's theory is applied to the following parameters of each of the Five Elegies: melody, harmony and structure. In addition. the elements of rhythm, pulse, texture and timbre are investigated. Since Van Wyk often linked the concepts of death and protest, an interpretation of the work as music of protest is included in the final chapter of the study. It is concluded that Kimmel's theory has substantial--although not conclusive--validity in terms of the work under study. It is moreover possible to trace the inflection's presence through the parameters of pulse, rhythm, texture and timbre. In the absence of specific indications by the composer of the substance of the intended protest, observations in this regard are of a speculative nature. / Thesis (M.Mus.)-University of Natal, Durban, 1991.