This dissertation is devoted to a study of the homodiegetic, extradiegetic narrator (terms derived from Genette). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wors by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer 1 s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intent1y upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans , the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and his story. In contrast to the previous text the narrator emphasizes the fact that his experiences belong to a distant past. Direct identification with an experiencing self is ruled out because of the outspoken diegetic nature of the text. The stress fall s on the event rather than on the experience thereof. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without exception, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe. This is meaningful in the characterization of the protagonist, Josias. / MA, PU vir CHO, 1984

This dissertation is devoted to a study of the homodiegetic, extradiegetic narrator (terms derived from Genette). The main premise was to study the child as narrator, to differentiate between the child as narrator and the adult narrator, to peg down specific problems but also to show the advantages of the child narrator over the adult narrator. With Genette as basis the writer has tried to clear up the widespread confusion in the literary world between the narrator who presents the narrative and the character whose consciousness orients the perspective, the who speaks and who sees of Genette. The first part of the study provides a theoretical background to the second part and is largely based on the typology of Gerard Genette. As the youthful reader is the most likely reader of the three chosen texts (Skrik kom huis toe by Dolf van Niekerk, Woorde is soos wors by Rona Rupert and Boom bomer boomste (Tree-more, tree-most - translated by Eve Merchant, 1983) by Elsabe Steenberg), a chapter in the first part is devoted to an investigation of the enforceability of the criterion used to differentiate between books meant for adults and books meant for children. Concerning these texts the writer 1 s contention is that the degree of presence of the narrator as well as die placing of emphasis, either on the narrator or on the character whose perspective orients the narrative (the one who focalizes), determine the specific perspective of the narration. Personal traits of characters are often revealed by their respective objects of focalization. The three short novels previously mentioned are thematically related, but because of the specific handling of the narrator and of focalization in each, a multiplicity of perspectives is opened. In Skrik kom huis toe, the younger, experiencing self is emphasised. Albert's vision , and not that of the narrator, orients the narrative to such an extent that the reader easily identifies with his personal existential crisis. The voice of a narrating instance is barely discernible and has, for all practical purposes, no role in the text. The protagonist focalizes intent1y upon matters of personal concern and thus reveals an egocentric personality. The thinly populated narrative space as well as the bleakness of this space suggests something of the unhappiness and utter loneliness of the boy, Albert. In Woorde is soos wors, which is thematically related to the previous work , a completely different perspective is revealed because of the accent falling on the narrating instance himself. Uncommon in Afrikaans , the use of het ge- is sustained throughout the text, thereby undeniably creating a distance between the narrator and his story. In contrast to the previous text the narrator emphasizes the fact that his experiences belong to a distant past. Direct identification with an experiencing self is ruled out because of the outspoken diegetic nature of the text. The stress fall s on the event rather than on the experience thereof. The protagonist seldom focalizes and if he does this text is obviously imbedded in the text of the narrator. His world is nevertheless populated by a variety of people with whom he, without exception, relates positively. The narrative space shows a much greater variety and is more colourful than that of Skrik kom huis toe. This is meaningful in the characterization of the protagonist, Josias. / MA, PU vir CHO, 1984

Die term speurverhaal impliseer ’n spesifieke soort verhaal of genre, tradisioneel triviaalliteratuur of ontspanningslektuur, met spesifieke kodes en konvensies. Enige konvensies is egter aanpasbaar en die grense tussen hoë kuns en populêre kultuur is vloeibaar, sodat dit moontlik is dat daar wel ʼn vertakking of subgenre wat die literêre speurverhaal genoem kan word, kon ontwikkel het. Die doel van hierdie verhandeling is om die volgende navorsingsvrae te beantwoord: Is daar wel speurverhale wat as literêre speurverhale gekategoriseer kan word? Indien nie, waarom word die kodes van die speurverhaal as narratiewe strategie gekies vir sekere romans? Wat is die verskille en ooreenkomste tussen die tradisionele speurverhaal en die sogenaamde literêre speurverhaal? Die verskynsel word ondersoek word deur twee romans wat moontlik as literêre speurverhale geklassifiseer kan word, nl. Een vir Azazel (Leroux, 1984) en Die boek van toeval en toeverlaat (Winterbach, 2006), te vergelyk met twee tradisionele speurverhale, nl. Reuk van die dood (Mouton, 2008) en Plaasmoord (Brynard, 2009), aan die hand van sekere struktuurelemente, nl. spanningslyn, plot, intrige, karakterisering, verteller, vertellersperspektief, tyd, en ruimte. ENGLISH : The term detective story indicates a specific kind of story or genre, traditionally recreational and light reading, with specific codes and conventions. However, any set of conventions are pliable and the boundaries between recreational and high art are fluid and constantly shifting. It is therefore possible that a subgenre of the detective story that can be called the literary detective story could have developed. The goal of this dissertation is to answer the following research questions: Are there detective stories that can be categorised as literary detective stories? If not, why is the detective element chosen as a narrative strategy for some novels? What are the differences and similarities between the traditional detective story and the so called literary detective novel? / Dissertation (MA)--University of Pretoria, 2010. / Afrikaans / unrestricted

In this dissertation the boundaries between normality and disability are investigated, as well as how these boundaries can be represented and changed through literary works. The purpose of this study is to examine the representation of disabled characters according to the theoretical insights of cognitive narratology. In order to analyse the boundary between normality and disability, this study focuses on focalisation and the narration as narrative techniques. The representation of disabled characters is a well-known phenomenon in literature in general but this dissertation analyses and discusses four novels which have been identified as texts in which the representation of disabled characters plays a significant role. These novels are: Is Sagie (1987) by Jan van Tonder, Raaiselkind (2001) by Annelie Botes, Siegfried (2007) by Willem Anker en Een vir Azazel (1964) by Etienne Leroux. Disablility, as a deviation from normality, is represented in different ways in literature, and has different functions. The theoretical argument is that the investigation and interpretation of the representation of disablilty in literature will provide insight in disability as a social phenomenon, as a literary act and as an act of understanding. Cognitive narratology uses the theoretical concepts of frames and scripts to describe the way in which human perceptions are structured and may even become fossilised in the human mind. Subsequent expreriences and information are therefore determined by existing codes and rules. The understanding or negotiation of new information is based on preferences that evolve from prior knowledge and programming. Cognitive choices are made on the basis of existing frames and scripts and determine whether a concept is new, standard, stereotypical, unusual, indefinite or ambiguous. This study shows how frames and scripts on disability are undermined within the novels and how disability is used as a functional novel element. / Thesis (MA (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2013.

In this dissertation the boundaries between normality and disability are investigated, as well as how these boundaries can be represented and changed through literary works. The purpose of this study is to examine the representation of disabled characters according to the theoretical insights of cognitive narratology. In order to analyse the boundary between normality and disability, this study focuses on focalisation and the narration as narrative techniques. The representation of disabled characters is a well-known phenomenon in literature in general but this dissertation analyses and discusses four novels which have been identified as texts in which the representation of disabled characters plays a significant role. These novels are: Is Sagie (1987) by Jan van Tonder, Raaiselkind (2001) by Annelie Botes, Siegfried (2007) by Willem Anker en Een vir Azazel (1964) by Etienne Leroux. Disablility, as a deviation from normality, is represented in different ways in literature, and has different functions. The theoretical argument is that the investigation and interpretation of the representation of disablilty in literature will provide insight in disability as a social phenomenon, as a literary act and as an act of understanding. Cognitive narratology uses the theoretical concepts of frames and scripts to describe the way in which human perceptions are structured and may even become fossilised in the human mind. Subsequent expreriences and information are therefore determined by existing codes and rules. The understanding or negotiation of new information is based on preferences that evolve from prior knowledge and programming. Cognitive choices are made on the basis of existing frames and scripts and determine whether a concept is new, standard, stereotypical, unusual, indefinite or ambiguous. This study shows how frames and scripts on disability are undermined within the novels and how disability is used as a functional novel element. / Thesis (MA (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2013.