Thesis (MA) -- Stellenbosch University, 1998. / ENGLISH ABSTRACT: In this thesis the techniques of defamiliarisation in Gert Vlok Nel's Om te lewe is onnatuurlik (1993) are investigated, especially with the aid of the Russian Formalist concept ostranenie. The introductory chapter expounds the theoretical basis. With reference to some reviews the question is investigated whether the volume can be regarded as worker poetry. After this follows an explanation of the concept ostranenie as understood by the Formalists, especially Victor Shklovsky, and of the concept Verfremdungseffekt as formulated by Bertolt Brecht. These concepts are then compared with the postmodemist notion of de-naturalization as used by, for example, Linda Hutcheon. In addition to Formalist theory other theories will be used in an eclectic fashion: semiostructuralism (Mikhail Bakhtin and Michael Riffaterre), reception theory (Wolfgang Iser) and psychoanalysis (Harold Bloom). Because om te lewe is onnatuurlik was created in postmodemity, the theoretical approach is also predominantly of a poetmodern nature. In the practical part of the thesis seven poems are discussed in order to highlight the principal techniques of defamiliarisation in each one: the use of ellipses and parody ("die dag toe hulle vir Donkie Viviers"); selfreflexivity and metafidional elements (desember & see"); childlike focalisation and register (soeklig" and "boggellug"); typographical experimentation ("landskap"); spatial relativation ("Rita" and "hillside") and retardation ("hillside"). / AFRIKAANSE OPSOMMING: In hierdie tesis word ondersoek ingestel na die vervreemdingstegnieke in Gert Vlok Nel se bundel om te lewe is onnatuurlik (1993), veral met behulp van die Russiese Formalistiese teorie oor die begrip ostranenie. Die inleidende hoofstuk hied 'n uiteensetting van die teoretiese hegrollding. Met verwysing na enkele resensies word daar eerstens ondersoek of die bundel as werkerspoosie beskou kan word. Hierna volg 'n uiteensetting van die konsep ostranenie soos gehanteer deur die Formaliste, veral Viktor Sklovsky, en van die konsep Verfremdungseffekt, soos geformuleer deur Bertolt Brecht. Hierdie begrippe word dan vergelyk met die postmodernietiese begrip de-naturalisasie soos gebruik deur byvoorbeeld Linda Hutcheon. Naas die Formalistiese teorie word ander teoriee op eklektiese wyee in hierdie .tudie betrek: die semio-strukturalisme (Mikhail Bakhtin en Michael Riffaterre), resepsieteorie (Wolfgang Iser) en psigo-analise (Harold Bloom). Omdat die bundel om lewe is onnatuurlik in die post· moclemiteit geskep is, is die invalshoek hoofsaaklik p08tmodernisties van aard. In diepraktiese deel van die tesis word &ewe gedigte bespreek ten einde die belangrikste vervreemdingstegnieke in elk uit te lig: die gebruik van ellipee en parodiering ('"die dag toe hulle vir Donkie Viviers'); selfrefieksie en metapoitiese elemente ("desember & see"); kinderlike fokalisering en register reoeklig" en "boggellug"); tipografiese eksperimentering ("landskap"); ruimtelike relativering ("Rita" en ··hillside");en vertraging ("hillside").

Thesis (MA)--Stellenbosch University, 2013. / AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis ondersoek die ruimtelike basis vir morele agentskap in Gert Vlok Nel se digbundel om te lewe is onnatuurlik. As teoretiese raamwerk word daar van die teoloog/letterkundige Wesley Kort, die letterkundige/sosioloog Irma du Plessis en die radikale geograaf David Harvey se werk gebruik gemaak. Kwessies soos die (i) wisselwerking tussen omvattende, sosiale en intieme ruimtes deur narratiewe ruimtelikheid in poësie, (ii) die onstandvastigheid van die onderskeid tussen private en openbare ruimtes en (iii) verkillende vorms van ruimtelikheid, soos absolute, relatiewe en relasionele ruimtes, asook materiële ruimte, gerepresenteerde ruimte en ruimtes van representasie kom aan die bod. Daar word aangevoer dat Gert Vlok Nel se bewustelike plasing van homself as randfiguurdigter binne die Afrikaanse literêre sisteem as vorm van morele agentskap gesien kan word. Verder word getoon dat, as om te lewe is onnatuurlik in geheel en as familiekroniek gelees word, die onderskeid tussen private en openbare ruimtes waar geweld en trauma plaasvind ondergrawe word en sodoende politieke magskwessies as persoonliketiese kwessies herdefinieer. Laastens word argument gevoer dat, alhoewel die sprekerdigter in die bundel (“Gert”, of “Gertjie”) op die oog af gebrekkige agentskap blyk te toon, die besonderse tydruimtelike plasing van die spreker-digter die moontlikheid vir verruiming van agentskap skep en sodoende die idee van versplinterde subjek uitdaag. Hierdie akademiese opstel hou verband met die kreatiewe gedeelte van die tesis, digbundel getiteld Veelvuldige gebruike vir huishoudelike toestelle, waarin huishoudelike ruimtes as vertrekpunt gebruik word om kwessies soos morele verantwoordbaarheid, kreatiewe aandadigheid, post-koloniale manlikheid, sosiale verandering en trauma te ondersoek. / ENGLISH ABSTRACT: The first part of this thesis investigates the spatial grounds for moral agency in Gert Vlok Nel’s collection of poems om te lewe is onnatuurlik [“to live is unnatural”]. The works of theologian/literary theorist Wesley Kort, literary theorist/sociologist Irma du Plessis and radical geographer David Harvey are used as theoretical framing. Matters such as (i) the interplay between encompassing, social and intimate spaces through narrative spatiality in poetry, (ii) flawed distinctions between private and public space, and (iii) different forms of spatiality, such as absolute, relative and relational space, as well as material space, represented space and spaces of representation are explored. It is argued that Gert Vlok Nel’s conscious positioning of himself as poetic outsider within the Afrikaans literary system can be seen as a form of moral agency. Furthermore, it is pointed out that a reading of om te lewe is onnatuurlik in its entirety, as family chronicle, destabilises the distinction between private and public spaces where violence and trauma occur, thereby recasting political power as questions of personal ethics. Finally it is argued that, although the narrator-poet in die collection (“Gert”, or “Gertjie”) seems to lack agency, the peculiar spatio-temporal placing of the narrator-poet nevertheless opens up room for the possibility of agency and by doing this, challenges the idea of a splintered subject. This academic essay is related to the creative part of this thesis, a collection of poems titled Veelvuldige gebruike vir huishoudelike toestelle [“Multiple uses for domestic appliances”], in which household space is used as a vantage point from which to interrogate issues such as moral responsibility, creative complicity, postcolonial masculinities, social change and trauma.