The primary aim of this study in creative writing is research into an aspect of the writing process, namely the creation of spatial dynamics in a novel. This objective required the creation of an artefact. A novel titled Somersneeu was written in order to examine the very process of generating spatial dynamics in this novel in particular, as well as in the novel as such. Somersneeu was published by Human & Rousseau in 2010. Practice-based as well as practice-led research was fundamental to this study. An artistic creator registers intellectually whatever unfolds during the creative process and so new knowledge can simultaneously be created. The process of creating a work of art as well as the reflection thereon is fundamental to practice-led research. In other words, the creative process of an artefact like the novel Somersneeu is the source of a certain kind of knowledge that gradually emerges and can eventually be verbalised. Therefore a design concept for creating spatial dynamics may be articulated. It is a fact that a definite coherence exists between space and spatial dynamics. These two concepts are in reality inseparable and this cohesion is what is also being investigated in this study. Space actually consists of spatial dynamics since all the different facets of space, concrete as well as abstract, have definite and inseparable repercussions upon one another, causing a dynamic interaction among all facets of space. Apart from concrete or physical space, numerous abstractions of space take part in this interplay. These spatial abstractions are, for instance culture, identity, zeitgeist and the all-encompassing human psyche. The intense interplay among all the facets of space triggers spatial dynamics. This is the case in real life as well as in fiction. The above mentioned discussion of space and spatial dynamics is followed by an intense and heuristic view of the process of creating spatial dynamics. In order to create spatial dynamics in a novel, a novelist should have a strong sense of place. The essence of creating spatial dynamics in a novel consists mainly of the transformation of sense of place. The main aim of this study is then to present a design concept for the creation of spatial dynamics in a novel. This design concept may be used by other writers in order to create spatial dynamics in a novel. The novel Somersneeu as well as the questionnaire, reception documents and a list of publications of the writer are included as appendixes. / PhD (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

The primary aim of this study in creative writing is research into an aspect of the writing process, namely the creation of spatial dynamics in a novel. This objective required the creation of an artefact. A novel titled Somersneeu was written in order to examine the very process of generating spatial dynamics in this novel in particular, as well as in the novel as such. Somersneeu was published by Human & Rousseau in 2010. Practice-based as well as practice-led research was fundamental to this study. An artistic creator registers intellectually whatever unfolds during the creative process and so new knowledge can simultaneously be created. The process of creating a work of art as well as the reflection thereon is fundamental to practice-led research. In other words, the creative process of an artefact like the novel Somersneeu is the source of a certain kind of knowledge that gradually emerges and can eventually be verbalised. Therefore a design concept for creating spatial dynamics may be articulated. It is a fact that a definite coherence exists between space and spatial dynamics. These two concepts are in reality inseparable and this cohesion is what is also being investigated in this study. Space actually consists of spatial dynamics since all the different facets of space, concrete as well as abstract, have definite and inseparable repercussions upon one another, causing a dynamic interaction among all facets of space. Apart from concrete or physical space, numerous abstractions of space take part in this interplay. These spatial abstractions are, for instance culture, identity, zeitgeist and the all-encompassing human psyche. The intense interplay among all the facets of space triggers spatial dynamics. This is the case in real life as well as in fiction. The above mentioned discussion of space and spatial dynamics is followed by an intense and heuristic view of the process of creating spatial dynamics. In order to create spatial dynamics in a novel, a novelist should have a strong sense of place. The essence of creating spatial dynamics in a novel consists mainly of the transformation of sense of place. The main aim of this study is then to present a design concept for the creation of spatial dynamics in a novel. This design concept may be used by other writers in order to create spatial dynamics in a novel. The novel Somersneeu as well as the questionnaire, reception documents and a list of publications of the writer are included as appendixes. / PhD (Afrikaans and Dutch), North-West University, Potchefstroom Campus, 2014

Jesaja 40:1 begin met die werkwoord נחם wat ‘troos’ beteken. Die studie was gedoen omdat daar min literatuur oor die werkwoord נחם beskikbaar is. Die woordeboeke gee ‘n samevatting oor die werkwoord en die betekenis teen die Semitiese agtergrond. Die doel van die studie was om aan te toon dat נחם ‘n verdere tema van Deutero-Jesaja is. Die temas wat gewoonlik in Deutero-Jesaja aanvaar word, is verlossing en skepping. Hoofstuk 1 gee ‘n uiteensetting van die doel en metode waarvolgens dit uitgevoer gaan word. Hoofstuk 2 gee ‘n oorsig van die navorsing en die outeurskap van Jesaja en Deutero-Jesaja. Dit blyk dat die tendens verskuif het vanaf die standpunt om Jesaja te hanteer as ’n boek met verskillende outeurs, naamlik Proto-Jesaja, Deutero-Jesaja en Trito-Jesaja, na die standpunt om Jesaja as een boek te behandel. Daar word steeds werke gepubliseer onder albei die temas, naamlik waar Jesaja as boek hanteer word en onder temas uit Deutero-Jesaja. Die meeste werke wat gebruik is, verwys net na die werkwoord נחם en verkies om dan die verhouding tussen JHWH en die volk, die verlossing of skepping te bespreek, in Deutero-Jesaja. Die werkwoord נחם word gewoonlik onder ‘n ander tema as ‘n onderdeel bespreek. Hoofstuk 3 het die beskikbare inligting omtrent die werkwoord נחם in die teologie van die Ou Testament, artikels en kommentare in die algemeen en in Deutero-Jesaja nagegaan. Die werkwoord נחם word nie as ‘n enkele tema bespreek nie. In hoofstuk 4 is ‘n ondersoek gedoen na die tekste waar die werkwoord נחם in Deutero-Jesaja voorkom sowel as die boek Jesaja. Dit is gedoen omdat die tendens bestaan om Jesaja as een werk te beskou. Daar is ‘n verskeidenheid kommentare geraadpleeg, om die tendens waar te neem, oor die bespreking rondom die werkwoord נחם en daar is bevind dat die meeste eksegete vinnig oor ‘troos’ na ‘n volgende onderwerp beweeg. Hoofstuk 5 toon aan hoe JHWH die ‘troos’ waarborg. Die werkwoord ברא ‘skep’ en die werkwoord en selfstandige naamwoord גאל ‘verlos’ en ‘verlosser’ is ondersoek in tekste saam met die werkwoord נחם om te sien hoe hulle ‘troos’ in Deutero-Jesaja ondersteun. Hoofstuk 6 hanteer die werkwoorde ידע ‘ken’ of ‘weet’ en רחם ‘ontferm’ en hulle ondersteuning aan נחם in Deutero-Jesaja. Hoofstuk 7 is die samevatting waar daar aangetoon word dat die doel en metode in hierdie tesis toegepas is. Die gevolgtrekking wat bereik is, is dat ‘troos’ ‘n tema in Deutero-Jesaja is, saam met die temas van verlossing en skepping. / Thesis (PhD)--University of Pretoria, 2014. / gm2014 / Old Testament Studies / unrestricted