AFRIKAANS: Hoewel die begrip "karikatuur" dikwels genoem word wanneer kritici die aanwesigheid van die satire, parodie en ironie in Etienne Leroux se romans bespreek, word dit nêrens omskryf of ontleed nie. Trouens, daar het tot op datum geen uitvoerige studie oor die karikatuur in die Afrikaanse letterkunde verskyn nie. Hierdie proefskrif is daarop afgestem om teoretiese helderheid te verkry oor wat ‘n karikatuur is, hoe dit as kunsgreep ontwikkel het, en hoe dit in die Leroux-kritiek neerslag gevind het. Die vertekening van bestaande modelle het reeds by primitiewe mense voorgekom en die ontwikkeling daarvan kan ook in die Antieke, die Middeleeue, die Renaissance en tot op hede nagespeur word. Hierdie vertekening het geskied deur ‘n verskeidenheid van tegnieke waarvan oordrywing, onderstelling, verwringing en vermenging die belangrikste is. Die "lag" in die een of ander vorm is altyd aanwesig in die karikatuur, hoewel dit soms afgeskaal kan wees tot ‘n blote grimmige gryns omdat die karikatuur ook tragiese, groteske en selfs grusame dimensies kan besit. Die beskouings van Mikhaïl Bakhtin, die Russiese literêre teoretikus, dien as vertrekpunt vir hierdie studie. Die begrip "karnaval" is die grondslag van die kollektiewe volkskultuur wat Bakhtin se teorie onderlê en die word ook behandel. Dit wys op die inherente behoefte by die mens om die bestaande orde om te keer en ook die vermoë om ‘n humoristiese alternatief van die konvensionele te skep. Studies oor die implementering van die karikatuur in die werk van vier erkende satiriese skrywers, belig die funksies, kwaliteit en aard van karikatuurskepping in die literatuur. Leroux se gebruik van karikature toon 'n noue ooreenkoms met die van bogenoemde skrywers. Dit behels dat die karikatuur dikwels 'n bestanddeel van satire is; dat daar naspeurbare verbande tussen die visuele en die literêre karikatuur bestaan; dat die tegnieke van vertekening en oordrywing essensieel aan die karikatuur is; dat dit bestaande aanvaarde grense en norme oorboord gooi en deurbreek; en dat korrekte begrip van 'n karikatuur by die leser tot 'n herinterpretasie van die werklikheid lei. Ontledings van die karikatuur in twee Leroux-romans, naamlik Die mugu en Sewe dae by die Silbersteins, het getoon dat die doel daarmee is om die hedendaagse samelewing as vals en kunsmatig aan die kaak te stel, maar ook om die Mens se swakhede en vergrype bloot te lê. Die mugu word as 'n karikatuur van die tradisionele ridderroman, soos dit veral rondom die hoofkarakter Gysbrecht Edelhart uitkristalliseer, in oënskou geneem. Dit ontbreek Gysbrecht aan die kenmerkende heroïese daadkragtigheid van die geïdealiseerde ridder. As 'n karikatuur van die ridder word Gysbrecht 'n anti-held, 'n verworde ridder in 'n verworde wêreld. In Sewe dae by die Silbersteins sluit Leroux aan by die middeleeuse karikatuurgenre, Die Dans van die Dood. Die idee van 'n reidans met die Dood as sentrale figuur om die lewendes oor die drumpel van die lewe na die dood te lei, word ook in genoemde roman aangetref met lady Mandrake as die doodsfiguur. Die oorblywende Leroux-romans sou in verdere studies op soortgelyke wyse ondersoek kon word. ENGLISH: Although the concept "caricature" is often mentioned by critics in their studies on satire, parody and irony in the novels of Etienne Leroux, definitions and analyses of and discussions on the concept are critically absent. In fact, to date no comprehensive study on caricature has appeared in the field of Afrikaans literature. This thesis aims to achieve theoretical lucidity on the exact nature of caricature, the origin and development of caricature in art, and the expression of caricature in Leroux's literature. The distortion of existing models was already found in primitive societies and the development thereof can be traced through Antiquity, the Middle Ages, the Renaissance and up to the present time. Distortion then comprised a wide variety of techniques the most important being exaggeration, understatement, and the contortion and intermingling of features. Laughter in one form or another is always present in caricature, although it may be scaled down to a mere grimace as caricature can also have tragic, grotesque and even gruesome dimensions. The views of Mikhaïl Bakhtin, the Russian literary theorist, serve as a point of departure in this study. The concept of the 11 carnival 11 is fundamental to the folk culture on which Bakhtin bases his theory and this is comprehensively discussed. This concept illustrates the inherent need in humans to overturn the conventional order and their ability to create a humoristic alternative to the norm. Studies on the implementation of caricature in the works of four known authors of satire enlighten the functions, qualities and nature of caricature in literature. Leroux's use of caricature shows a close resemblance to that of the above-mentioned authors. It embraces caricature as a component of satire; determines ascertainable connections between visual and literary caricature; claims that distortion and overstatement are essential elements of caricature; and finds that caricature incurses and discards existing and accepted norms and boundaries. Where the reader comprehends a caricature correctly it inevitably leads to a reinterpretation of reality. Analyses of two Leroux novels, Die mugu and Sewe dae by die Silbersteins indicate that caricature is used in satirical writing to reveal the present-day society as false and artificial, but also to expose the weaknesses and transgressions of Man. Die mugu is examined as a caricature of the traditional romance of chivalry with the main character Gysbrecht Edelhart, as central figure. Gysbrecht lacks the typical heroic chivalry and forcefulness of the idealized knight. As a caricaturized knight he becomes an anti-hero a perverted knight within a perverse society. Leroux implements The Dance of Death, a medieval genre of caricature, in Sewe dae by die Silbersteins. In the novel the idea of Death escorting the living over the threshold of life into death culminates in the figure of Lady Mandrake. The remaining Leroux novels could possibly be analysed in the same way in future studies. / Thesis (DLitt)--University of Pretoria, 2013. / Afrikaans / unrestricted
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:up/oai:repository.up.ac.za:2263/29884 |
| Date | 27 November 2012 |
| Creators | Jacobs, Jeanne Frances |
| Contributors | Prof K E Nolte, upetd@up.ac.za |
| Source Sets | South African National ETD Portal |
| Detected Language | Unknown |
| Type | Thesis |
| Rights | © 1992 University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. |
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