Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

This research focused on the metaphor of space as used by Afrikaans female poets in South Africa in the period 1994-2005, both space as an environment and as an abstract space in which the poets find themselves. In this period, South Africa got a new democratic dispensation and women were de-marginalised. As a background to the study, a brief overview was given of the work of various Afrikaans poetesses, but the main focus was on the work of two contemporary poetesses, namely Use van Staden and Wilma Stockenstrom, to observe whether the new role of women in society is reflected in the work of these two poetesses. In the study, the theory of Pierre Bourdieu, a French culture-sociologist, was used, namely that no text is ever "free", but that there is a close relation between text and context. Because only the work of female writers was studied in this research, and because the poetesses give a voice to the spatiality of women, theories of feminism as well as postcolonialism were also involved in the study. The spatial metaphors in the texts of the poetesses were also analysed, because they use metaphors to portray their spatiality. These spatial metaphors also lead to the exploitation of other relevant themes. In the investigation of the representation of spatial metaphors used by Afrikaans poetesses, and in particular Use van Staden and Wilma Stockenstrom, it was found that the spaces in which women find themselves play a prominent role in their lives. It was also observed that there is disharmony between poetesses and the spaces in which they find themselves. This research found that women have been de-marginalised and that the patriarchal system has been crossed, and that this phenomenon is being portrayed by the work of female poets who give a voice to the women of this country and portray the many facets of female experience. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

This research focused on the metaphor of space as used by Afrikaans female poets in South Africa in the period 1994-2005, both space as an environment and as an abstract space in which the poets find themselves. In this period, South Africa got a new democratic dispensation and women were de-marginalised. As a background to the study, a brief overview was given of the work of various Afrikaans poetesses, but the main focus was on the work of two contemporary poetesses, namely Use van Staden and Wilma Stockenstrom, to observe whether the new role of women in society is reflected in the work of these two poetesses. In the study, the theory of Pierre Bourdieu, a French culture-sociologist, was used, namely that no text is ever "free", but that there is a close relation between text and context. Because only the work of female writers was studied in this research, and because the poetesses give a voice to the spatiality of women, theories of feminism as well as postcolonialism were also involved in the study. The spatial metaphors in the texts of the poetesses were also analysed, because they use metaphors to portray their spatiality. These spatial metaphors also lead to the exploitation of other relevant themes. In the investigation of the representation of spatial metaphors used by Afrikaans poetesses, and in particular Use van Staden and Wilma Stockenstrom, it was found that the spaces in which women find themselves play a prominent role in their lives. It was also observed that there is disharmony between poetesses and the spaces in which they find themselves. This research found that women have been de-marginalised and that the patriarchal system has been crossed, and that this phenomenon is being portrayed by the work of female poets who give a voice to the women of this country and portray the many facets of female experience. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-29Bitstream added on 2014-06-13T19:34:50Z : No. of bitstreams: 1 neme_im_me_assis_parcial.pdf: 54928 bytes, checksum: 4395e042815fe0b00a6fcc5ad5e8fd04 (MD5) / Universidade Estadual Paulista (UNESP) / No século XVIII, com o advento da burguesia e o crescimento da população se iniciaram os escritos autobiográficos, mas foi apenas no final do século XIX que os diários puderam ser considerados como uma escrita de si mesmo. Todavia, foi ao longo do século XX, que essa escrita de foro íntimo adquiriu um status mais privilegiado, onde se incluem os diários, correspondências e autobiografias. Dessa forma, emergiram, definitivamente, os diários íntimos e, especialmente aqui, os de autoria feminina. Se os diários íntimos não eram considerados literatura, atualmente, após sua redescoberta, com a riqueza de sua narrativa, repletas de informações autobiográficas, históricas, sociais, saíram da alcova e ganharam o mundo tornando-se referência como fonte para pesquisadores das mais variadas áreas do conhecimento. Quase sempre guardados em segredo, escondidos em gavetas, caixas, baús, materializados em papel e tinta, os diários íntimos conquistaram na última década lugar de destaque como objetos de estudo nas academias. Este trabalho analisa os diários e apresenta o “fazer poético” de Carolina Martins de Mattos, uma mulher comum que buscou na escrita de poemas uma maneira de expressar seus sentimentos. Os poemas são distintos entre adaptações e composições próprias da autora e registram também toda sua licença poética ao demonstrar a maneira como ela interferia em poemas de outros autores, sempre trazendo os versos para a realidade de sua viuvez e o sentimento de solidão que acompanhou seu luto / In the 18th century, with the arrival of the bourgeoisie and the population increase the autobiographical writings began, but, it was just in the end of twentieth century that the journals could be considered as a self-writing. However, it was during the 20th century, that this writing of intimate character got a more privileged status, where are included the journals, correspondences and autobiographies. In this way, definitively the intimate journals have risen and, especially in this point, those written by women. If the intimate journals were not considered as literature, today, after their rediscovery, with the wealth of their narrative, full of autobiographical, historical and social information, they got out the bedrooms and went out to the world becoming reference as source to researchers in the most various areas of knowledge. Almost always kept in secrecy, hidden in drawers, boxes, lockers, materialized in paper and ink, the intimate journals have conquered prominence in the last decade as object for studies in the academy. This work analyzes the journals and introduces the “poetical making” of Carolina Martins de Mattos, a common woman who sought in the writing of poems a way to express her feelings. The poems are distinct among adaptations and she interfered in poems by other authors, always bringing in the verses to the reality of her widowhood and the feeling of solitude that came along her mourning

Orientador: Ana Maria Domingues de Oliveira / Banca: Cleide Antonia Rapucci / Banca: Marlise Vaz Bridi / Resumo: No século XVIII, com o advento da burguesia e o crescimento da população se iniciaram os escritos autobiográficos, mas foi apenas no final do século XIX que os diários puderam ser considerados como uma escrita de si mesmo. Todavia, foi ao longo do século XX, que essa escrita de foro íntimo adquiriu um status mais privilegiado, onde se incluem os diários, correspondências e autobiografias. Dessa forma, emergiram, definitivamente, os diários íntimos e, especialmente aqui, os de autoria feminina. Se os diários íntimos não eram considerados literatura, atualmente, após sua redescoberta, com a riqueza de sua narrativa, repletas de informações autobiográficas, históricas, sociais, saíram da alcova e ganharam o mundo tornando-se referência como fonte para pesquisadores das mais variadas áreas do conhecimento. Quase sempre guardados em segredo, escondidos em gavetas, caixas, baús, materializados em papel e tinta, os diários íntimos conquistaram na última década lugar de destaque como objetos de estudo nas academias. Este trabalho analisa os diários e apresenta o "fazer poético" de Carolina Martins de Mattos, uma mulher comum que buscou na escrita de poemas uma maneira de expressar seus sentimentos. Os poemas são distintos entre adaptações e composições próprias da autora e registram também toda sua licença poética ao demonstrar a maneira como ela interferia em poemas de outros autores, sempre trazendo os versos para a realidade de sua viuvez e o sentimento de solidão que acompanhou seu luto / Abstract: In the 18th century, with the arrival of the bourgeoisie and the population increase the autobiographical writings began, but, it was just in the end of twentieth century that the journals could be considered as a self-writing. However, it was during the 20th century, that this writing of intimate character got a more privileged status, where are included the journals, correspondences and autobiographies. In this way, definitively the intimate journals have risen and, especially in this point, those written by women. If the intimate journals were not considered as literature, today, after their rediscovery, with the wealth of their narrative, full of autobiographical, historical and social information, they got out the bedrooms and went out to the world becoming reference as source to researchers in the most various areas of knowledge. Almost always kept in secrecy, hidden in drawers, boxes, lockers, materialized in paper and ink, the intimate journals have conquered prominence in the last decade as object for studies in the academy. This work analyzes the journals and introduces the "poetical making" of Carolina Martins de Mattos, a common woman who sought in the writing of poems a way to express her feelings. The poems are distinct among adaptations and she interfered in poems by other authors, always bringing in the verses to the reality of her widowhood and the feeling of solitude that came along her mourning / Mestre

Ce mémoire vise à placer le travail de la poète colombienne Olga Elena Mattei au sein de la poésie colombienne de son temps (1962-2005). Dans le premier chapitre, certains concepts théoriques sont définis et le terme «canon», axé sur la poésie, est synthétisé. Dans le deuxième chapitre, le paysage de la poésie colombienne de la seconde moitié du XXe siècle est défini. La stylistique des poètes les plus importants et jugés comme étant canoniques, est présentée. Dans le dernier chapitre, les particularités de la poésie de Mattei sont analysées. Il est conclu qu'Olga Elena Mattei fait partie du canon de la poésie colombienne, mais que son travail a contesté le canon dominant de celle-ci, au fil des décennies, et qu'il a été en avance sur les tendances qui émergeraient plus tard. À titre d'exemple, il est montré comment, dans les années soixante du XXe siècle, quand, en Colombie, la rime et le mètre étaient toujours hégémoniques dans la poésie, Olga Elena Mattei a osé écrire et publier en vers libres. Puis, dans les années soixante-dix, lorsque le vers libre a été accepté et il régnait à la poésie colombienne, Mattei fut la première femme à écrire anti-poésie en espagnol. Dans les années quatre-vingt, alors que l'anti-poésie était la principale tendance en Colombie, Mattei s'est consacrée à écrire de la poésie au sujet de la science, jamais réalisée auparavant en Colombie. Et, dans les années quatre-vingt-dix, lorsque le vers libre est dominant en Colombie, Mattei retourne à la rime. / This thesis aims to place the work of the Colombian poet Olga Elena Mattei within the Colombian poetry of her time (1962-2005). In the first chapter, some theoretical concepts are defined and the term "canon", focused on poetry, is explained. In the second chapter, the landscape of the Colombian poetry of the second half of the twentieth century is set. The style of the most important poets, who are considered as canonical, is presented. In the last chapter, the peculiarities of Mattei's poetry are analyzed. It is concluded that Olga Elena Mattei is part of the canon of the Colombian poetry, but her work has challenged the dominant trends over the decades. For example, it is shown how, in the sixties of the twentieth century, when, in Colombia, rhyme and metrics were still preponderant in poetry, Olga Elena Mattei dared to write and publish in free verse. In the seventies, when free verse was accepted and it reigned in the Colombian poetry, Mattei was the first woman to write anti-poetry in Spanish. In the eighties, while anti-poetry was the main trend in Colombian poetry, Mattei devoted herself to write poetry about science, never wrote in Colombia before. And in the nineties, when free verse is dominant in Colombia, Mattei returns to rhyme. / Esta tesina pretende ubicar la obra de la poeta colombiana Olga Elena Mattei en el marco de la poesía dominante de su tiempo (1962-2005), en Colombia. En un primer capítulo, se definen algunos conceptos teóricos y se sintetiza el término “canon”, enfocado en la poesía. En el segundo capítulo, se define el campo poético colombiano de la segunda mitad del siglo XX. Se discute sobre la estilística de los poetas más relevantes, aquellos que han sido determinados como canónicos. En el capítulo final, se analiza la poesía de esta autora, sus particularidades, confrontándola con el canon antes explicado. Se concluye que Olga Elena Mattei hace parte del canon de la poesía colombiana, pero que su obra, a lo largo de los decenios, ha rebatido el canon preponderante en Colombia y se ha adelantado a las tendencias que habrían de surgir posteriormente. Como ejemplo, se muestra cómo, en los años sesenta del siglo XX, cuando, en Colombia, todavía la rima y la métrica eran hegemónicas en la poesía, Olga Elena Mattei se atrevió a escribir y publicar en verso libre. Luego, en los setenta, cuando ya el verso libre era aceptado e imperaba en la poesía colombiana, Mattei fue la primera mujer en escribir antipoesía en español. En los ochenta, cuando la antipoesía ya era tendencia distinguida en Colombia, Mattei se encaminó hacia la poesía de temática científica, nunca antes realizada en Colombia, y en los noventa, cuando, predomina el verso libre, Mattei regresa a la poesía con rima y ritmo.