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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
'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
Die bydrae van nie-artistieke praktyke tot die literêre sukses van eksemplariese Afrikaanse tekste. 'n Ondersoek na beeldvorming
No full textEnglish: As one of the symbolic aspects of human existence, art is inextricably linked to the material aspects of this existence. The result is that art has, for quite some time now, no longer been flourishing in isolation; rather, it has become part of a larger system in which economic principles also have an important part to play. The literary field is thus structured around two opposing poles: the economic and the artistic. Whereas the economic pole is engaged in a struggle to obtain economic capital ‒ the struggle in which particularly the media play an important part ‒ the artistic pole, for its part, strives to gain symbolic capital, which is the capital of legitimation. In this pole the prestige, fame, esteem, literary prizes and translations of the author’s work are decisive factors.
Based on the premise that critics’ literary views differ, there are two main kinds of adjudication, namely intrinsic evaluations and extrinsic evaluations. Intrinsic evaluations are conducted in terms of specific artistic considerations that have a bearing on those formal characteristics that qualify a text to be classified as literature. The extrinsic evaluation, on the other hand, focuses on considerations, such as the standing of the text within a tradition and how the work is received. In this thesis the focus has been on extrinsic adjudication, that is, on the elements and role players that were involved in the process of literary canonisation. Because the image that is created of a book or an author must, as it were, take precedence over either the texts or the authors themselves, the creation of a credible image is of cardinal importance in the adjudication process.
As a result of increasing mediatisation, the iconic value of information that is both sensational and serves to construct a particular image of an author, is just as important as the message itself. Therefore, the issue as to precisely what it is that determines the value of a literary work leads to a rejection of the allegation that so-called non-artistic considerations have no role to play in theorists and critics’ statements about literature. To illustrate this trend, the researcher identified four authors whose work enjoyed unparalleled popularity almost directly after publication: Dalene Matthee (Kringe in ʼn Bos, 1984), Marita van der Vyver (Griet skryf ʼn sprokie, 1992), Francois Smith (Kamphoer, 2014) and Bibi Slippers (Fotostaatmasjien, 2016). These texts represent different decades in Afrikaans literature – decades during which different artistic (and critical) paradigms and poetics were current. Comparison of the different texts, the image construction process involved, their marketing and their reception thus provided a broader empirical base from which to generalise inferences.
This study is a descriptive study that has endeavoured, by means of both quantitative and qualitative methods, to investigate the strengthening influence of image construction as a form of symbolic capital in enhancing the success of the chosen texts.
The thesis was premised on an empirical-institutional approach, one that was preceded by a theoretical orientation and a study of the relevant published research data and available digital material. One of the aims of the study was to investigate the production of symbolic value. In that conceptions of literature as ideological, socially bound viewpoints were deemed to be desirable in a study of this nature, a reconstructive approach was coupled with the institutional approach. The aim of the reconstructive approach is to reconstruct and systematise authors’ or a particular society’s conceptions of literature at a particular juncture.
The study of mediation in the process of image construction ‒ with specific reference to the role of various agents (the editor, the publishing organisation, literary critics, the media), literary prizes/awards, translations and other cultural strategies ‒ can potentially throw light not only on the extent to which the various role players in the system have contributed to the success of the chosen texts but also on the particular ways in which these role players have done so.Afrikaans: Kuns, as een van die simboliese aspekte van menslike bestaan, is onlosmaaklik verbonde aan die materiële aspekte van hierdie bestaan. Daarom gedy kuns lank nie meer in isolasie nie, maar vorm dit deel van ʼn groter sisteem waarin ook ekonomiese beginsels ʼn belangrike rol speel. Die literêre veld is dus gestruktureer rondom twee opponerende pole: die ekonomiese pool, waarin dit gaan oor die verkryging van ekonomiese kapitaal en waarin veral die media ʼn belangrike rol speel, en die artistieke pool, waarin gestreef word na simboliese kapitaal as die kapitaal van legitimasie. Hierin speel die skrywer se prestige, roem, verering, literêre pryse en vertalings ʼn belangrike rol.
Op grond van verskillende literatuuropvattings word daar tussen twee vorme van beoordeling onderskei. Intrinsieke beoordeling vind plaas aan die hand van sekere artistieke oorwegings wat betrekking het op die onderskeiding van formele eienskappe ingevolge waarvan ’n teks as letterkunde geklassifiseer word. Ekstrinsieke beoordeling behels dat daar op ander oorwegings gefokus word, soos die teks se plek binne ʼn tradisie en die ontvangs van die werk. In hierdie proefskrif val die klem op ekstrinsieke beoordeling, dit wil sê, op daardie elemente en rolspelers wat by die kanoniseringsproses betrokke is. Aangesien die beeld wat van ʼn boek of ʼn skrywer geskep word as’t ware vóór die teks en die skrywer gaan staan, is die vorming van ʼn geloofwaardige beeld van groot belang in die evalueringsproses.
As gevolg van toenemende medialisering, is die ikoniese waarde van inligting ‒ waarin dit gaan om sensasie en beeldvorming ‒ net so belangrik as die boodskap. Daarom lei die vraag na dit wat die waarde van ʼn literêre werk bepaal, tot ʼn afwysing van die bewering dat sogenaamde nie-artistieke oorwegings geen rol speel in die uitsprake wat teoretici en kritici oor literatuur maak nie. Om hierdie tendens te illustreer, is vier skrywers wie se werke feitlik onmiddellik na publikasie ongekende gewildheid geniet het, geïdentifiseer, naamlik Dalene Matthee (Kringe in ʼn Bos, 1984), Marita van der Vyver (Griet skryf ʼn sprokie, 1992), Francois Smith (Kamphoer, 2014) en Bibi Slippers (Fotostaatmasjien, 2016). Hierdie tekste verteenwoordig verskillende dekades in die Afrikaanse letterkunde ‒ dekades waarin verskillende artistieke (én kritiese) paradigmas en poëtikas heers. ʼn Vergelyking van die verskillende tekste, beeldvorming, bemarking én ontvangs bied dus ʼn groter empiriese basis vir veralgemenende afleidings.
Die onderhawige studie is ʼn beskrywende studie wat deur middel van sowel kwantitatiewe as kwalitatiewe metodes ondersoek ingestel het na die versterkende invloed van beeldvorming ‒ as ʼn vorm van simboliese kapitaal ‒ op die sukses van die gekose tekste.
In hierdie proefskrif is ʼn empiries-institusionele benadering as uitgangspunt geneem wat deur ʼn teoretiese oriëntering en die bestudering van tersaaklike gepubliseerde navorsings-data en beskikbare digitale materiaal voorafgegaan is. Een van die doelstellings van die studie is ʼn ondersoek na die produksie van simboliese waarde. Aangesien literatuur-opvattings as ideologiese, maatskaplikgebonde standpunte gewens blyk te wees in sodanige ondersoek, is daar, in aansluiting by die institusionele benadering, ook van ʼn rekonstruktiewe benadering gebruik gemaak. Die rekonstruktiewe benadering is gerig op die rekonstruksie en sistematisering van denkbeelde oor literatuur wat deur skrywers of ʼn bepaalde samelewing op ʼn bepaalde moment gehuldig word.
Die bestudering van bemiddeling in die beeldvormingsproses, met spesifieke verwysing na die rol van verskillende agente (die redakteur, die uitgewery, literêre kritici, die media), literêre prystoekennings, vertalings en ander kulturele strategieë, kan dus lig werp op die mate waartoe, asook die wyse waarop, verskillende rolspelers in die stelsel tot die sukses van die gekose tekste meegewerk het
Grensoorskryding in Alfabet van die voëls deur S.J. Naudé en Sondag op ’n voëlplaas deur Johann Nell
No full textEnglish: The point of departure in this thesis are the concepts of border crossing and liminality. The latter term was used for the first time by Arnold van Gennep in his work Les rites de passage (1908). Van Gennep (1960:166) identifies three phases in the process of border crossing: the phase of seclusion, the liminal phase (the phase during which transformation takes place) and the integration phase. According to Van Gennep rites de passage is an essential characteristic of any kind of crossing and it refers to the dichotomy that exists between stable and transient structures.
It is noticed that in a continuously changing modern society there is an increase in striving for a world without borders. It is typical of post-modernism that concepts of philosophy are mixed with concepts and methods from other disciplines; therefore an increase in integration of multi-disciplinary approaches is found in academic disciplines. In this thesis an overview is provided of important views regarding the nature of topological, philosophical and literary borders. The theoretical discussion serves as point of departure for the analysis, interpretation and discussion of the extent to, and the manner in which the crossing of borders is demonstrated.The focus of this discussion is based on two Afrikaans prose texts, namely Alfabet van die voëls [Alphabet of the birds] (2011) by S.J. Naudé and Sondag op ʼn voëlplaas [Sunday on a bird farm] (2013) by Johann Nell.
Due to the iconoclastic nature of post-modern literature it is clear that demarcated borders are disappearing – also in relation to literary genres. Furthermore, the line between high and low literature is continuously becoming less prominent. As the continuous development of literary forms is making it difficult to define explicit demarcated literary genres, the current trends of deliquescence in the chosen genres (short-story cycle, farm novel, town novel, city novel, as well as the coming-of-age story or Bildungsroman) were taken as premise in this investigation.
In both these texts spatial, psychological and metaphysical crossing of borders by a liminal main character (or characters) occurs at the story level. Against the backdrop of socio-political changes the various main characters experience different forms of trauma and loss – experiences that inevitably play an important role in moulding a personal identity. The search for the meaning of life and the discovery of the self presumes that the main characters as a result undergo a border-crossing, transformative and disengaging process.
As part of the study, attention is not merely paid to different forms of border crossing at story level; the focus also is on the ways in which this border crossing is presented in the structure of the discourse and through narration.
Apart from the dynamics which the theme of border crossing effectuates at the level of the story, the aspect of choice of the liminality can also be expressed in the structuring of the actions. As a result of the course of action being structured around border-crossing occurrences, a narrative cycle is brought about by means of processes of progression and regression.
At the level of the story, border crossing is closely related to demarcating the area. In the thesis attention is paid to the ways in which the territorialising characteristics of the refrain and birds as complex metaphors are employed. These metaphors are not merely an ornamental aspect of language, but due to their repetitive occurrence they become fundamental themes through which the characters can conceptualise their respective lives and their activities in their immediate surroundings.
In post-modern literature the crossing of borders often is demonstrated by the author entering the text on a self reflective level. This thesis investigates the ways in which the real author is present as a character in the literary work by means of subtle manipulation.
The various forms of crossing borders demonstrated in both Naudé’s Alfabet van die voëls and Nell’s Sondag op ʼn voëlplaas, serve as confirmation of the idea that the crossing or fading of borders is relevant, for a variety of reasons, to post-modern literature and that it also seems to be a significant trend in Afrikaans literature.Afrikaans: Die vertrekpunt in hierdie proefskrif is die konsepte van grensoorskryding en liminaliteit. Laasgenoemde term is vir die eerste keer deur Arnold van Gennep in sy werk Les rites de passage (1908) gebruik. Van Gennep (1960:166) identifiseer drie fases in die proses van grensoorskryding: die fase van afsondering, die liminale fase (die fase waartydens transformasie plaasvind) en die fase van integrasie. Volgens Van Gennep is rites de passage ʼn noodsaaklike kenmerk van enige tipe oorgang en wys dit op die digotomie wat daar tussen stabiele en verbygaande strukture bestaan.
In die voortdurend veranderende moderne samelewing word ʼn toenemende strewe na ʼn wêreld sonder grense bemerk. Tipies van die postmodernisme word konsepte van die filosofie met konsepte en metodes uit ander dissiplines vermeng en is daar dus ook in akademiese dissiplines ʼn toenemende integrasie van multi-dissiplinêre benaderings. In die proefskrif word ʼn oorsig van belangrike beskouings met betrekking tot die aard van topologiese, filosofiese en literêre grense gegee. Die teoretiese bespreking dien as vertrekpunt tot die analise, interpretasie en bespreking van die mate waarin, asook die wyses waarop, grensoorskryding in twee Afrikaanse prosatekste, naamlik Alfabet van die voëls (2011) deur S.J. Naudé en Sondag op ʼn voëlplaas (2013) deur Johann Nell gedemonstreer word.
Vanweë die ikonoklastiese aard van postmoderne literatuur is dit duidelik dat afgebakende grense verval – ook met betrekking tot literêre genres. Voorts is daar ʼn vervaging tussen hoog- en laagkultuur. Aangesien die voortdurende ontwikkeling van literêre vorms die definiëring van duidelik afgebakende letterkundige genres bemoeilik, word die heersende neigings van vervloeiing in die gekose genres (die kortverhaalsiklus, die plaasroman, die dorpsroman, die stadsroman, sowel as die ontwikkelingsroman of Bildungsroman), as uitgangspunt in hierdie ondersoek geneem.
In beide tekste is daar op die vlak van die storie ruimtelike, psigologiese en metafisiese grensoorskryding deur ʼn liminale karakter (of karakters). Teen die agtergrond van sosio-politieke veranderinge beleef die onderskeie hoofkarakters verskillende vorme van trauma en verlies – belewenisse wat uiteraard ʼn belangrike rol speel in die vorming van ʼn persoonlike identiteit. ʼn Soeke na die sin van die lewe en die ontdekking van die self veronderstel dat die hoofkarakters gevolglik ʼn grensoorskrydende, transformerende losmakingsproses ondergaan.
As deel van die studie word daar nie slegs aandag geskenk aan verskillende vorme van grensoorskryding op storievlak nie. Daar word ook gefokus op die wyses waarop hierdie grensoorskryding in die verhaal en in die vertelproses voorgestel word.
Afgesien van die dinamika wat die tema van grensoorskryding op storievlak teweegbring, kan die keuse-aspek van die tussenskap ook in die strukturering van handeling uitgedruk word. Deurdat die handelingsverloop rondom grensoorskrydende gebeurtenisse gestruktureer word, word daar by wyse van prosesse van vooruitgang en agteruitgang ʼn narratiewe siklus bewerkstellig.
Op die vlak van die storie staan grensoorskryding in ʼn noue verband met terrein-afbakening. In die proefskrif word aandag geskenk aan die wyses waarop die territorialiserende eienskappe van die refrein en voëls as komplekse metafore aangewend word. Hierdie metafore is nie bloot ʼn ornamentele aspek van taal nie, maar deur die herhaalde voorkoms daarvan word dit prinsipiële skemas waardeur die karakters hul onderskeie leefwêrelde en hul aktiwiteite binne daardie leefwêrelde kan konseptualiseer.
In postmoderne literatuur word grensoorskryding dikwels gedemonstreer deur ʼn selfrefleksiewe betreding van die teks deur die skrywer. Die proefskrif ondersoek die wyses waarop die werklike outeur, deur middel van subtiele manipulering, self as karakter in die literêre werk aanwesig is.
Die verskillende vorme van grensoorskryding wat in beide Naudé se Alfabet van die voëls en Nell se Sondag op ʼn voëlplaas gedemonstreer word, dien as bevestiging vir die idee dat die oorskryding of vervaging van grense om verskeie redes relevant is vir die postmoderne letterkunde en dat dit ook binne die Afrikaanse literatuur ʼn belangrike tendens blyk te wees.Die Suid-Afrikaanse Akademie vir Wetenskap en Kun
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
'n Diskursiewe ondersoek van enkele verteenwoordigende Afrikaanse en Nederlandse historiese romans
No full textEnglish: The preceding study is an exploration of the interdisciplinary and inter-discursive “dialogue” between the historical novel, historiography and the philosophy of history. A rigid distinction between the discourses of literature and historiography is questioned in the contemporary literary criticism and the contemporary philosophy of history. In the work of the narrativist philosophers of history like Hayden White and Frank Ankersmit the narrative features of historiography is analysed. In contemporary literary criticism the historical novel is not studied in an autonomous manner. The emphasis in the work of Linda Hutcheon and Elisabeth Wesseling is on the close ties between historiography, the historical novel and the philosophy of history. Developments in the philosophy of history and historiography from the nineteenth century until the late twentieth century has been related to developments in the genre of the historical novel in this study. Although the developmental phases of the philosophy of history does not correlate completely with the developmental phases of the historical novel, it can be alleged that the Classical historical novel can be associated with empiricism in nineteenth century historiography and philosophy of history and that the new historical novel has a close affiliation with the contemporary philosophy of history. The poststructuralist problematisation of history has had a big influence on the contemporary philosophy of history, as well as on the new historical novel. It appears that the deconstruction of empirical approaches to historiography has a great deal in common with the contemporary critique on the historical novel in which confidence in the objective representability of the historical reality is undermined. Historiography ( like fiction ) is seen as a subjective, ideological and rhetorical construct which cannot represent the past in a transparent manner. History is viewed as a text which is constantly rewritten from new points of view and new ideological perspectives. Each attempt to reconstruct a reliable image of the past is undermined by limitations like the fact that archival material does not provide a complete picture of the past, the fact that each archival document was written from an ideological perspective or that the archive is institusionalized. The idea that history can be viewed as an ideological construct was proposed by Hutcheon and Wesseling in their work and it was especially this aspect of the historiographical discourse that was analysed in this study. Foucault’s association of discourse with a form of power was applied to the manner in which the historiographical discourse took part in the colonial discourse in the past, but also the manner in which a principally male perspective on history was favoured in the historiographical discourse in the past. With reference to contemporary historical novels like Eilande ( 2002 ) by Dan Sleigh as well as the novels of Hella Haasse like Heren van de Thee ( 1992 ), Mevrouw Bentinck of Onverenigbaarheid van karakter ( 1978 ) and Een gevaarlijke verhouding of Daal-en-Bergse brieven ( 1976 ) the ways in which the new historical novel represents an alternative form of historiography than formal historiography was investigated. It appears that new historical novels provides an alternative perspective on history than the Western and androcentric historiographical tradition. The existing historical record is supplemented in these novels with the perspective of marginal subjects such as women, indigenes, or the micro-histories of unimportant historical figures. The novelist Haasse enters the domain of the historian through the re-valuation of “apochryphal” historical sources such as the letter, diary, marriage certificate or will, whereby an alternative perspective is given on history than in the traditional, political historiography.Afrikaans: Die voorafgaande studie is ‘n verkenning van die interdissiplinêre en interdiskursiewe
“gesprek” tussen die historiese roman, die historiografie en die
geskiedenisfilosofie. ‘n Streng skeiding tussen die diskoerse van die historiografie
en die letterkunde word binne die eietydse literêre kritiek, maar ook binne die
eietydse geskiedenisfilosofie bevraagteken. Die narrativistiese geskiedenisfilosowe
soos Hayden White en Frank Ankersmit analiseer byvoorbeeld in hul
werk die narratiewe eienskappe van die historiografie. Binne die literêre kritiek
word die historiese roman eweneens vandag nie meer op ‘n outonomistiese wyse
bestudeer nie, maar val die klem binne benaderings soos dié van Linda Hutcheon
en Elisabeth Wesseling op die noue verbintenis tussen die historiografie, die
historiese roman en die geskiedenisfilosofie.
Ontwikkelinge binne die geskiedenisfilosofie en die historiografie vanaf die
negentiende eeu tot die laat twintigste eeu is in die studie in verband gebring met
ontwikkelinge binne die historiese romangenre. Alhoewel ontwikkelingsfases
binne die geskiedenisfilosofie nie volkome korreleer met ontwikkelingsfases binne
die historiese roman nie, is dit wel aantoonbaar dat die Klassieke historiese roman
in sekere opsigte aansluit by die negentiende eeuse empirisisme binne die
historiografie en die geskiedenisfilosofie en dat die nuwe historiese roman ook
beïnvloed is of in ‘n “dialoog” gewikkel is met die eietydse geskiedenisfilosofie.
Die poststrukturalistiese geskiedeniskritiek het nie net ‘n groot invloed gehad op
die eietydse geskiedenisfilosofie nie, maar ook op die nuwe historiese roman.
Dit het geblyk dat die dekonstruksie van empiriese benaderings tot die
historiografie in die geskiedenisfilosofie vandag geweldig baie deel met die
eietydse kritiek op die historiese roman waarin ‘n vertroue in die objektiewe
representeerbaarheid van die historiese werklikheid ondergrawe word. Die historiografie word, soos fiksie, beskou as ‘n subjektiewe, ideologiese en retoriese
konstruk wat geensins die verlede op ‘n transparante wyse kan representeer nie.
Die geskiedenis word beskou as ‘n teks wat konstant uit nuwe gesigspunte en uit
nuwe ideologiese uitgangspunte herskryf word. Enige poging om ‘n getroue beeld
van die verlede te herskep, word gekortwiek deur beperkinge soos die feit dat
argivale materiaal geensins ‘n volledige beeld op die geskiedenis bied nie, elke
dokument in die historiese rekord uit ‘n sekere ideologiese gesigspunt opgestel is
en die argief institusioneel van aard is.
Die idee dat die historiografie ‘n ideologiese konstruk is, word binne Hutcheon en
Wesseling se kritiek geopper en dit was veral hierdie aspek van die
historiografiese diskoers waaraan daar aandag geskenk is binne die studie.
Foucault se assosiasie van diskoers met ‘n vorm van magsuitoefening is van
toepassing gemaak op die wyse waarop die historiografiese diskoers in die verlede
meegedoen het aan die koloniale diskoers, maar ook op die wyse waarop ‘n
hoofsaaklik manlike perspektief op die geskiedenis in die verlede in die
historiografie bevoordeel is. Met verwysing na eietydse historiese romans soos
Eilande ( 2002 ) deur Dan Sleigh en Hella Haasse se Heren van de Thee
( 1992 ), Mevrouw Bentinck of Onverenigbaarheid van karakter ( 1978 ) en Een
gevaarlijke verhouding of Daal-en-Bergse brieven ( 1976 ) is ondersoek ingestel
na die wyses waarop die nuwe historiese roman ‘n alternatiewe vorm van
geskiedskrywing verteenwoordig as die formele historiografie. Dit het geblyk dat
nuwe historiese romans ‘n alternatiewe perspektief bied op die geskiedenis as die
Westerse en androsentriese historiografiese tradisie. Die bestaande historiese
rekord word in die romans onder bespreking gesupplementeer met die perspektief
van marginale subjekte soos vrouens, indigene of die mikro-geskiedenisse van
onbelangrike historiese figure. Haasse betree ook as skrywer die domein van die
historikus deur haar herwaardering van “apokriewe” bronne van geskiedskrywing
soos die brief, dagboek, huwelikskontrak of testament waarmee ‘n alternatiewe perspektief op die geskiedenis gebied word as die tradisionele, politieke
geskiedskrywing.Suider-Afrikaanse Vereniging vir NeerlandistiekNederlandse TaalunieUniversity of the Free Stat
'n Sisteemteoretiese perspektief op die vertaling van Suid-Afrikaanse literatuur in Nederlands
No full textEnglish: Within the framework of the system- and the translation theories, the translation of South
African, and more specific of Afrikaans, literary texts into Dutch was researched. This
study centres around the fact that there was a dramatic increase in the amount of South
African literary translations into Dutch from the early seventies, but that the contrary did
not take place. An attempt was made to find out what the reasons were behind this
phenomenon and which factors played a part in it.
The view on translations in this study corresponds to that of the Leuven group who based
their models on the polysystern theory by Iramar Even-Zohar. According to this theory
translation goes far beyond the boundaries of the text to incorporate the interaction
between various literary systems. Even-Zohar developed the principles for a dynamic
and heterogenious system in order to provide for the historical and variable nature of
literature. Within this approach the focus has also changed from translation as transfer of
languages, to translation as transfer of cultural norms. The benefits of Pierre Bourdieu's
sociological approach and Siegfried Schmidt's contructivistic approach are implemented
in the study in the incorporation of agents and the various actions that take place within
the literary field.
Furthermore an overview was given of the historical events and actions which created
and still creates a dialogue between the Dutch and the South African literary systems.
The history between these two countries is marked by an initial unanimity which is
especially visible in the support that the Dutch gave the Boers during the Anglo Boer
War. As a result of the Dutch peoples' experience and guilt feelings which arose from
the Holocaust and the, practically simultaneous, implementation by the South African
government of a discriminatory apartheid system in 1948, an animosity developed
between these two countries. This split results in the annulment of the Dutch South
African Cultural Agreement in the early eighties. Since the first democratic election in
1994 this Cultural Agreement has been renewed and a revival took place in the Dutch
peoples' interest.in South Africa and the literature of the country.
In the course of this study it came to light that the large increase in translations since the
seventies of especially English (South African) literature into Dutch, can be attributed to
the translation of' protest literature. On the other hand, the increase in translated
Afrikaans literary texts since the nineties can be attributed to the changed political
circumstances in South Africa which also positively influenced the Dutch peoples'
attitude towards Afrikaans and Afrikaans literary texts. There seems to be a renewed
interest in the literary value of South African texts and especially in texts which portray
the magical atmospheer, nature and exotic elements of Africa. This preference is clearly
visible in the reception of literary texts by Riana Scheepers in the Dutch literary system.
Finally, based on statistical principles, a projection is made of the amount of South
African literary texts which could be translated into Dutch over the next decade. The
projection made is conservative because it is based on the average growth of translations
per decade and not on the increased growth which took place over the past thirty years.
The assumption is made that the upsurge in translations since the seventies can possibly
be attributed to the political events and changes in South Africa and in the interest that it
evoked in South African literary texts with a political tendency. If the political climate in
South Africa will stabilise over the next ten years, there should still be an increase in the
amount of translations, but at a more average growth.Afrikaans: Binne die raamwerk van die sisteem- en die vertaalteorie is die vellaling van Suid-
Afrikaanse, en in die besonder van Afrikaanse, literêre tekste in Nederlands ondersoek.
Die spilpunt van dié ondersoek is die feit dat daar sedert die sewentigerjare 'n opbloei
was wat vertalings uit die Suid-Afrikaanse literatuur in Nederlands betref, terwyl die
omgekeerde nie plaasgevind het nie. Daar is gekyk na die moontlike redes hiervoor en na
die faktore wat 'n rol gespeel het in hierdie verskynsel.
Die uitgangspunt waarvan gebruik gemaak is, sluit aan by dié van die Leuvense
vertaalskool wat gegrond is in die polisisteemteorie van Itamar Even-Zohar. Hiervolgens
is vertaling iets wat ver buite die teksgrense heen strek en eintlik handeloor die interaksie
van verskillende literêre sisteme. Even-Zohar het die beginsels van 'n dinamiese en
heterogene sisteem betrek ten einde voorsiening te maak vir die historiese aard en
veranderlikheid van literatuur. Binne hierdie benadering is die klem ook verskuif van
vertaling as oordrag van tale, na vertaling as oordrag van kultuurnorme. Die winste van
Pierre Bourdieu se sosiologiese benadering en Siegfried Schmidt se konstruktivistiese
benadering vind egter ook besondere toepassing in die studie in die wyse waarop die
onderlinge agente en handelinge wat plaasvind binne die literêre veld betrek is.
Vervolgens is "n oorsig gebied van die historiese gebeure en handelinge wat aanleiding
gegee het (en steeds gee) tot 'n gesprek tussen die Nederlandse en Suid-Afrikaanse
literatuursisteme. Die geskiedenis tussen die twee lande word gekenmerk deur
aanvanklike' eensgesindheid wat veral waarneembaar is in die Nederlanders se
onderskraging van die Boere tydens die Anglo-Boereoorlog. Na aanleiding van die
Nederlanders se ervaringe en skuldgevoelens rakende die Joodse onderdrukking
gedurende die Tweede Wêreldoorlog en, bykans terselfdertyd, die Suid-Afrikaanse
minderheidsregering se instelling van 'n diskriminerende apartbeidstelsel sedert 1948,
ontwikkel daar egter 'n vyandigheid tussen die twee lande. Hierdie versplintering mond
uit in die opheffing van die Nederlands-Suid-Afrikaanse-Kultuurverdrag in die vroeë
tagtigerjare. Sedert die eerste demokratiese verkiesing in 1994 is hierdie verdrag
heringestel en ontstaan daar 'n oplewing in Nederland ten opsigte van Suid-Afrika en die
land se literatuur.
In die ondersoek kom dit aan die lig dat die groot toename in vertalings sedert die
sewentigerjare van veral Engelse (Suid-Afrikaanse) literatuur in Nederlands, toegeskryf
kan word aan die vertaling van versetliteratuur. Die toename in vertaalde Afrikaanse
literêre tekste sedert die negentigerjare word weer toegeskryf aan die veranderde
politieke situasie in Suid-Afrika wat ook die Nederlanders se gesindheid ten opsigte van
Afrikaans en Afrikaanse literêre tekste positief beïnvloed het. Daar is 'n hernude
belangstelling in die literêre waarde van Suid-Afrikaanse tekste en dan veral in tekste wat
die magiese atmosfeer, natuur en eksotiese aspekte van Afrika beskryf. Hierdie
voorliefde blyk duidelik uit die resepsie van Riana Scheepers se literêre werke in
Nederland.
Gebaseer op statistiese beginsels, is daar ten slotte 'n vooruitskatting gemaak van die
aantal Suid-Afrikaanse literêre werke wat oor die volgende dekade in Nederlands vertaal
sal word. Dié vooruitskatting is konserwatief omdat dit gegrond is op die gemiddelde
groei van vertalings per dekade en nie op die verhewe groei wat plaasgevind het oor die
afgelope deltig jaar nie. Daar word veronderstel dat die geweldige oplewing in vertalings
sedert die sewentigerjare waarskynlik toegeskryf kan word aan die politieke veranderings
in Suid-Afrika en aan die belangstelling wat dit in Suid-Afrikaanse literatuur met 'n
politieke strekking gewek het. lndien die politieke klimaat in Suid-Afrika oor die
volgende tien jaar redelik konstant sal bly, behoort die aantal vertalings verder toe te
neem, maar dan teen 'n meer gemiddelde groeitempo
'n Ondersoek na George Weideman as dramaturg
No full textAbstract not availableUniversiteit van Namibi
Die pikareske grondpatroon in enkele werke van Etienne Leroux
No full textDie doel van hierdie studie is om die pikareske grondpatroon in drie romans van Etienne Leroux, naamlik Die mugu, Isis Isis Isis en Onse Hymie, te ondersoek. Die keuse van juis hierdie drie romans word bepaal deur die feit dat die leser hier telkens te doen het met 'n reisende karakter. Verder kom daar in al drie romans 'n duidelike beeld van die onderskeie gemeenskappe, wat deur die karakters verteenwoordig word, aan die bod. Hierdie kenmerke, asook die feit dat ons met ‘n buitestaanderfiguur te doen het, dien as basiese definisie van die pikareske roman. Omdat hier sprake is van die vereensaming van 'n karakter binne sy gemeenskap, kan die optrede van die pikaro nie na regte bestudeer word as dit nie teen die agtergrond van die gemeenskap geskied nie. Dit noodsaak ‘n kontekstuele benadering wat uiteraard binne ‘n streng outonomistiese kader onmoontlik is. Daarom is dit beter om ‘n cop, buigsame definisie daar te stel wat ruimte laat vir die manier waarop die genre in verskillende tydperke, milieus en sosio-ekonomiese omstandighede in verskfllende skrywers se werk neerslag vind. Tog kan daar basiese karaktertrekke vir die pikareske roman vasgestel word. Elke skrywer gee egter sy eie, unieke en persoonlike interpretasie daarvan in sy werk weer. Uit die literatuur kan die volgende kenmerke aangedui word waarvolgens ‘n roman as pikaresk getipeer kan word. 'n Eenvoudige verhaalverloop, waar klem op die uiterlike handeling geplaas word, kan as eerste kenmerk van die pikareske roman gereken word. Dan volg ~ beskrywing van die milieu waarbinne die titelheld tuishoort. Die pikaro se huislike omstandighede is nie geed nie. Hy word as weeskind gereken, die wereld ingestuur en sodoende aansy eie lot oorgelaat. Hierna volg sy inwyding in die wereld. In sy naiwiteit word die pikaro bedrieg. Dit het tot gevolg dat hy sy onskuld verloor. Verder vu! dit horn met ‘n drang om wraak te neem en andere te bedrieg socs hy bedrieg is. Bogenoemde dwing die pikaro om volgens die grille van die geluk te leef. Daar vind ook nooit integrasie tussen die karakter en die wereld waardeur hy beweeg, plaas nie. Wat die vertelstruktuur van die pikareske roman betref, word klem gele op die eerstepersoonsvertelling. ‘n Verdere kenmerk is ·n episodiese verhaalverloop, waardeur die chaos in die wereld wat beskryf word, benadruk word. Die parodie, asook 'n oop slot, is verder kenmerkend van die pikareske roman. Die pikaro as hoofkarakter is slegs gedeeltelik ‘n reisende karakter. Sy eensaamheid staan voorop en omdat hy nie heeltemal las van die gemeenskap kan staan nie, word hy verder ‘n half-outsider genoem. Hy kan oak nie diepgaande emosie ervaar nie en is iemand wat baie verskillende rolle kan speel. Sy enigste konstante karaktertrek is sy wil om te bly leef. Satire en ironie speel belangrike rol in hierdie roman en dit kan oak as verhaal van die ruimte beskou word. Nadat bogenoemde kenmerke op Leroux se romans toegepas is, is tot die gevolgtrekking gekom dat 'n duidelike pikareske grondpatroon wel daarin aangetref word. Leroux maak egter nie slaafs gebruik van die pikareske genre nie en vernuwe dit op ‘n geslaagde wyse. Die pikaro word daardeur getransponeer na 'n moderne Suid-Afrika. Sodoende word Die mugu die eerste vingeroefening in hierdie genre terwyl Isis die suiwerste vorm van die pikareske roman binne Leroux se werk is. Wat Onse Hymie betref is daar, ten spite van die pikareske grondpatroon, 'n oorhel na die burleske en 'n meer radikale betrokkenheid by en kritiek op die samelewing
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