834 research outputs found
Vol draadwerk (Marius Crous)
No full textMarius Crous. Pretoria: Protea Boekhuis, 2012. 80 pp. ISBN: 978-1-8919-766-7
Akademiese diskoers en die skep van ’n akademiese ruimte as voedingsbodem in Marius Crous se digbundel Vol draadwerk
No full textDie meeste resensies oor Marius Crous se bundel Vol draadwerk wys op die duidelike
teenwoordigheid van ’n akademiese diskoers. Die doel van hierdie artikel is om deur middel
van enkele teksontledings te probeer aantoon hoe die teenwoordigheid van ’n akademiese
diskoers die bundel verryk. Konvensionele literêre teorieë, asook teorieë van toegepaste
linguistiek vorm die grondslag van die navorsing. Eerstens val die fokus op sogenaamde
kenmerke van akademiese taal. Vervolgens word aandag geskenk aan metadiskoers en die
konstruksie van ’n akademiese skryweridentiteit, die skryf vir ’n bepaalde teikengehoor en
enkele aspekte van argumentkonstruksie, soos die grootte en die aard van die denksprong.
Daar word aangetoon dat hoewel die gedigte eerstens binne die poëtiese genre val, Crous se
werk ook sterk by tekste vanuit die akademiesediskoersgemeenskap aansluit.
Aspekte van die outeursfunksie in Antjie Krog se Lady Anne (1989)
No full textCITATION: Crous, M. 2002. Aspekte van die outeursfunksie in Antjie Krog se Lady Anne (1989). Literator, 23(3):a340, doi:10.4102/lit.v23i3.340.The original publication is available at https://literator.org.zaThe purpose of this essay is to investigate the Foucauldian notion of the so-called “author function” in Antjie Krog’s seventh volume of poetry, viz. Lady Anne (1989). It is an attempt to show how the notion of the death of the author (Barthes) links up with this theorisation of Foucault. Furthermore, it is also an attempt to indicate the characteristic features of the so-called “author function” in the late eighties in Afrikaans poetry, especially with regard to the conflict between aestheticism and political ideology in poetic expression. Focus is also placed on the role of the author’s name within the discursive framework of what is regarded as “Afrikaans literature”, as well as the author’s interaction with other authors within that discursive framework, in particular, Breyten Breytenbach.https://literator.org.za/index.php/literator/article/view/340Publisher's versio
Marius von Mayenburg and Roland Schimmelpfennig
No full textRoland Schimmelpfennig and Marius von Mayenburg represent a new generation of playwrights to emerge in the German-speaking countries in the late 1990s; other prominent protagonists include Falk Richter, Lukas Bärfuss and Kathrin Röggla, as well as Dea Loher and Sibylle Berg. In this chapter, the author clearly shares some of their approaches, as both revisit and reinvent key conventional dramatic mechanisms, yet from a postdramatic horizon. Fireface, mapped out key themes as well as the (European middle-class) universe that keeps appearing in Mayenburg’s work in a variety of permutations. In Der Hässliche, premiered at Schaubühne Berlin in January 2007, Marius von Mayenburg plays a scathing game with postmodern ideas of the ‘performativity’ of subjectivity and contingency of identity. These academic ideas, in the context of neoliberal capitalism, contribute to an all-encompassing commodification of individuality. In fact, all of Marius von Mayenburg’s plays transcend the hyper-realities of his scenarios into grotesque exposures of absurdities of middle-class life under global capitalism
'n Analise van die gebruik van satire in enkele tekste van Marlene van Niekerk
No full textThrough the ages satirists have exposed and ridiculed certain malpractices in society in their texts. They have often done so in a language filled with irony and exaggeration. For the purpose of this dissertation I wish to focus on three texts by Marlene van Niekerk, the eminent Afrikaans author, and analyse the way in which she uses satire to comment particularly on contemporary South African society and address issues such as violence, the 2010 World Cup, corruption and violence against women and children. The three texts under discussion are the two lengthy poems, ―Suid Afrika and ―Brief aan president Motlanthe [―Letter to President Motlanthe] and her play Die kortstondige raklewe van Anastacia W [The brief shelf-life of Anastacia W]. She bases her writings on real life incidents and events written about in the newspapers and these clippings serve as intertexts for her critique of societ
Biblical connotations in Marius von Mayenburgʼs plays
No full textMarius von Mayenburgʼs plays provide a critique of contemporary society, which is replete with violence and conformity. The playwright refers to the so‑called ‘new realism,’ and also incorporates elements of the post‑dramatic theatre. Biblical motifs in contemporary literature, including German literature, have recently lost their popularity; however, they have not disappeared altogether. They continue to be a source of inspiration for artists across various domains. Marius von Mayenburg is no exception, as he fearlessly incorporates and reinterprets these motifs, harnessing their universal messages in his plays. This paper aims to trace biblical motifs and determine their function in three well‑known plays by the author: Parasiten, Märtyrer and Mars
Eben Venter as gewete van die vleiseters
No full textThis artide explores the representation of meat in three novels by Eben Venter, namely Foxtrot van die vleiseters (1993) (published in translation as Foxtrot of the Meat-Eaters), Ek stamel ek sterwe (2005) (published in translation as My Beautiful Death), and Horrelpoot (2006) (published in translation as Trencherman). The author uses the metaphor of meat and meat consumption to comment on the greed and oppression associated with the white farm owner and patriarch, as well as on other related issues such as gender, the body and sexuality. Finally the artide explores the use of vegetarianism as a counter-discourse by the author to undermine the prevalent meat-loving culture associated with the farm-novel tradition in Afrikaans. In all three novels there is an opposition between life on the farm and life in the big city, predominantly life in large Australian cities after the main characters have emigrated to Australia.
Opsomming Hierdie artikel ondersoek die simboliese uitbeelding van vleis in drie romans deur Eben Venter, naamlik Foxtrot van die vleiseters (1993), Ek stamel ek sterwe (2005) (in Engels gepubliseer as My Beautiful Death) en Horrelpoot (2006) (in Engels gepubliseer as Trencherman). Die auteur gebruik die metafoor van vleis en die eet of verbruik daarvan, om kommentaar te lewer op die gierigheid en onderdrukking wat verband hou met die blanke plaaseienaar en patriarg, sowel as ander verwante kwessies soos geslag, die liggaam en seksualiteit. Uiteindelik ondersoek die artikel ook die gebruik van vegetarisme as \u27n teendiskoers deur die auteur, om sodoende die dominante vleiseterkultuur, wat verband hou met die plaasromantradisie in Afrikaans, te ondermyn. In al drie romans is daar \u27n teestelling tussen die lewe op die plaas en die in die grootstad, hoofsaaklik in groat Australiese stede, nadat die hoofkarakters na Australie geemigreer het.
Effective planning for internal audit.
No full textThe purpose of this thesis is to find a way to effectively plan for internal audit. Conditions necessary for effective planning are formulated by using analysis of scientific literature. In second part author suggests a model for effective internal audit planning. In third part model is applied and analyzed using a case study
“Note on sex for the aged widower”: On André Brink’s The Rights of Desire
No full textThis article examines the representation of masculinity in André Brink’s novel, The Rights of Desire. Following a remark in Roger Boylan’s review of the novel in the Boston Review; this analysis concentrates on Brink’s depiction of Afrikaner masculinity and the idea that the character Ruben Olivier represents Brink’s conception of the contemporary Afrikaner male, in particular the older Afrikaner male. This is an attempt at determining the validity of Robert Morrell’s thesis on masculinity, namely that it is about “men making and remaking masculinity, about challenging hegemonic masculinity and reconstituting it.” The question is whether Brink’s portrayal of Afrikaner masculinity confronts the hegemonic and patriarchal power structures associated with Afrikaner men, and whether it provides the reader with a new perspective on Afrikaner masculinity. This article investigates Brink’s representation of firstly, the ways Afrikaner men relate to other men, and secondly, the depiction of Afrikaner men in relation to their social class and to women
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