97 research outputs found
T.T. Cloete as literary critic, theorist and literary historian (Part 2): T.T. Cloete as theorist of literary history
No full textIt had already been stated that Siegfried Schmidt (in Hjort 1992) discerned four ‘roles’ within the Literary System, that of literary production, dissemination, reception and literary processing. According to this definition, T.T. Cloete, the well-known author and critic, had played all of these roles. In this second part of a two-part article the focus is on Cloete as a literary historian and in particular on his theoretical (methodological) perceptions pertaining to literary history. It is abundantly clear that in all of his different roles a historical awareness was always present. For Cloete the literary work of art was inbedded in a historical timeframe which imposed hermeneutical imperatives on the critic; on the other hand the literary work of art is present in the here and now and accessible to any skilled reader. One of the objectives of this study is to argue that there was thus an implied dichotomy in Cloete’s thinking on literary history. On the one hand there had been a relativistic view that positioned literary texts in the past, and on the other hand a normative view that implied that certain texts (due to inherent qualities like integration and complexity) could gain a certain permanence. In the last part of this article-true to the narrative approach, an implied confrontation with Cloete’s (methodological) views of literary history lead to a personal standpoint as a confrontation with the self (cf. Sools 2009:27). This explication of a personal view on the writing of a literary history (as an implied homage to Cloete) concluded the article
Contextualiser pour didactiser : le copier-coller dans le champ des littératies universitaires
No full textInternational audienceThe practice of copy and paste among students is equated with plagiarism and the institutional response is devoted to “discipline and punish”. However this practice is an important issue within the framework of academic literacies, in relation to the necessary consideration of the digital literacy. The fact that it is conceived as a "misconduct" from an ethical point of view is to be understood with regard to a normative frame that calls for academic honesty and establishes the author and the sources as essential components of research writings, without much explaining the issues (why? how? etc.). How to think copy and paste and what to do? How to go from the state of unacceptable to a didactic view, and what to take into account? With the prospect of critical reflexivity in the field of academic literacies, we propose some elements of contextualization which make it possible to problematize copy and paste, as a gesture of writing, as an object of debates, and in order to better prepare students with academics expectations and in terms of literacy skills in general. We develop first the way copy and paste is received, then the fact of writing by copy and paste, and finally the tension and confusions around expectations related to students' writings. Context is understood here as an interpretative framework that serves a didactic approach as such.La pratique du copier-coller chez les étudiant.e.s est assimilée à du plagiat et la réponse apportée par l’institution se résume à « surveiller et punir ». Cette pratique mérite cependant d’être interrogée dans le cadre des littératies universitaires par rapport à la nécessaire prise en compte des littératies numériques. Le fait qu’elle soit conçue comme une « méconduite » d’un point de vue déontologique est à comprendre par rapport à un cadre normatif qui en appelle à l’honnêteté académique et institue l’auteur et les sources comme des composantes essentielles des écrits de savoirs, sans guère en expliciter les enjeux. Comment penser le copier-coller et qu’en faire ? En quoi peut-on passer de l’inacceptable au didactisable, et que prendre en compte ? Dans la perspective d’une réflexivité critique dans le champ des littératies universitaires, nous proposons des éléments de contextualisation qui permettent de problématiser le copier-coller, en tant que geste d’écriture, en tant qu’objet de débats, et de manière à mieux outiller les étudiant.e.s face aux attentes universitaires et en termes de compétences littéraciques en général. Nous nous intéressons à la réception du copier-coller, à l’énonciation par copier-coller et aux confusions qui entourent les attentes à l’égard des écrits des étudiant.e.s. Le contexte est compris comme un cadre interprétatif qui sert à construire un objet didactique en tant que tel
Henk van Woerden se "Kaapse trilogie" as 'n vorm van bekentenisliteratuur
No full textEnglish: South Africa is a country of beauty and violence. Understanding the essence of the country requires a journey into its past to dig up its variety of stories in order to present them in alliance with all the beauty and hardship and cruelty of the surroundings in which they play off. Henk van Woerden undertakes such a journey.
Van Woerden’s books Moenie kyk nie (1993), Tikoes (1996) and Een mond vol glas (1998) are based on his own past as Dutch immigrant in South Africa and his personal experience of the country’s history of apartheid. The reception of these books – and of Een mond vol glas in particular - is characterized by misinterpretation and fierce judgement. This misinterpretation and consequent, unjustified negative evaluation result from two things: failure to read the three books as a trilogy (which would add an extra dimension of meaning) and not taking into account the specific genre to which they belong.
The hypothesis proposed and validated in this study is that Van Woerden’s three books, in which his youth in the Cape and later important periods in his life are described, form an autobiographical unit: they are cyclically linked. This necessitates interpretation and evaluation based not only on an individual text, but taking into account the relationship with other texts in the cycle. H.P. van Coller’s definition of prose cycles is used to proof that the books do form a literary unit. The most important indication of a cycle in Van Woerden’s texts is the great amount of motives and themes, characters and events, which repeatedly occur and develop.
A further hypothesis states that the genre in which the cycle as a whole is described, is a form of historiography where the combined meaning has a function that rises above factual controllability. It is suggested that these books can be defined as a hybrid form of confessional literature, in which the author depicts the history of the country, recalling his personal experience of it. He does this by using fictional tools to give these autobiographically founded stories an artistic dimension.
Readers who interpret Van Woerden’s trilogy in this way, will recognize the function of the past being processed by way of giving artistic form to it.
Finally, the texts are in line with the prevailing tendencies in history writing in both Dutch and South African literature, where the subjective rewriting of history in order to tell of personal experience of events is acceptable. In other respects Van Woerden’s work is ground braking. The texts converse interestingly with numerous other texts and contribute mainly to colonial and post-colonial discourses in Dutch and Afrikaans literature.Afrikaans: Suid-Afrika is ’n land van skoonheid en geweld. Om iets van die wese van die land te begryp, moet teruggedelf word in die verlede en die verskeidenheid van verhale moet kunstig gerekonstrueer word met inbegrip van alle skoonheid en wreedheid van die omgewing waarin dit afspeel. Henk van Woerden onderneem so ’n reis.
Die resepsie van sy drie boeke Moenie kyk nie (1993), Tikoes (1996) en Een mond vol glas (1998), wat gebaseer is op sy eie verlede as ’n Nederlandse immigrant in Suid- Afrika en sy persoonlike ervaring van die apartheidsverlede van die land, is gekenmerk deur waniterpretasie en fel kritiek op veral die laaste van die tekste. Hierdie verkeerde interpretasie en gevolglik onregverdige evaluasie, kan herlei word tot die wyse waarop die boeke dikwels gelees is buite beskouing van die bepaalde genre waarin dit geskryf is en versuim om die drie as ’n geheel wat saam groter betekenis dra, te beskou.
Die hipotese wat in hierdie ondersoek gestel en as houdbaar bewys is, is dat Van Woerden se drieluik ’n outobiografiese geheel daarstel waarin sy jeugjare in die Kaap beskryf word, maar waarin ook belangrike fases van sy latere lewe beslag kry. Hierdie werke is in ’n sikliese verband geskakel, wat dit noodsaaklik maak om dit in geheelverband te interpreteer en ook te evalueer. H.P. van Coller se definisie van die prosasiklus is gebruik om te bewys dat die boeke wel ’n literêre eenheid vorm. Die vernaamste aanduiding van ’n siklus was die groot hoeveelheid motiewe en temas, karakters en gebeure, wat deurgaans herhaal en ontwikkel.
’n Verdere hipotese is dat die genre waarin die siklus geskryf is, ’n vorm van geskiedskrywing is waarin die geheelbetekenis ’n funksie het wat feitelike kontroleerbaarheid oortref. In die studie word voorgestel dat die genre waarin die tekste geskryf is, beskryf word as ’n hibriede vorm van bekentenisliteratuur, waar die outeur in outobiografies gefundeerde tekste die geskiedenis van ’n land en sy persoonlike ervaring daarvan in herinnering roep en op ’n artistieke wyse en deur die gebruik van fiksionele middele vorm daaraan gee. Lesers wat die trilogie só interpreteer, sal bereid wees om die funksie te sien van verwerking van die verlede deur vormgewing.
Verder is aangetoon dat die tekste aansluit by die heersende tendense in geskiedskrywing in Nederlandse en Suid-Afrikaanse literatuur, waarby die subjektiewe optekening en herskrywing van die verlede aanvaarbaar is. In ander opsigte is Van Woerden se tekste vernuwend en knoop dit interessante gesprekke met verskeie tekste aan. Dit dra veral by tot die koloniale en post-koloniale diskoerse van beide die Nederlandse en Afrikaanse literatuur.National Research Foundation (NRF
La homogeneidad social de la elite política. Los parlamentarios de los PANE (1980-2005)
No full textMPs from subnational parties (PANE) show a different social profile than those MPs from national parties elected for regional parliaments. They incorporate less women in parliaments,less internal migrants, older politicians, less workers and educators (but more owners and managers) and a similar proportion of lawyers. There are relevant differences among subnational parties the article analyzes thoroughly
Representación descriptiva de las parlamentarias regionales en España: Masa Crítica, Experiencia Parlamentaria e Influencia Política
No full textThe topography of relief
No full textThesis (M.F.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at [email protected]. Thank you
Tekswysigings in "die eerste siklus" (Leroux) - 'n evaluerende ondersoek in die lig van die Afrikaanse edisietegniek
No full textThis study is primarily focussed on the evaluation of textual procedures in canonised Afrikaans literary texts in general and with specific reference to Etienne Leroux's work. The hypothesis underlying the study is contained in statements by Johann Johl (1986) who expresses his concern over a "gebrek aan gefundeerde tekskundige kritiek in Afrikaans" as well as André P. Brink (1987) who questions the textual procedures maintained with regard to Die eerste siklus (1986). Brink views Die eerste siklus as a ''vae deurmekaarspul (...) onbetroubaar en irriterend". These statements will, on the basis of controllable evidence within numerous Afrikaans literary texts, be subject to verification.
Since alterations (vid. emendations) in a text are supposed to take place within the framework of a scientific discipline called textual criticism it would be more than appropriate to give a brief historical background/orientation of the relevant discipline, as well as its nature. For that reason, certain terminological matters such as the authority of the author, authorial intention (linguistic), modernization, the copy-text, etc., will be explained.
Textual procedures that have been maintained with regard to different Afrikaans revised texts (also collected works) will be examined against the background of the defined textual strategies. Aspects to be highlighted are:
• the way in which alterations/emendations have taken place;
• the nature and extent/magnitude of the alterations;
• the authority of the author, authorial intention (linguistic), modernization, the copy-text, etc.;
• the controllability of the alterations, especially with regard to the use of racial pejoratives in revised editions such as Laat vrugte (C.M. van den Heever) and Bart Nel (J. van Melle).
In the case of Leroux's work the focus will be placed on Die eerste lewe van Colet (1975), Die mugu (1974), Hilaria (s.a.) and Die eerste siklus (1986). The latter will constitute the central focus of the study. Important aspects which will be placed under the spotlight are the following:
• a synoptic history of every text;
• the authority of the author, authorial intention, modernization and the copy-text;
• an inventory of the alterations that have taken place in every text; and
• the use of racial pejoratives on the different narrative levels as distinguished by Schmid.
The conclusion that was arrived at is that textual procedures in most Afrikaans collected works (as well as some revised editions) showed a lack of scientific grounding. Deficiencies that were common in most of these works can be tabled as such:
• their incompleteness;
• the unsatisfactory way in which collected material has been arranged;
• unwarranted editorial intervention in some texts;
• textual procedures that have in some cases not been accounted for;
• the non-existence of a selective apparatus ("variantenapparaat") where variants can be arranged in a hierarchical fashion; and
• the issue of racism which has not been reflected upon thoroughly.
Finally, it can be postulated that (judged by its editorial/textual aim and despite a few shortcomings) textual principles regarding Die eerste siklus (1986) have been adhered to. Brink's (1987) statement can therefore be regarded as precipitous
Book Review: Perspektief en profiel: ’n Afrikaanse literatuurgeskiedenis (Tweede uitgawe)
No full textBook Title: Perspektief en profiel: ’n Afrikaanse literatuurgeskiedenis (Tweede uitgawe)Book Author: H. P. van Coller. (red.)Pretoria: Van Schaik, 2015 en 2016. Deel 1: 898 pp. ISBN: 978 0 627 03104 5;Deel 2: 1076 pp. ISBN: 978 0 627 03105 2; Deel 3: 1126 pp. ISBN: 978 0 627 03106 9
'n Edisietegniese voorstel vir die samestelling van 'n histories-kritiese uitgawe van die eerste lewe van Colet (Etienne Leroux)
No full textEnglish: The primary aim of this study was to put forward a proposal, within the scientific framework of the textual criticism, on how a historical-critical edition of Die eerste lewe van Colet by Etienne Leroux could be constituted. In emulation of a textual-critical tradition which, on the European mainland, has a span of many decades, the objective was to propose certain guidelines on how such a project could be adhered to within the South African, or more specifically the Afrikaans context. In this regard the origin, development and nature of such an edition have been explored extensively. With reference to the first-mentioned it was established that modern historical-critical editions originated during the nineteenth century with the publication of GE Lessing's Sámtliche Schriften (1838 - 1840) by Karl Lachmann. The aim of this edition as initiated by Lachmannn was in the first instance to constitute an authentic text which, in the words of Plachta (1995:505) would "record, organize, and 'restore' all the author's texts." Secondly it was also intended to capture the development or growth of the author's works. Many historical-critical editions published afterwards would follow the guidelines set by Lachmann. However, over the years, such editions would undergo certain changes, which led to the increasing prominence of the variant apparatus. Different variant models were developed with the specific objective of presenting the development of an author's work in a more simplified, synoptic, complete, and easily accessible manner. With regard to the nature of the historical-critical edition, the definition of Kanzog (1970), namely that such an edition must reflect the historical development of all the versions of a work or works, was used as a starting point. This definition of Kanzog (1970) was also used as a basis in formulating a proposal for the establishment of a historical-critical edition of Die eerste lewe van Colet. Taking the viewpoints of mainly German and Dutch theorists as a point of departure, procedures have been proposed with regard to the constitution of inter alia the critical reader's text, the variant apparatus and the commentary ofa historical-critical edition. In the case of the first-mentioned, namely the establishment of a critical reader's text, the focus was placed on the selection and preparation of the copy-text. One of the most important issues within the framework of the textual criticism on which there is general consensus, is that, when selecting a copy-text, the authority thereof should be established. From this it follows that any version of a work of which the authority has been established with certainty could be used as a copy-text. After careful critical consideration of the different authoritative versions of a particular text, and taking into account the advantages and disadvantages associated with each version, the editor or compiler of a historical-critical edition is at liberty to select any version as a copy-text. The selected text is then collated with the other versions to determine the occurrence of any errors that cannot be attributed to the author. As Mathijsen (1997:58) puts it, the selected text is subject to expurgation from any elements "buiten de bedoeling van de outeur om". Emendations that take place must, however, be accounted for in the historical-critical edition. Mistakes which occurred as a result of ignorance on the part of the author or which were deliberately caused by him are not to be emended. In the case of Leroux, with his idiosyncratic style of writing and his open declaration that he, for the sake of achieving a specific effect with his writing style, would not hesitate to spell or use words incorrectly, it would not seem appropriate to precipitately bring about changes in his texts for the sake of emendation, as it would be contradictory to the aims and objectives of a historical-critical edition. Only those errors that occurred without the knowledge of the author and which can therefore be attributed to others (e.g. setter or copytypist) should be rectified as such. With regard to the typography of a text, such as the use of inverted commas, modernization may take place provided that it does not alter the meaning of a particular text. In this case it is not necessary to account for such changes. A proposal regarding the constitution of a variant model of the historical-critical edition of Die eerste lewe van Colet is that the synoptic model, as a result of its surveyability, completeness, readability and relative simplicity, could be used as a starting point. Different viewpoints exist within the paradigm of the textual criticism on how the commentary of a historical-critical edition should be constituted. Whilst some theorists hold the opinion that the commentary should be placed before or after the readers text in the same volume, others conclude that it should appear separately from the readers text and variant apparatus, the reason for this being the fact that the commentary, unlike the other components, is likely to become obsolete. Some criteria over which there is unanimity within textual critical circles is that it should be synoptic and accessible - something that should also apply to a historical-critical edition of Die eerste lewe van Colet. Although several elements can be included in the commentary of a historicalcritical the proposal with regard to Die eerste lewe van Colet is that only its history of origin, reception and transmission should be reflected in such an edition. Within textual practice such a procedure is fairly acceptable, especially where it concerns partial editions. To illustrate how the recording of the history of origin of Die eerste lewe van Colet should be taking place the procedure was, in the first instance, to give a short summary of the origin of the novel; subsequently related fragments from secondary documents such as diaries and letters were included. Concerning the history of reception of a particular work, Mathijsen (1997:60) holds the opinion that it need not be comprehensive; therefore it was also endeavoured, by means of meaningful reviews and discussions in newspapers, magazines and books, to give a summary of the reception history of the different editions of Die eerste lewe van Colet. The transmission of a work has to do with its embodiment and perpetuation in different versions. When the history of transmission of a work is recorded, it is important that the different primary sources be described in chronological fashion and that the authority of each primary source be determined. Against this background an attempt was made to describe each and every transmitted version of Die eerste lewe van Colet and to determine their authority. Concerning the location or position of the commentary within a historical-critical edition of Die eerste lewe van Colet the proposal is that it can either be placed before or after the readers text, or even be bound in a separate book. In view of the fact that in South Africa a central body, such as the Constantijn Huygens Instituut voor tekstedities en intellectuele geschiedenis (CHI) and the Center for Scholarly Editions (CSE) situated in The Hague and America respectively which strives towards the attainment of authentic textual editions, is nonexistent, the proposal would be that the establishment of a historical-critical edition of Die eerste lewe van Colet be undertaken by an individual or a group of individuals who not only have a sound knowledge of the particular novel but also have a profound understanding of the entire body of works of Leroux. In the final analysis it can also be mentioned that such an enterprise would not be possible without any subsidy from some source or other.Afrikaans: Die primêre doelwit van hierdie studie was om binne die paradigma van die
edisietegniek 'n voorstel aan die hand te doen vir die samestelling van 'n historieskritiese
uitgawe van Die eerste lewe van Colet van Etienne Leroux.
In navolging van 'n edisiewetenskaptradisie wat reeds vele dekades in die
Europese vasteland aan die orde is, was die oogmerk om enkele riglyne te verskaf oor
hoe sodanige uitgawe binne die Suid-Afrikaanse en meer bepaald die Afrikaanse konteks
aangepak behoort te word. In hierdie verband is die oorsprong, ontwikkeling, en aard van
sodanige uitgawe in 'n ruime mate verken. Wat eersgenoemde betref, is onder andere
vasgestel dat die moderne histories-kritiese uitgawe gedurende die negentiende eeu sy
beslag gekry het met die samestelling van GE Lessing se Samtliche Schriften (1838 -
1840) deur Karl Lachmann. Die doelwit van hierdie uitgawe, soos dit deur Lachmann
geïnisieer is, was in die eerste instansie om a outentieke teks, wat soos Plachta
(1995:505) dit stel, daarop gemik was" to record, organize, and 'restore' all the author's
texts". In die tweede plek was dit bedoel om die ontwikkeling van die werk of werke van
'n outeur te dokumenteer. Oor die jare heen sou hierdie tipe uitgawe egter verskeie
ontwikkelings ondergaan wat daartoe gelei het dat veral die rol van die variantapparaat in
prominensie toegeneem het. In hierdie verband is ook verskeie variantmodelle ontwikkel
wat hoofsaaklik daarop gemik was om die groei van 'n werk op 'n eenvoudige,
oorsigtelike, volledige en lesersvriendelike wyse te dokumenteer.
Wat die aard van die histories-kritiese uitgawe betref, is die defmisie van Kanzog
(1970) as vertrekpunt gebruik, naamlik dat sodanige uitgawe alle versies van 'n werk of
werke in hul historiese ontwikkelingsvolgorde behoort te reflekteer. Dit is dan ook
hierdie genoemde definisie van Kanzog (1970) wat as uitgangspunt gedien het by die
voorstel rakende die samestelling van 'n histories-kritiese uitgawe van Die eerste lewe
van Colet van Leroux.
Op grond van die standpunte van hoofsaaklik Duitse en Nederlandse teoretici is
werkwyses voorgestel vir die samestelling van onder andere die kritiese leesteks, die
variantapparaat en die kommentaargedeelte van 'n histories-kritiese uitgawe. In die
geval van eersgenoemde, naamlik die samestelling van 'n kritiese leesteks, is onder
andere ingegaan op die seleksie van die basisteks en die voorbereiding daarvan. Die
belangrikste uitgangspunt waaroor daar binne die paradigma van die edisiewetenskap
eenstemmigheid is, is dat, wat die seleksie van die basisteks betref, daar van outorisering
sprake moet wees. Juis as gevolg hiervan is die standpunt dat enige geoutoriseerde versie
van 'n bepaalde werk of werke as basisteks gebruik kan word. Na die versigtige, kritiese
oorweging van die verskillende oorgelewerde, geoutoriseerde versies, en met die
inagneming van bepaalde voor- en nadele verbonde aan elke versie, berus die fmale
besluit by die redakteur of samesteller om 'n uiteindelike keuse te maak. Hierdie gekose
versie word met ander versies vergelyk ("kollasie") om vas te stelof daar enige foute
daarin voorkom wat nie die intensies van die outeur verwoord nie. Soos Mathijsen
(1997:58) dit stel, word die gekose basisteks gesuiwer van al daardie elemente "buiten de
bedoeling van de auteur om". Hierdie verbeteringe moet vervolgens in die historieskritiese
uitgawe verantwoord word. Foute wat doelbewus deur die outeur of as gevolg
van sy onkunde in die teks aangebring is, word in die histories-kritiese uitgawe nie
verbeter nie. In die geval van Leroux met sy idiosinkratiese skryfstyl en openlike
verklaring dat hy ter wille van effek doelbewus foute begaan, sou dit wenslik wees om
nie goedsmoeds sy tekste te verbeter nie, aangesien dit teenstrydig met die ideaal van 'n
histories-kritiese uitgawe is. Slegs daardie foute wat sonder die medewete van die outeur
aan iemand anders toegeskryf kan word (byvoorbeeld 'n setter of kopietikster), word as
sodanig verbeter. Ook kan tipografiese veranderings wat nie afbreek doen aan die
betekenis van die teks nie, soos onder andere aanhalingstekens, gemoderniseer word
sonder dat dit enigsins verantwoord hoefte word.
'n Voorstel rakende die samestelling van die variantapparaat van 'n historieskritiese
uitgawe van Die eerste lewe van Colet is dat die sinoptiese model vanweë sy
oorsigtelikheid, volledigheid, leesbaarheid en relatiewe eenvoud as uitgangspunt gebruik
behoort te word.
Binne die edisiewetenskap bestaan daar verskillende sienswyses oor hoe die
kommentaardeel van die histories-kritiese uitgawe saamgestel behoort te word. Terwyl
sommige teoretici van mening is dat dit voor of na die leesteks in dieselfde band
opgeneem moet word, is die mening van ander dat dit apart moet verskyn. 'n Argument
wat veral ter ondersteuning van laasgenoemde standpunt aangevoer word, is dat die
kommentaar vinniger gedateer raak en as sulks apart gepubliseer behoort te word.
Waaroor daar wel eenstemmigheid binne edisiekringe bestaan, is dat die kommentaar
oorsigtelik en toeganklik moet wees - 'n uitgangspunt wat ook ten opsigte van Die eerste
lewe van Colet behoort te geld. Hoewel verskeie elemente in die kommentaardeel van 'n
histories-kritiese uitgawe opgeneem kan word, is die voorstel rakende Die eerste lewe
van Colet dat slegs die ontstaans-, resepsie- en oorleweringsgeskiedenis van die betrokke
werk daarin gereflekteer behoort te word. Binne die raamwerk van die edisiewetenskap
is sodanige werkwyse heeltemal aanvaarbaar veral waar dit gaan om deeluitgawes. Ter
illustrasie van hoe die ontstaansgeskiedenis van Die eerste lewe van Colet aangebied
behoort te word, was die procédé om eerstens 'n kort oorsigtelike verloop van die
betrokke roman te verskaf; daarna is verbandhoudende fragmente uit rondom die ontstaan
van Die eerste lewe van Colet uit sekondêre dokumente soos dagboekinskrywings en
briewe opgeneem.
Met betrekking tot die resepsiegeskiedenis van 'n werk is die standpunt van
Mathijsen (1997:60) dat dit nie volledig hoefte wees nie; daarom is daar gepoog om na
aanleiding van betekenisvolle resensies en besprekings in koerante, tydskrifte en boeke 'n
oorsigtelike resepsiegeskiedenis van die verskillende uitgawes van Die eerste lewe van
Co/et te verskaf.
Die oorlewering van 'n werk het te doen met die perpetuering daarvan in
verskillende versies. Wanneer die oorleweringsgeskiedenis van 'n werk derhalwe
opgeteken word, is dit belangrik om die primêre bronne noukeurig in chronologiese
volgorde te beskryf en die outoriteit van elke oorgelewerde bron vas te stel. Teen hierdie
agtergrond is daar dus gepoog om elke versie van Die eerste lewe van Colet noukeurig te
beskryf en om die outoriteit daarvan vas te stel.The University of the Free Stat
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