Thesis (MA)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: Most critics and academics have concentrated on the referential function of Fugard's
dramatic dialogue. In this thesis I' argue that to notice just one way in which the
language functions tends to limit the text. My aim, therefore, is to look at the other
ways in which language functions in selected Fugard plays.
I explore the way in which Fugard uses dialect and sociolect to establish a stage world
that looks and sounds recognisably South African to South Africans. I investigate how
.certain assumptions (on the part of the audience) accompany the acceptance of the
stage world as 'real' and how Fugard uses subtextual inferences to force the audience
to critically re-evaluate these assumptions. I argue that the way to consciously
understand and evaluate the sub text is through a detailed investigation of the different
ways in which language functions in dramatic dialogue. Therefore, by applying
Pfister's theories on the multi functionality of dramatic dialogue to selected Fugard
plays, I look at how characters reveal themselves to the audience through the choice
of specific words, subject matter and language variant. I also investigate, by applying
Quigley's observations regarding Pinter's plays to Fugard's characters, the way in
which language reveals characters striving to negotiate their status within
relationships. My argument is that as far as characterisation and relationships are
concerned the actual referential function of the words reveals only the tip of the
iceberg - the rest lies beneath this and is to be uncovered by looking at the other ways
in which the language functions.
Finally I look at the way in which language as the medium of communication per se is
foregrounded in Fugard's plays and how this accentuates the role that language plays
in communication, as well as the failure of communication, in the South African
context. Related to this metalingual function of dramatic dialogue I investigate the
idea, put forward by Ibitokun, that language can be used as a 'mask' behind which a
person can hide his true identity. I agree with Ibitokun that this is not only a strategy
for survival but that, when consciously adopted, it is also a means for challenging the
status quo.
The Fugard plays I have selected are Master Harold ... and the boys, Boesman and
Lena, Sizwe Bansi is Dead and The Island. / AFRIKAANSE OPSOMMING: Die meerderheid kritici en academici het in die verlede gekonsentreer op die referensiële
funksie van dramatiese dialoog in die werke van Fugard. In hierdie tesis argumenteer ek
dat so 'n enkele gesigspunt op die rol wat taal speel neig om die teks te beperk. Derhalwe
kyk ek in die studie na die ander wyses waarop taal in geselekteerde Fugard dramas
funksioneer. .
Ek begin met 'n ondersoek na Fugard se gebruik van dialek en sosiolek om 'n wêreld op
die verhoog te skep wat herkenbaar Suid-Afrikaans klink vir Suid-Afrikaners. Hierna
bekyk ek die wyse waarop sekere aannames (deur die gehoor) saamgaan met die
aanvaarding van die "realiteit" van die verhoogwêreld en hoe Fugard subtekstuele
verwysings benut om die gehoor te dwing tot kritiese herevaluering van daardie
aannames. Die argument is voorts dat 'n gedetailleerde ontleding van die wyse waarop
taal in dramatiese dialoog fuksioneer onontbeerlik is indien mens die subteks wil verstaan
en ontleed. Deur Pfister se teorieë oor die multifunksionaliteit van dramatiese dialoog toe
te pas op geselekteerde Fugard toneeltekste, kyk ek dus hoe die onderskeie karakters
hulle aan gehore openbaar deur hul gebruik van spesifieke woorde, inhoude en
taalvariante. Ek gebruik ook Quigley se observasies oor Pinter se stukke om te bepaal tot
watter mate die taal van Fugard se karakters dui op mense wat poog om hulle status in
verhoudings te vestig. My argument is dat die referensiële funksie van taal slegs die
oppervlak van karakterisering en verhoudings verteenwoordig - die res lê dieper verberg
en moet geopenbaar word deur te kyk na die ander wyses waarop taal funksioneer.
Laastens bespreek ek die mate waartoe taal per se in Fugard se stukke na vore kom en
hoe dit die rol van taal in kommunikasie benadruk, asook die tekort daaraan in die Suid-
Afrikaanse konteks. Verwant aan hierdie metalinguistiese funksie van taal, toets ek
Ibitokun se idee dat taal 'n masker kan wees waaragter die persoon sy ware identiteit
versteek. Ek stem met Ibitokun saam dat hierdie nie slegs 'n strategie vir oorlewing is
nie, maar dat dit, doelbewus aangewend, ook gebruik kan word om die status quo te
bevraagteken.
Die Fugard tekste wat bekyk word is Master Harold ...and the boys, Boesman and Lena,
Sizwe Bansi is Dead en The Island.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:sun/oai:scholar.sun.ac.za:10019.1/51823 |
| Date | 03 1900 |
| Creators | Cunliffe, Rozanne Mary |
| Contributors | Hees, Edwin, Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of English. |
| Publisher | Stellenbosch : Stellenbosch University |
| Source Sets | South African National ETD Portal |
| Language | en_ZA |
| Detected Language | Unknown |
| Type | Thesis |
| Format | 81 p. |
| Rights | Stellenbosch University |
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