Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this study the genre-theory of the ‘female’ Bildungsroman is utilised as a theoretical lens in the analysis of Annerkant die longdrop [Beyond sanity] by Anoeschka von Meck (1998) and De vriendschap [The friendship] by Connie Palmen. Differences and similarities between these narratives of female development, in comparison to the traditional Bildungsroman and ‘female’ Bildungsroman, are identified. This procédé leads to new insights regarding the female characters and their journeys to selfhood in Annerkant die longdrop and De vriendschap. The ‘female’ Bildungsroman is distinguished from her patriarchal counterpart by the central motifs of the developing female body and sexuality which are inscribed in the discourse. These motifs and the subversion of the traditional Bildungsroman are linked with French feminists’ concept of écriture féminine. By comparing Annerkant die longdrop and De vriendschap as ‘female’ Bildungsromane and examples of écriture féminine new derivations can be made about the genre and narratives of female development. The difference between male and female development is one of the aspects highlighted when the ‘female’ Bildungsroman is utilised as theoretical lens. Furthermore the fluidity and instability of the female subject and of the texts in which she comes to life are emphasized. This study raises new questions about the development and emancipation of the female character in Afrikaans literature from 1960 onwards. Furthermore it demonstrates that the theory of the Bildungsroman opens up new research possibilities, especially regarding identity, and can be utilised in the reading of a variety of Afrikaans texts. / AFRIKAANSE OPSOMMING: Die genre-teorie van die ‘vroulike’ Bildungsroman dien in hierdie studie as primêre teoretiese bril of lens by die analise van Annerkant die longdrop (1998) deur Anoeschka von Meck en De vriendschap (1995) deur Connie Palmen. Die ontwikkeling van vroulike protagoniste in hierdie romans word met die eienskappe van beide die tradisionele Bildungsroman én die ‘vroulike’ Bildungsroman in verband gebring en vergelyk. Dié procédé bring nuwe aspekte oor die ontwikkelende vrouekarakters en ontwikkelingsreise in Annerkant die longdrop en De vriendschap na vore. Die wyse waarop die ‘vroulike’ Bildungsroman die literêre grense van die tradisionele Bildungsroman ondermyn en die ontwikkelende vroulike liggaam en seksualiteit inskryf in die diskoers, word met Franse feministe se teoretiese konsep van écriture féminine in verband gebring. Uit die vergelyking van Annerkant die longdrop en De vriendschap blyk dit dat die genre-teorie van die ‘vroulike’ Bildungsroman en die feministiese tradisie van die écriture féminine nuwe aspekte oor narratiewe van vroulike ontwikkeling na vore bring. So beklemtoon hierdie teorie byvoorbeeld die verskil tussen manlike en vroulike ontwikkeling en wys op sowel die vloeiende, onvaste aard van hedendaagse vroulike subjekte as op die tekste wat die ontwikkeling van hierdie vroulike subjekte verwoord. Nuwe vrae oor die mate waarin Afrikaanse vrouekarakters sedert die sestigerjare ontwikkel het, kan na aanleiding van hierdie studie gestel word. Verder wys die ondersoek op nuwe navorsingsmoontlikhede, veral in terme van die soeke na identiteit, wat die Bildungsroman inhou by die bestudering van die Afrikaanse literatuur.

Thesis (MA)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2007. / Two separate texts are submitted towards the degree MA in Kreatiewe Afrikaanse Skryfkunde. Firstly, a thesis with the title ‘Drempellewens: die uitbeelding van bewussyn in vyf debuutromans’, and secondly a novel called Hanna in die park. The novel and the thesis are thematically related. The focus of the thesis is the portrayal of the consciousness of protagonists who, because of their age and situation, may be considered ‘threshold characters’. The question that is posed is the following: what kind of narrator and what narratological strategies can best express the unfixed nature of the protagonist in a so-called ‘coming of age’-novel? To examine this issue, theoretical tools are taken from mainly two sources: the work of anthropologists Arnold van Gennep and Victor W. Turner about the liminal phase in rites of passage, and Dorrit Cohn’s theories about the depiction of consciousness, as set out in her book, Transparent Minds (1983). Five debut novels are discussed using these concepts. They are Die Ryk van die Rawe (Jaco Fouché), Annerkant die Longdrop (Anoeschka von Meck), trips (Manie de Waal), Less than Zero (Bret Easton Ellis) and You Shall Know Our Velocity! (Dave Eggers). The liminal characteristics of the protagonists and their situations are discussed. Using Cohn’s three modes of narration, namely psychonarration, narrated monologue and quoted monologue, a discussion follows of what effect the kind of narrator and narratological modes has on the convincing and striking portrayal of a liminal character’s consciousness. The conclusion is reached that a narrator who is also in some kind of liminal position, or who experiences a threshold-consciousness, is most effective in the portrayal of the nature of liminality. The novel is about a young woman, Hanna Moolman, who is having trouble with the requirements of becoming adult. She works as a waitress in Stellenbosch and leads a somewhat lonely, frustrated life. Her relationship with especially her mother and her younger sister is strained. When her sister, a beautician in training, becomes pregnant, old sibling rivalries and family secrets are brought to the fore. During the crisis of her sister’s pregnancy, there are also various other influences on Hanna’s state of mind; among others, her part-time job as a researcher for an old lady who is writing about the domestic history of the Afrikaner woman, an impudent graffiti artist who seems to be watching Hanna, and a client at the restaurant where she works who leaves her mysterious notes.