Oor die kortkuns van John Miles
- Authors: De Beer, Marésa
- Date: 1988
- Subjects: Miles, John, 1938- -- Criticism and interpretation
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3569 , http://hdl.handle.net/10962/d1002092
- Description: This thesis involves intensive analyses of some of the short-short stories in John Miles's Liefs nie op straat nie, in order to reveal the narrative strategies employed in each. In other words, it is geared to "the rules that govern ... textual actualization and, consequently, those rules that govern the way literary discourse functions as communication" (Riffaterre 1983: 158). Subsequently, attention is given to the interrelationship among the texts, the way in which they act upon one another and interact with the title of the volume, in order to establish the function of such relations. The following texts are analysed in consecutive chapters: "Lucy", "Lappies, kan jy my hoor, Lappies?", "Voorgevoel", "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?", "Hy staan by die deur en hy klop", "Gustav gaan speel", and "Liefs nie op straat nie". In a concluding chapter the implications of the title are discussed with reference to all the texts in the volume, including those not analysed individually. It is concluded that, on the one hand, the expectations raised by the title are ironicized because the title is never "completed" explicitly, and because that which, by implication, should not be seen in public ("op straat"), is specifically situated in the street and scrutinized in close-up. But on the other hand the title also evokes a peculiar mentality present in all the texts, either in the narrators, or in the characters, or in both. The discussion of "Lucy" is focussed mainly on the contrast and interaction between the world of the child and that of the adult and on the way in which this interaction is actualized within the text through the contrast in the experience of time, the use of "mémoire involontaire", "durée" and the contrasts between (and overlapping of) narrative perspective and focalization. In respect of "Lappies, kan jy my hoor, Lappies?" special attention is paid to similarities and contrasts between this text and the traditional suspense story, notably the way in which conventional techniques are employed to create suspense, as well as to generate an entire subtext which eventually "relocates" the text on the niveau of the murderer's psychological dilemma. In discussing "Voorgevoel" emphasis is not placed primarily on what is conveyed by the narrator, but on the way in which his intentions are subverted both by the window pane through which he is looking and by the narration as such. In this way he is foregrounded and revealed as narrator, just as the text is foregrounded and revealed as literature, with the emphasis, in both cases, not only on their defence mechanisms but also on their impotence. "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?" are grouped together in one chapter in order to illuminate the interaction between the two narratives in the first text, as well as the interaction between the two texts. Ultimately, they may be seen as three narratives juxtaposed through irony and relativism. The "triumph" of the "preferably not in public" mentality, both in the text and in society, is also illustrated by the interaction between the three narratives. In chapter, 5, in which "Hy staan by die deur en hy klop" is discussed, attention is focussed on the ironic function of the Biblical references, the contrast between Jan and the rest of society, and the way in which the "climax" is located within the Iserian "blank" in the text, so that the entire process of decoding is based on a filling in of that "blank" and its implications. "Gustav gaan speel" is based loosely on Barthes's lexia model, in order to determine the signifying process in the text, and also to demonstrate the way in which the text presupposes rereading. In the discussion of the title text it is revealed how the text is centered in the basic dichotomy between the narrator-as-writer and the journalist, and the way in which this polarity is relativized by the text as such. The text is demonstrated to be the credo of the volume as a whole as well as of the fiction of the Seventies in Afrikaans.
- Full Text:
- Date Issued: 1988
- Authors: De Beer, Marésa
- Date: 1988
- Subjects: Miles, John, 1938- -- Criticism and interpretation
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3569 , http://hdl.handle.net/10962/d1002092
- Description: This thesis involves intensive analyses of some of the short-short stories in John Miles's Liefs nie op straat nie, in order to reveal the narrative strategies employed in each. In other words, it is geared to "the rules that govern ... textual actualization and, consequently, those rules that govern the way literary discourse functions as communication" (Riffaterre 1983: 158). Subsequently, attention is given to the interrelationship among the texts, the way in which they act upon one another and interact with the title of the volume, in order to establish the function of such relations. The following texts are analysed in consecutive chapters: "Lucy", "Lappies, kan jy my hoor, Lappies?", "Voorgevoel", "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?", "Hy staan by die deur en hy klop", "Gustav gaan speel", and "Liefs nie op straat nie". In a concluding chapter the implications of the title are discussed with reference to all the texts in the volume, including those not analysed individually. It is concluded that, on the one hand, the expectations raised by the title are ironicized because the title is never "completed" explicitly, and because that which, by implication, should not be seen in public ("op straat"), is specifically situated in the street and scrutinized in close-up. But on the other hand the title also evokes a peculiar mentality present in all the texts, either in the narrators, or in the characters, or in both. The discussion of "Lucy" is focussed mainly on the contrast and interaction between the world of the child and that of the adult and on the way in which this interaction is actualized within the text through the contrast in the experience of time, the use of "mémoire involontaire", "durée" and the contrasts between (and overlapping of) narrative perspective and focalization. In respect of "Lappies, kan jy my hoor, Lappies?" special attention is paid to similarities and contrasts between this text and the traditional suspense story, notably the way in which conventional techniques are employed to create suspense, as well as to generate an entire subtext which eventually "relocates" the text on the niveau of the murderer's psychological dilemma. In discussing "Voorgevoel" emphasis is not placed primarily on what is conveyed by the narrator, but on the way in which his intentions are subverted both by the window pane through which he is looking and by the narration as such. In this way he is foregrounded and revealed as narrator, just as the text is foregrounded and revealed as literature, with the emphasis, in both cases, not only on their defence mechanisms but also on their impotence. "Dom Nakkie, my Dom Nakkie" and "Wie het nog Dom Nakkie gesien?" are grouped together in one chapter in order to illuminate the interaction between the two narratives in the first text, as well as the interaction between the two texts. Ultimately, they may be seen as three narratives juxtaposed through irony and relativism. The "triumph" of the "preferably not in public" mentality, both in the text and in society, is also illustrated by the interaction between the three narratives. In chapter, 5, in which "Hy staan by die deur en hy klop" is discussed, attention is focussed on the ironic function of the Biblical references, the contrast between Jan and the rest of society, and the way in which the "climax" is located within the Iserian "blank" in the text, so that the entire process of decoding is based on a filling in of that "blank" and its implications. "Gustav gaan speel" is based loosely on Barthes's lexia model, in order to determine the signifying process in the text, and also to demonstrate the way in which the text presupposes rereading. In the discussion of the title text it is revealed how the text is centered in the basic dichotomy between the narrator-as-writer and the journalist, and the way in which this polarity is relativized by the text as such. The text is demonstrated to be the credo of the volume as a whole as well as of the fiction of the Seventies in Afrikaans.
- Full Text:
- Date Issued: 1988
Primêre leerlinge se geskiedenispotentiaal: 'n empiriese ondersoek na senior primêre leerlinge en onderwysers se vermoë om indringende vrae oor 'n historiese gebeurtenis met begrip en insig te beantwoord
- Authors: Hattingh, Johannes Hendrik
- Date: 1989
- Subjects: History -- Study and teaching (Elementary)
- Language: Afrikaans
- Type: text , Thesis , Masters , MEd
- Identifier: vital:1362 , http://hdl.handle.net/10962/d1001428
- Description: The main aim of this research was to determine the potential of senior primary pupils and serving teachers to understand a text that is concerned with a historical event. A test was written by 136 white standard 3, 4 and 5 pupils from a Cape Province primary school, as well as 32 serving teachers from various other Cape Province primary schools. The test consisted of a text and questions based upon it. The testees had 60 minutes at their disposal to study the text and give written answers to the questions. The historical event explained in the text dealt with the Peasant Uprising that occurred in England in 1381. Eight open-ended questions were asked. The questions were graded according to difficulty and based on the model of Merrit to test the following levels of thought: knowledge, application, inference and evaluation. In the dissertation attention is paid to the following aspects: 1. Background for the research. 2. The most important theoretical aspects that play a role in the process of historical understanding. 3. A statistlcal analysis of the results obtained from the pupils and teachers, with attention to those factors that may have influenced the results e.g. verbal IQ, age, interest, etc. 4. The quality of the teachers' and pupils' answers as well as examples from their work to illustrate certain aspects. 5. The most important conclusions that can be drawn from the research. Based on their answers to the graded questions the pupils were grouped into different levels to ascertain whether a significant pattern would emerge for each standard. It became clear, however, that irrespective of age or verbal IQ the pupils could not consistently be grouped into a specific level or category. The most important conclusions of the research are the following: 1. The ability of senior primary pupils to cope with intellectually stimulating material are underestimated. 2. A variety of factors influenced the results of the pupils, but not one of the factors studied in this research was found to be of significant importance. 3. The average primary teacher do have the potential ability to cope with more difficult historical material than the present factual approach would suggest.
- Full Text:
- Date Issued: 1989
- Authors: Hattingh, Johannes Hendrik
- Date: 1989
- Subjects: History -- Study and teaching (Elementary)
- Language: Afrikaans
- Type: text , Thesis , Masters , MEd
- Identifier: vital:1362 , http://hdl.handle.net/10962/d1001428
- Description: The main aim of this research was to determine the potential of senior primary pupils and serving teachers to understand a text that is concerned with a historical event. A test was written by 136 white standard 3, 4 and 5 pupils from a Cape Province primary school, as well as 32 serving teachers from various other Cape Province primary schools. The test consisted of a text and questions based upon it. The testees had 60 minutes at their disposal to study the text and give written answers to the questions. The historical event explained in the text dealt with the Peasant Uprising that occurred in England in 1381. Eight open-ended questions were asked. The questions were graded according to difficulty and based on the model of Merrit to test the following levels of thought: knowledge, application, inference and evaluation. In the dissertation attention is paid to the following aspects: 1. Background for the research. 2. The most important theoretical aspects that play a role in the process of historical understanding. 3. A statistlcal analysis of the results obtained from the pupils and teachers, with attention to those factors that may have influenced the results e.g. verbal IQ, age, interest, etc. 4. The quality of the teachers' and pupils' answers as well as examples from their work to illustrate certain aspects. 5. The most important conclusions that can be drawn from the research. Based on their answers to the graded questions the pupils were grouped into different levels to ascertain whether a significant pattern would emerge for each standard. It became clear, however, that irrespective of age or verbal IQ the pupils could not consistently be grouped into a specific level or category. The most important conclusions of the research are the following: 1. The ability of senior primary pupils to cope with intellectually stimulating material are underestimated. 2. A variety of factors influenced the results of the pupils, but not one of the factors studied in this research was found to be of significant importance. 3. The average primary teacher do have the potential ability to cope with more difficult historical material than the present factual approach would suggest.
- Full Text:
- Date Issued: 1989
Hierdie keer gaan nie maklik wees nie
- Authors: Visser, Deon Claudius
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Short stories, Afrikaans -- 21st century , Afrikaans fiction -- 21st century , Afrikaans fiction -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178317 , vital:42929
- Description: My tesis bestaan uit twee versamelings van prosa wat verwant en in noue verband met mekaar tree. Die prosa is fragmentaries en kort maar verbind met ‟n oorkoepelende storie wat in beide Afrikaans en Engels voorgelê word. Die Afrikaanse deel van my tesis ondersoek die verlede, en die Engels die toekoms. My algemene bron van inspirasie vir die struktuur en voorlegging van die tesis word verkry vanaf die klassieke raamverteller konvensie soos gebruik in One Thousand and One Nights, hierdie konvensie maak gebruik van raamfragmente wat binne ‟n groter geheel gevind kan word. Dit is juis hierdie komplekse struktuur wat dit moontlik maak om tyd, hede en verlede asook die toekoms, te kan ondersoek en uit te beeld. Verder maak dit dit ook moontlik om gekoppelde herinneringe, gedagteneigings, en fantasieverhale te kan gebruik as die dryfkrag van die oorkoepelende storie. Met betrekking tot kontemporêre fiksie vind ek die meeste aanklank en invloed by Sandra Cisneros se boek House on Mango Street. Ek het by hierdie verhaal geleer hoe om vignette en kortverhale onafhanklik maar met ‟n motief-verbinding aan mekaar te koppel. Tematies gesproke handel my tesis oor herinneringe, nostalgie, familieverhoudings, die dood asook afsluiting en aanbeweging. In terme van hierdie temas vind ek dat Nathan Trantraal se Chokers en Survivors, en Noudat Slapende Honde deur Ronelda S. Kamfer my die meeste insae gee oor die verhouding tussen Afrikaans en Engels in die literatuur. Verder is Loftus Marais se taalgebruik en die vermenging van taal in Staan in die Algemeen Nader aan Vensters ook insiggewend. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Visser, Deon Claudius
- Date: 2021-04
- Subjects: Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Short stories, Afrikaans -- 21st century , Afrikaans fiction -- 21st century , Afrikaans fiction -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178317 , vital:42929
- Description: My tesis bestaan uit twee versamelings van prosa wat verwant en in noue verband met mekaar tree. Die prosa is fragmentaries en kort maar verbind met ‟n oorkoepelende storie wat in beide Afrikaans en Engels voorgelê word. Die Afrikaanse deel van my tesis ondersoek die verlede, en die Engels die toekoms. My algemene bron van inspirasie vir die struktuur en voorlegging van die tesis word verkry vanaf die klassieke raamverteller konvensie soos gebruik in One Thousand and One Nights, hierdie konvensie maak gebruik van raamfragmente wat binne ‟n groter geheel gevind kan word. Dit is juis hierdie komplekse struktuur wat dit moontlik maak om tyd, hede en verlede asook die toekoms, te kan ondersoek en uit te beeld. Verder maak dit dit ook moontlik om gekoppelde herinneringe, gedagteneigings, en fantasieverhale te kan gebruik as die dryfkrag van die oorkoepelende storie. Met betrekking tot kontemporêre fiksie vind ek die meeste aanklank en invloed by Sandra Cisneros se boek House on Mango Street. Ek het by hierdie verhaal geleer hoe om vignette en kortverhale onafhanklik maar met ‟n motief-verbinding aan mekaar te koppel. Tematies gesproke handel my tesis oor herinneringe, nostalgie, familieverhoudings, die dood asook afsluiting en aanbeweging. In terme van hierdie temas vind ek dat Nathan Trantraal se Chokers en Survivors, en Noudat Slapende Honde deur Ronelda S. Kamfer my die meeste insae gee oor die verhouding tussen Afrikaans en Engels in die literatuur. Verder is Loftus Marais se taalgebruik en die vermenging van taal in Staan in die Algemeen Nader aan Vensters ook insiggewend. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
Feministiese vertelstrategieë in 'n metafiksionele teks van Jeanne Goosen
- Authors: Mackenzie, Leonore
- Date: 1991
- Subjects: Goosen, Jeanne Afrikaans fiction -- 20th century -- History and criticism Feminism and literature
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3576 , http://hdl.handle.net/10962/d1002100
- Description: Die roman Ons is nie almal so nie (1990) deur Jeanne Goosen word aangebied in 'n realistiese (oftewel tradisionele) vertelvorm. Feministiese vakkundigheid verwys na die narratiewe tipe as patriargaal of fallosentries. As sodanig, is daar 'n ingrypende verskil tussen die vertelwyse van hierdie teks en die van die outeur se vroeere tekste. Hierdie verskuiwing dien as stimulus vir 'n evaluasie van bogenoemde teks binne 'n raamwerk van die feministiese literere teorie en kritiek. Genoemde verskuiwing beteken ook 'n behoefte na 'n ondersoek van die feministiese literatuur en vakkunde in verhouding tot die heersende manlike "stem" van tradisionele redevoering. Dit word beklemtoon dat elkeen van die feministiese teoretiese standpunte die onvoorwaardelike politieke doelstellings van alle feministiese tekste aan die lig bring. Daar word onder andere te kenne gegee dat patriargale mag nie net op persoonlike vlak voorkom nie, maar ook op die vlak van instellings en sosiale gebruike. Patriargale beheer is dus nie 'n onveranderliknatuurlike gegewe nie; dit is vatbaar vir teoretiese analise en praktiese wysiging. Vanwee die feministiese literere teoriee se preokkupasie met patriargale mag, word hierdie teoriee dikwels gekritiseer as synde onbetrokke by strydvrae ten opsigte van rassisme en klasseverdeling. Dit word erken dat die feministiese literere kritiek die geskil met betrekking tot seksisme moet transendeer; dat die toekoms van die feministiese literere teoriee gelee is in 'n deurdringende gesprekvoering met materialisme. Dit is die uitdruklike doelstelling van die marxisties-feministiese kritiese standpunt om rekening te hou, nie net met vraagpunte ten opsigte van taal en "gender" nie, maar ook van klas en ras. Goosen se teks is besonder ontvanklik vir 'n ondersoek van hierdie verwante probleme. * * * The novel Ons is nie almal so nie (1990) by Jeanne Goosen is presented in a realistic (or traditional) narrative form. In feminist terms this narrative form is referred to as patriarchal or phallocentric. As such, the text differs radically from the narrative mode in which the author's previous texts are presented. This shift invites an assessment of the text within a framework of feminist theory and criticism. Moreover, it indicates the need for an investigation into the relationship of feminist literature and scholarship to the dominant male voice of traditional discourse. It is stressed that each of the feminist theoretical positions reveals the unreservedly political purpose of all feminist writing. It is further suggested that patriarchal power exists in institutions and social practices, not merely in individual intentions. Patriarchal power is therefore not a part of immutable nature, but open to effective theoretical analyses and practical change. Due to their preoccupation with patriarchal power, feminist literary theories are often criticised as being blind to issues of race and/or class. It is recognised that feminist literary theory must transcend the issue of sexism; that its future lies in a far more articulated dialogue with materialism. The express purpose of the marxist-feminist critical position is to take into account questions not only of language and gender, but also of class and race. Goosen's text is particularly receptive to an exploration of these interrelated problems.
- Full Text:
- Date Issued: 1991
- Authors: Mackenzie, Leonore
- Date: 1991
- Subjects: Goosen, Jeanne Afrikaans fiction -- 20th century -- History and criticism Feminism and literature
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3576 , http://hdl.handle.net/10962/d1002100
- Description: Die roman Ons is nie almal so nie (1990) deur Jeanne Goosen word aangebied in 'n realistiese (oftewel tradisionele) vertelvorm. Feministiese vakkundigheid verwys na die narratiewe tipe as patriargaal of fallosentries. As sodanig, is daar 'n ingrypende verskil tussen die vertelwyse van hierdie teks en die van die outeur se vroeere tekste. Hierdie verskuiwing dien as stimulus vir 'n evaluasie van bogenoemde teks binne 'n raamwerk van die feministiese literere teorie en kritiek. Genoemde verskuiwing beteken ook 'n behoefte na 'n ondersoek van die feministiese literatuur en vakkunde in verhouding tot die heersende manlike "stem" van tradisionele redevoering. Dit word beklemtoon dat elkeen van die feministiese teoretiese standpunte die onvoorwaardelike politieke doelstellings van alle feministiese tekste aan die lig bring. Daar word onder andere te kenne gegee dat patriargale mag nie net op persoonlike vlak voorkom nie, maar ook op die vlak van instellings en sosiale gebruike. Patriargale beheer is dus nie 'n onveranderliknatuurlike gegewe nie; dit is vatbaar vir teoretiese analise en praktiese wysiging. Vanwee die feministiese literere teoriee se preokkupasie met patriargale mag, word hierdie teoriee dikwels gekritiseer as synde onbetrokke by strydvrae ten opsigte van rassisme en klasseverdeling. Dit word erken dat die feministiese literere kritiek die geskil met betrekking tot seksisme moet transendeer; dat die toekoms van die feministiese literere teoriee gelee is in 'n deurdringende gesprekvoering met materialisme. Dit is die uitdruklike doelstelling van die marxisties-feministiese kritiese standpunt om rekening te hou, nie net met vraagpunte ten opsigte van taal en "gender" nie, maar ook van klas en ras. Goosen se teks is besonder ontvanklik vir 'n ondersoek van hierdie verwante probleme. * * * The novel Ons is nie almal so nie (1990) by Jeanne Goosen is presented in a realistic (or traditional) narrative form. In feminist terms this narrative form is referred to as patriarchal or phallocentric. As such, the text differs radically from the narrative mode in which the author's previous texts are presented. This shift invites an assessment of the text within a framework of feminist theory and criticism. Moreover, it indicates the need for an investigation into the relationship of feminist literature and scholarship to the dominant male voice of traditional discourse. It is stressed that each of the feminist theoretical positions reveals the unreservedly political purpose of all feminist writing. It is further suggested that patriarchal power exists in institutions and social practices, not merely in individual intentions. Patriarchal power is therefore not a part of immutable nature, but open to effective theoretical analyses and practical change. Due to their preoccupation with patriarchal power, feminist literary theories are often criticised as being blind to issues of race and/or class. It is recognised that feminist literary theory must transcend the issue of sexism; that its future lies in a far more articulated dialogue with materialism. The express purpose of the marxist-feminist critical position is to take into account questions not only of language and gender, but also of class and race. Goosen's text is particularly receptive to an exploration of these interrelated problems.
- Full Text:
- Date Issued: 1991
'n Marxisties-feministiese ondersoek van Wilma Stockenström se roman, Die kremetartekspedisie
- Authors: Gardner, Judy Hilary
- Date: 1989
- Subjects: Stockenström, Wilma -- Criticism and interpretation , Stockenström, Wilma. Kremetartekspedisie
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3568 , http://hdl.handle.net/10962/d1002091
- Description: Chapter is an exploration of the meanings which may underly the title of this novel. I have tried initially to establish what kind of "expedition" is undertaken, and have come to the conclusion that "expedition" has a multidimensional meaning, that it implies a search, an expedition into different things: an expedition to the city of rose-quartz; the slave woman's expeditions from the baobab tree and back; an inner expedition to gain self-knowledge; an expedition into womanhood; an expedition into the history of Africa, into religion, into language. The second part of the chapter examines the nature of "baobab", since this tree, like the "Tree of Life", is regarded as one growing upside-down. It is this upside-down nature of the tree which led me to believe that many existing stereotypes and myths are turned upside-down in the novel: about slaves, about woman, language, the Afrikaans literary tradition, the "traditional" structure of the novel, culture transcending nature, the slave woman's language. In chapter 2 I have examined only one of these expeditions, viz. the slave woman's inner expeditions consisting of her experiences as a slave and her journeys of reminiscence. These journeys at the same time embrace all the other expeditions. Her inner expeditions are signified by a number of codes, which fulfil literally the function of processes of knowledge, of self- knowledge, as well as of systems in which meaning is contained. By undertaking this inner expedition, the woman gains greater clarity of vision concerning her own existence and the existence of man/woman in general. Chapter 3 deals mainly with the concept of possession/ownership, which results in two diametrically opposed groups: the owner class and the owned class. The peculiar institution of slavery has given rise to these two irreconcilable groups, and therefore a brief history of slavery is included in this chapter. The slave woman is initially one of the owned class, but through indoctrination, she too aspires to become a member of the owner class. In the second half of the chapter, then, the woman is discussed as owner. Her position becomes a reflection of the position of her owners, to illustrate the peculiarity of the capitalist system in which there will always be the rulers and the subjects, the oppressor and the oppressed, the owner and the owned.
- Full Text:
- Date Issued: 1989
- Authors: Gardner, Judy Hilary
- Date: 1989
- Subjects: Stockenström, Wilma -- Criticism and interpretation , Stockenström, Wilma. Kremetartekspedisie
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3568 , http://hdl.handle.net/10962/d1002091
- Description: Chapter is an exploration of the meanings which may underly the title of this novel. I have tried initially to establish what kind of "expedition" is undertaken, and have come to the conclusion that "expedition" has a multidimensional meaning, that it implies a search, an expedition into different things: an expedition to the city of rose-quartz; the slave woman's expeditions from the baobab tree and back; an inner expedition to gain self-knowledge; an expedition into womanhood; an expedition into the history of Africa, into religion, into language. The second part of the chapter examines the nature of "baobab", since this tree, like the "Tree of Life", is regarded as one growing upside-down. It is this upside-down nature of the tree which led me to believe that many existing stereotypes and myths are turned upside-down in the novel: about slaves, about woman, language, the Afrikaans literary tradition, the "traditional" structure of the novel, culture transcending nature, the slave woman's language. In chapter 2 I have examined only one of these expeditions, viz. the slave woman's inner expeditions consisting of her experiences as a slave and her journeys of reminiscence. These journeys at the same time embrace all the other expeditions. Her inner expeditions are signified by a number of codes, which fulfil literally the function of processes of knowledge, of self- knowledge, as well as of systems in which meaning is contained. By undertaking this inner expedition, the woman gains greater clarity of vision concerning her own existence and the existence of man/woman in general. Chapter 3 deals mainly with the concept of possession/ownership, which results in two diametrically opposed groups: the owner class and the owned class. The peculiar institution of slavery has given rise to these two irreconcilable groups, and therefore a brief history of slavery is included in this chapter. The slave woman is initially one of the owned class, but through indoctrination, she too aspires to become a member of the owner class. In the second half of the chapter, then, the woman is discussed as owner. Her position becomes a reflection of the position of her owners, to illustrate the peculiarity of the capitalist system in which there will always be the rulers and the subjects, the oppressor and the oppressed, the owner and the owned.
- Full Text:
- Date Issued: 1989
Chinatown
- Authors: Kamfer, Ronelda S.
- Date: 2020
- Subjects: Afrikaans poetry -- 21st century
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/142375 , vital:38074
- Description: Creative work portfolio.
- Full Text:
- Date Issued: 2020
- Authors: Kamfer, Ronelda S.
- Date: 2020
- Subjects: Afrikaans poetry -- 21st century
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/142375 , vital:38074
- Description: Creative work portfolio.
- Full Text:
- Date Issued: 2020
Die begrip verganklikheid as komplekse kode in enkele werke van Hennie Aucamp
- Authors: Garbers, Marius Wolhuter
- Date: 1989
- Subjects: Aucamp, Hennie -- Criticism and interpretation
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3567 , http://hdl.handle.net/10962/d1002090
- Description: Mortality has always been a popular theme in literature. By means of a semiological and narratological approach, it has been endeavoured in this study to prove that transience comprises a complex code constituted by a whole series of codes. In each of the chosen volumes one specific short story is analysed and all the codes related to transience are defined and described. Then these codes are discussed within the context of the volume as a whole. The following codes have been identified and analysed: death and death related codes, decay, distress, frustration, emptiness, loneliness observe, look and see, reproduction, the code of ageing, youth/ageing, lost love, time. The following texts of Aucamp have been used as the object of study: Die Hartseerwals, Spitsuur and 'n Bruidsbed vir Tant Nonnie. The reason these texts were selected, is twofold: They represent the early works of the author. The continuity is essential for making meaningful deductions. The final conclusions are: Man's bond with an environment which is characterised by continual change, influences his existence and makes his life a tentative experience. Transience involves more than merely ageing, obsolescence and death. Transience is a complex experience, related to the physical and mental in man. Besides ageing, sexuality contributes to man's downfall. Loneliness, isolation and frustration determine his actions and stress his experience of transience. The result is a painful experience of life.
- Full Text:
- Date Issued: 1989
- Authors: Garbers, Marius Wolhuter
- Date: 1989
- Subjects: Aucamp, Hennie -- Criticism and interpretation
- Language: Afrikaans
- Type: text , Thesis , Masters , MA
- Identifier: vital:3567 , http://hdl.handle.net/10962/d1002090
- Description: Mortality has always been a popular theme in literature. By means of a semiological and narratological approach, it has been endeavoured in this study to prove that transience comprises a complex code constituted by a whole series of codes. In each of the chosen volumes one specific short story is analysed and all the codes related to transience are defined and described. Then these codes are discussed within the context of the volume as a whole. The following codes have been identified and analysed: death and death related codes, decay, distress, frustration, emptiness, loneliness observe, look and see, reproduction, the code of ageing, youth/ageing, lost love, time. The following texts of Aucamp have been used as the object of study: Die Hartseerwals, Spitsuur and 'n Bruidsbed vir Tant Nonnie. The reason these texts were selected, is twofold: They represent the early works of the author. The continuity is essential for making meaningful deductions. The final conclusions are: Man's bond with an environment which is characterised by continual change, influences his existence and makes his life a tentative experience. Transience involves more than merely ageing, obsolescence and death. Transience is a complex experience, related to the physical and mental in man. Besides ageing, sexuality contributes to man's downfall. Loneliness, isolation and frustration determine his actions and stress his experience of transience. The result is a painful experience of life.
- Full Text:
- Date Issued: 1989
Die vooruitsig vir Rhodes Universiteit vir 1979
- Authors: Henderson, Derek Scott
- Date: 1979
- Language: Afrikaans
- Type: text
- Identifier: vital:7390 , http://hdl.handle.net/10962/d1017279
- Description: Rhodes Universiteit gaan nog 'n Nuwe Jaar tegemoet, versterk en bemoedig deur die gebeure en behalings wat agter ons le. Ons het so pas, byvoorbeeld, 'n eeu van tersiere opvoeding in Grahamstad herdenk. Dit was eers in 1904 dat die baanbrekende Kollege-afdeling van St Andrew's plek gemaak het vir die nuwe Rhodes-Universiteitskollege. In September 1979 sal ons die 75ste herdenking van daardie gebeurtenis vier met 'n week van feestelikhede, insluitende 'n spesiale gradeplegtigheid, lesings, vertonings en musiek- en dramauitvoerings.
- Full Text:
- Date Issued: 1979
- Authors: Henderson, Derek Scott
- Date: 1979
- Language: Afrikaans
- Type: text
- Identifier: vital:7390 , http://hdl.handle.net/10962/d1017279
- Description: Rhodes Universiteit gaan nog 'n Nuwe Jaar tegemoet, versterk en bemoedig deur die gebeure en behalings wat agter ons le. Ons het so pas, byvoorbeeld, 'n eeu van tersiere opvoeding in Grahamstad herdenk. Dit was eers in 1904 dat die baanbrekende Kollege-afdeling van St Andrew's plek gemaak het vir die nuwe Rhodes-Universiteitskollege. In September 1979 sal ons die 75ste herdenking van daardie gebeurtenis vier met 'n week van feestelikhede, insluitende 'n spesiale gradeplegtigheid, lesings, vertonings en musiek- en dramauitvoerings.
- Full Text:
- Date Issued: 1979
Rhodes Universiteit : Nabetragting van 1982 en vooruitsigte vir 1983
- Authors: Henderson, Derek Scott
- Date: 1982
- Language: Afrikaans
- Type: text
- Identifier: vital:7576 , http://hdl.handle.net/10962/d1018453
- Full Text:
- Date Issued: 1982
- Authors: Henderson, Derek Scott
- Date: 1982
- Language: Afrikaans
- Type: text
- Identifier: vital:7576 , http://hdl.handle.net/10962/d1018453
- Full Text:
- Date Issued: 1982
SABC report - Afrikaans draft 1983
- Authors: Henderson, Derek Scott
- Date: 1983
- Language: Afrikaans
- Type: text
- Identifier: vital:7463 , http://hdl.handle.net/10962/d1018340
- Full Text:
- Date Issued: 1983
- Authors: Henderson, Derek Scott
- Date: 1983
- Language: Afrikaans
- Type: text
- Identifier: vital:7463 , http://hdl.handle.net/10962/d1018340
- Full Text:
- Date Issued: 1983
SABC radio broadcast 1985
- Authors: Henderson, Derek Scott
- Date: 1985
- Language: Afrikaans
- Type: text
- Identifier: vital:7510 , http://hdl.handle.net/10962/d1018387
- Full Text:
- Date Issued: 1985
- Authors: Henderson, Derek Scott
- Date: 1985
- Language: Afrikaans
- Type: text
- Identifier: vital:7510 , http://hdl.handle.net/10962/d1018387
- Full Text:
- Date Issued: 1985
Lady Die
- Authors: Jephtas, Veronique Bianca
- Date: 2023-10-13
- Subjects: Kaaps
- Language: Afrikaans
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/424928 , vital:72194
- Description: My tesis is geskryf in Kaaps en incorporate veskillende streeksvariante vannie taal. Die gedigte is hoofsaaklik innie dialek en ytie perspektief vannie spreker, Pamela geskryf. Tematies issie fokus die seksualiteit ennie inner workings vanne jong, bruinvrou wat haa feminine power probee assert in ’n patriarchal en invasive wêreld. Die bundel illustreer hierdie constant shifting power dynamics dee Pamela en haa vier boyfriends se vehoudings te examine. Wat vorm betref gebryk ek aspekte vannie zuihitsu, spesifiek die free movement tussen genre en styles: veskillende dele vannie bundel is geskryf as prose, poetry en kort, losstaande gedagtes. Ek kies die skryfstyl wattie narrative van oomblik tot oomblik die beste onnersteun, en beperk nie myself tot een consistent vorm nie ––oek kenmerkend van zuihitsu. Literêre invloede virrie teks is The Pillow Book dee Makura no Sōshi. Meer kontemporêre invloede is Kathy Acker, Marie Calloway, Nathan Trantraal en Ronelda S. Kamfer. Acker virrie manier wat sy identiteit illustreer, amper soese collage constructed yt seemingly unrelated stukkies teks en experiences; Calloway vi haa detached en unromanticised skrywe oo sex en vehoudings; Trantraal en Kamfer virrie manier waarop hulle universal stories vetel in ’n taal wat tightly bound is aan ’n baie spesifieke geography. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Jephtas, Veronique Bianca
- Date: 2023-10-13
- Subjects: Kaaps
- Language: Afrikaans
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/424928 , vital:72194
- Description: My tesis is geskryf in Kaaps en incorporate veskillende streeksvariante vannie taal. Die gedigte is hoofsaaklik innie dialek en ytie perspektief vannie spreker, Pamela geskryf. Tematies issie fokus die seksualiteit ennie inner workings vanne jong, bruinvrou wat haa feminine power probee assert in ’n patriarchal en invasive wêreld. Die bundel illustreer hierdie constant shifting power dynamics dee Pamela en haa vier boyfriends se vehoudings te examine. Wat vorm betref gebryk ek aspekte vannie zuihitsu, spesifiek die free movement tussen genre en styles: veskillende dele vannie bundel is geskryf as prose, poetry en kort, losstaande gedagtes. Ek kies die skryfstyl wattie narrative van oomblik tot oomblik die beste onnersteun, en beperk nie myself tot een consistent vorm nie ––oek kenmerkend van zuihitsu. Literêre invloede virrie teks is The Pillow Book dee Makura no Sōshi. Meer kontemporêre invloede is Kathy Acker, Marie Calloway, Nathan Trantraal en Ronelda S. Kamfer. Acker virrie manier wat sy identiteit illustreer, amper soese collage constructed yt seemingly unrelated stukkies teks en experiences; Calloway vi haa detached en unromanticised skrywe oo sex en vehoudings; Trantraal en Kamfer virrie manier waarop hulle universal stories vetel in ’n taal wat tightly bound is aan ’n baie spesifieke geography. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2023
- Full Text:
- Date Issued: 2023-10-13
Wille Dagga
- Authors: Kruger, Liesel Hilge
- Date: 2021-10-29
- Subjects: Kaaps , Creative writing (Higher education) South Africa , Diaries -- Authorship , South African poetry 21st century , Graphic novels 21st century , Fiction History and criticism , Kaaps poetry 21st century
- Language: Afrikaans
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/192230 , vital:45208
- Description: My thesis isse graphic novel/fumetto (photos)/ poetry hybrid. It speel af innie Kylemore, ’n klein ghetto net byte Stellenbosch. Vi ways wat mens genre en visual borders kan veskyf kyk ek ve’al na ‘Arkham Asylum: A Serious House on Serious Earth’ geskryf dee Grant Morrison en illustrated dee Dave McKean. Met ‘Arkham Asylum’ combine McKean painting, photos, collage en illustration. ‘Bitterkomix’ dee Anton Kannemeyer en Conrad Botes is nogge inspirasie in terme vanne meer fluid approach tot style waa die storie die art-style dictate. Ek kyk oek ve’al na ‘Fun Home’ dee Alison Bechdel, vi haa incredible ability om inne tragic, maa somehow humorous way, oo sexual repression te skryf. Oek kyk ek na ‘Dykes to Watch Out For’, dee Bechdel en ‘Wimmen’s Comix’ (Michele Brand, Diane Noomin, et al.) vi die unapologetic manier waa’op díe vrouens oorie vroue liggaam geskryf et. Die struktuur is largely influenced dee Joe Sacco se ‘Palestine’, waa’in hy die broader storie van Palestine vetel innie form van episodic short stories. Vi die sensitiewe handling van LGBTQ themes kyk ek na ‘Death: The Time of Your Life’ dee Neil Gaiman en ‘Blue is the Warmest Colour’ dee Julie Maroh. Ek draw ook oppie wêk van Nathan Trantraal en Gert Vlok Nel se poetry, virrie way hoe hulle oo arme mense skryf, Trantraal oo Bishop Lavis, Vlok Nel oo Beaufort Wes. En oek vi hoe beide skryf innie stem wat hulle praat. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Kruger, Liesel Hilge
- Date: 2021-10-29
- Subjects: Kaaps , Creative writing (Higher education) South Africa , Diaries -- Authorship , South African poetry 21st century , Graphic novels 21st century , Fiction History and criticism , Kaaps poetry 21st century
- Language: Afrikaans
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/192230 , vital:45208
- Description: My thesis isse graphic novel/fumetto (photos)/ poetry hybrid. It speel af innie Kylemore, ’n klein ghetto net byte Stellenbosch. Vi ways wat mens genre en visual borders kan veskyf kyk ek ve’al na ‘Arkham Asylum: A Serious House on Serious Earth’ geskryf dee Grant Morrison en illustrated dee Dave McKean. Met ‘Arkham Asylum’ combine McKean painting, photos, collage en illustration. ‘Bitterkomix’ dee Anton Kannemeyer en Conrad Botes is nogge inspirasie in terme vanne meer fluid approach tot style waa die storie die art-style dictate. Ek kyk oek ve’al na ‘Fun Home’ dee Alison Bechdel, vi haa incredible ability om inne tragic, maa somehow humorous way, oo sexual repression te skryf. Oek kyk ek na ‘Dykes to Watch Out For’, dee Bechdel en ‘Wimmen’s Comix’ (Michele Brand, Diane Noomin, et al.) vi die unapologetic manier waa’op díe vrouens oorie vroue liggaam geskryf et. Die struktuur is largely influenced dee Joe Sacco se ‘Palestine’, waa’in hy die broader storie van Palestine vetel innie form van episodic short stories. Vi die sensitiewe handling van LGBTQ themes kyk ek na ‘Death: The Time of Your Life’ dee Neil Gaiman en ‘Blue is the Warmest Colour’ dee Julie Maroh. Ek draw ook oppie wêk van Nathan Trantraal en Gert Vlok Nel se poetry, virrie way hoe hulle oo arme mense skryf, Trantraal oo Bishop Lavis, Vlok Nel oo Beaufort Wes. En oek vi hoe beide skryf innie stem wat hulle praat. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-10-29
Disco
- Authors: Trantraal, Nathan
- Date: 2020
- Subjects: Kaaps , South African fiction (English) -- 21st century , South African poetry (English) -- 21st century , Afrikaans fiction -- 21st century , Afrikaans poetry -- 21st century
- Language: Afrikaans , English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/145217 , vital:38419
- Description: Creative writing portfolio.
- Full Text:
- Date Issued: 2020
- Authors: Trantraal, Nathan
- Date: 2020
- Subjects: Kaaps , South African fiction (English) -- 21st century , South African poetry (English) -- 21st century , Afrikaans fiction -- 21st century , Afrikaans poetry -- 21st century
- Language: Afrikaans , English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/145217 , vital:38419
- Description: Creative writing portfolio.
- Full Text:
- Date Issued: 2020
Poppehysie
- Authors: Arendse, Ashwin Albert
- Date: 2021-04
- Subjects: Kaaps , Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Afrikaans poetry -- 21st century , African literature -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178259 , vital:42925
- Description: My thesis, is geskryf in Swartlandse Kaaps, ’n streeksvariant van Kaaps. Die poems is free verses wat afspeel tien ie backdrop van Malmesbury en Stellenbosch se “Coloured areas” mette analysis van dialect en ideolect wat eie is annie mense wat ampe altyd feature innie stories wat ek vertel. Die thesis explore die liefde asse konsep. Dit kyk na hoe die desperate need vi absent liefde ’n toxic relationship feed tussen ’n jong couple ennie destructive impact van liefde oppe pesoon wie nooit geleer was hoe om lief te wies vi annes ie. Dan kyk ek oek na hoe die previous generations, dit van my ma en pa liefde reject et asse unaffordable excess inne community wat brutal en harsh is. Antonio Gramsci se konsep vannie organic intellectual, dien asse philosophical underpinning virrie thesis d.w.s die hoofkarakter dien asse orator virrie intellectual en cultural insights wattie everyman in sy community nie self kan express ie. Die organic intellectual express díe thoughts innie cultural taal van sy social class. Die thesis explore stories soes it vetel wôd dee mense soes my oupa en mense wattie altyd aware is dat hulle stories in hulle in hettie. In dai way val it tot some degree binne die terrain van oral traditions. Die thesis wil dip into die collective conscious vanne social group wat die worst aspects van liewe in Syd-Afrika experience et. Ek voel free verse is ie ideal form van expression vi my in regards tot die skryf van die thesis, omdat ek daamee die line successfully kan blur tussen ie ‘language of the people’ en my eie individual leaning toward poetic language en forms. In terms van style draw ek op vorige digbundels in Kaaps, most notably op Nathan Trantraal se baie controlled, free verse digbundel, ‘Alles het niet kom wôd,’en Ronelda S. Kamfer se technique van ‘oorvertel’, in haa digbundel ‘grond/Santekraam’. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
- Authors: Arendse, Ashwin Albert
- Date: 2021-04
- Subjects: Kaaps , Creative writing (Higher education) -- South Africa , Diaries -- Authorship , Afrikaans poetry -- 21st century , African literature -- History and criticism
- Language: Afrikaans
- Type: thesis , text , Masters , MA
- Identifier: http://hdl.handle.net/10962/178259 , vital:42925
- Description: My thesis, is geskryf in Swartlandse Kaaps, ’n streeksvariant van Kaaps. Die poems is free verses wat afspeel tien ie backdrop van Malmesbury en Stellenbosch se “Coloured areas” mette analysis van dialect en ideolect wat eie is annie mense wat ampe altyd feature innie stories wat ek vertel. Die thesis explore die liefde asse konsep. Dit kyk na hoe die desperate need vi absent liefde ’n toxic relationship feed tussen ’n jong couple ennie destructive impact van liefde oppe pesoon wie nooit geleer was hoe om lief te wies vi annes ie. Dan kyk ek oek na hoe die previous generations, dit van my ma en pa liefde reject et asse unaffordable excess inne community wat brutal en harsh is. Antonio Gramsci se konsep vannie organic intellectual, dien asse philosophical underpinning virrie thesis d.w.s die hoofkarakter dien asse orator virrie intellectual en cultural insights wattie everyman in sy community nie self kan express ie. Die organic intellectual express díe thoughts innie cultural taal van sy social class. Die thesis explore stories soes it vetel wôd dee mense soes my oupa en mense wattie altyd aware is dat hulle stories in hulle in hettie. In dai way val it tot some degree binne die terrain van oral traditions. Die thesis wil dip into die collective conscious vanne social group wat die worst aspects van liewe in Syd-Afrika experience et. Ek voel free verse is ie ideal form van expression vi my in regards tot die skryf van die thesis, omdat ek daamee die line successfully kan blur tussen ie ‘language of the people’ en my eie individual leaning toward poetic language en forms. In terms van style draw ek op vorige digbundels in Kaaps, most notably op Nathan Trantraal se baie controlled, free verse digbundel, ‘Alles het niet kom wôd,’en Ronelda S. Kamfer se technique van ‘oorvertel’, in haa digbundel ‘grond/Santekraam’. , Thesis (MA) -- Faculty of Humanities, School of Languages and Literatures, 2021
- Full Text:
- Date Issued: 2021-04
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