Masters Degrees (Afrikaans and Dutch)

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Browsing Masters Degrees (Afrikaans and Dutch) by browse.metadata.advisor "Anker, Willem"

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    Abjeksie in MS Burger se Bloedfamilie (2012) en Seuns wat weet (kortverhaalbundel)
    (Stellenbosch : Stellenbosch University, 2023-12) Botha, Frederick Johannes; Schaffer, Alfred, 1973-; Anker, Willem; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing, a mini-thesis is presented with the title, “Abjeksie in MS Burger se Bloedfamilie (2012)” (“Abjection in MS Burger’s Bloedfamilie (Blood Family)”). This research topic was decided upon during the writing of Seuns wat weet (Boys who know), a collection of short stories in which the abject play a prominent role. The mini-thesis points out the close interplay between the individual stories in MS Burger’s Bloedfamilie, which not only creates unity in the collection, but also places the text within the genre of the short story cycle. This genre is briefly defined, after which coherence markers such as the single protagonist, recurring characters, and continuous motifs are pointed out. However, it is the theme of abjection in Bloedfamilie that forms the focus of this mini-thesis. Julia Kristeva’s (1982) authoritative abject theory is outlined, followed by an exploration of the way in which abjection functions in the literature (Booker, 1991; Bousset, 2004; Arya, 2014). Kristeva’s view that abjection contributes to the process of creating identity is taken as point of departure for the textual analysis of Bloedfamilie where abjection is investigated on the basis of the following aspects: the bodily, the sexual, illness, rebellion against the mother, and violence. Apart from the fact that the abject portrayal of these aspects enables the first-person protagonist to establish her identity, it is also used in a moralistic manner to deploy the moral bankruptcy of orders and systems such as religion, family, and tradition, and to comment on issues such as gender inequality and rights. Seuns wat weet is a short story cycle in which Frikkie acts as first-person protagonist, with character development taking place from his childhood through to adulthood. Although the fifteen stories in the collection function individually, they form a greater coherence when they are read as part of a cycle, by showing Frikkie’s emotional development more clearly. The fifteen stories explore themes such as family, religion, culture, violence and (gay) sexuality, and how these aspects have a formative influence on Frikkie’s identity.
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    n Alledaagse andersheid : n ondersoek na Lauren Beukes se Zoo city as voorbeeld van heterotopiese literatuur, met verwysing na Animals people deur Indra Sinha en Ikabod
    (Stellenbosch : Stellenbosch University, 2016-03) Van den Heever, Aletta Jacoba; Anker, Willem; Van Niekerk, Marlene; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: In the first part of this thesis Foucault’s concept of heterotopia is used to investigate the difference between narrative complexity and complexity itself. Lauren Beukes’s novel Zoo City is analyzed within the framework of heterotopic literature. The question is asked whether the novel illustrates the “liberated imagination” Gerald Gaylard refers to – “[an imagination that] can lay the foundations for the resolution of many a complex and sensitive post-colonial tribulation Africa must wrest with” (Wertlen, 2011:16) – or whether Beukes’s Zoo City is rather – as Corrigall (2013:18) suggests about The Shining Girls (2013) – a “cop-out; [alleviating] the need to negotiate the sometimes irreconcilable socio-political issues of our times”. In comparison I discuss Indra Sinha’s Animal’s People as an example of heterotopic literature. With this analysis I want to show what the difference is between a novel in which heterotopic spaces and aspects can be found and a novel which constitutes a critical-ethical heterotopia in itself. The second part of the thesis is a novel titled Ikabod. In the novel issues around conservation, decline, and the economy and politics of survival are investigated.
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    Die drukking van dakke : ruimtelikheid en morele agentskap in Gert Vlok Nel se digbundel "om te lewe is onnatuurlik” en “Veelvuldige gebruike vir huishoudelike toestelle”
    (Stellenbosch : Stellenbosch University, 2013-03) Bezuidenhout, Andries Jacobus; Van Niekerk, Marlene; Anker, Willem; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis ondersoek die ruimtelike basis vir morele agentskap in Gert Vlok Nel se digbundel om te lewe is onnatuurlik. As teoretiese raamwerk word daar van die teoloog/letterkundige Wesley Kort, die letterkundige/sosioloog Irma du Plessis en die radikale geograaf David Harvey se werk gebruik gemaak. Kwessies soos die (i) wisselwerking tussen omvattende, sosiale en intieme ruimtes deur narratiewe ruimtelikheid in poësie, (ii) die onstandvastigheid van die onderskeid tussen private en openbare ruimtes en (iii) verkillende vorms van ruimtelikheid, soos absolute, relatiewe en relasionele ruimtes, asook materiële ruimte, gerepresenteerde ruimte en ruimtes van representasie kom aan die bod. Daar word aangevoer dat Gert Vlok Nel se bewustelike plasing van homself as randfiguurdigter binne die Afrikaanse literêre sisteem as vorm van morele agentskap gesien kan word. Verder word getoon dat, as om te lewe is onnatuurlik in geheel en as familiekroniek gelees word, die onderskeid tussen private en openbare ruimtes waar geweld en trauma plaasvind ondergrawe word en sodoende politieke magskwessies as persoonliketiese kwessies herdefinieer. Laastens word argument gevoer dat, alhoewel die sprekerdigter in die bundel (“Gert”, of “Gertjie”) op die oog af gebrekkige agentskap blyk te toon, die besonderse tydruimtelike plasing van die spreker-digter die moontlikheid vir verruiming van agentskap skep en sodoende die idee van versplinterde subjek uitdaag. Hierdie akademiese opstel hou verband met die kreatiewe gedeelte van die tesis, digbundel getiteld Veelvuldige gebruike vir huishoudelike toestelle, waarin huishoudelike ruimtes as vertrekpunt gebruik word om kwessies soos morele verantwoordbaarheid, kreatiewe aandadigheid, post-koloniale manlikheid, sosiale verandering en trauma te ondersoek.
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    'n Ding wat homself dra : Anne Carson se Nox as visuele en poetiese ondersoek na haar broer se lewe en dood en Afskrif
    (Stellenbosch : Stellenbosch University, 2015-12) Slippers, Beatrice Barbara; Van Niekerk, Marlene; Anker, Willem; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    AFRIKAANSE OPSOMMING: Hierdie tesis is ’n studie van Anne Carson se boek Nox wat die vorm, voorkoms, prosesse en samestelling van die teks ondersoek en analiseer. Dit probeer tot ’n begrip kom van presies hoe Carson “a brilliantly curated heap of scraps” verwerk tot ’n outonome kunswerk, “a thing that carries itself.” In die eerste gedeelte van die tesis word Nox as voorbeeld van ’n kunsboek (“artists’ book”) beskou. Nox se inhoud en voorkoms word gemeet aan die definisie en kenmerke van kunsboeke en binne die konteks van die geskiedenis van boekkuns as praktyk geplaas. Daar word veral gefokus op die visuele aard van Nox, die maniere waarop die boek verskil van meer konvensionele tekste, die selfbewustheid en selfrefleksie wat in die teks manifesteer en die eenheid van vorm en inhoud wat die outeur/kunstenaar bewerkstellig. Die tweede gedeelte ondersoek hoe vertaling op verskillende vlakke as proses in die skep van Nox funksioneer. Die fragmente en brokstukke waaruit die teks bestaan word deur middel van vertaling tot ’n eenheid gebind. Die proses van lewensbeskrywing word op metaforiese vlak as ’n soort vertaling gesien, wat parallel staan teenoor die letterlike vertaling van Catullus se “Gedig 101” wat op die bladsye van Nox plaasvind. Terselfdertyd verteenwoordig die wyse waarop ’n private objek (Carson se notaboek waarin sy die oorspronklike brokke byeengebring het) verwerk word tot ’n publieke kunswerk (die kunsboek Nox) ’n volgende vlak van vertaling wat die ander twee vlakke omarm en bevat. Deur middel van ’n proses van intersemiotiese vertaling skep Carson in die kunsboek Nox ’n weergawe van “Gedig 101”. Die manier waarop die gedig betekenis skep word in ander tekensisteme in die kunsboek nageboots. In die laaste afdeling word semiotiek aangewend as teoretiese raamwerk waarbinne ’n teks wat uit verskillende media saamgestel is, ondersoek kan word. In dié gedeelte word ’n stiplees van Nox onderneem om te demonstreer presies hoe Carson die fragmente en brokstukke verwerk om ’n samehangende eenheid te skep. Daar word aangedui dat die teks gelees kan word as ’n vertraagde, verskerpte en ontplofte vertaalhandeling wat uitdrukking en vorm gee aan menslike smart. Die bundel Afskrif bestaan uit gedigte wat die moontlikheid van oorspronklikheid ondersoek en op verskillende maniere kyk na replikas, afskrifte, kopieë en herskrywings.
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    Postkoloniale melancholie in Ronelda S. Kamfer se Hammie (2016) en Amen
    (Stellenbosch : Stellenbosch University, 2022-12) Blignaut, J. V.; Anker, Willem; Schaffer, Alfred; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: The thesis has two parts, a theoretical and a creative component. The theoretical part focuses on the postcolonial melancholia in Ronelda S Kamfer's poetry anthology Hammie (2016). The study is qualitative and an application of literary theory. Sigmund Freud’s theory about loss, mourning and melancholia is used as a lens to gain a better understanding of the losses the poetic speaker deals with in the anthology, especially the death of her mother. Thereafter, the focus is narrowed to investigate the post-colonial aspects in Hammie, pertaining to the melancholic nature thereof. The study analyses how melancholia forms the subjectivity of the speaker with regards to her race and gender due to the oppression she experiences as a brown/black woman in the post-colonial South Africa. The themes linking the two components of the thesis are loss, marginalisation, and subject formation. Amen, the creative component, is a collection of poems which deals with the poetic speaker’s experiences as an adopted, queer individual. The speaker moves through different rural and urban spaces. Various ambivalent relationships between family members, friends and lovers are depicted. The themes include child adoption, family relationships, farm life, human-animal relationships, death, sexual development, homosexuality, and discrimination.
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    A reading of Blood Meridian (Essay) and The Book Of War (Novel)
    (Stellenbosch : Stellenbosch University, 2012-03) Whyle, James; Van Niekerk, Marlene; Anker, Willem; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    Two separate texts are submitted towards the degree of MA in Creative Writing. The first is this essay, A Reading of Blood Meridian. The second is a novel, The Book of War. Essay The general focus of the essay is the theme of free will in Blood Meridian and the techniques with which the narrative elements of character, story, style and voice are deployed to focus the reader's mind on this theme. The central question: is the meaning, the final message, of Blood Meridian that as individuals human beings lack agency and that as groups they are shackled to a common destiny? The hypothesis is that Blood Meridian contains significant patterns, oppositions and dialectics, designed to place arguments for and against agency in the mind of the reader, but that the book's response to the theme is inherently and structurally ambiguous. Novel The novel was written before the essay. It was written in direct response to Blood Meridian and to the realization that Blood Meridian was a text rooted in history. Like Blood Meridian, The Book of War is based on, grows out of, first person accounts, specifically Stephen Bartlett Lakeman's What I saw in Kaffir-Land (1880) and William Ross King's Campaigning in Kaffirland: Or Scenes and Adventures in The Kaffir War of 1851- 1852 (1853). The novel takes characters devolved from Lakeman and places them in King’s journey through the war. These characters create, around a child called the kid, the social backdrop of a coming of age tale. The novel uses its source texts as a lens through which to view, and tell the story of, the War of The Prophet (Eight Frontier War 1850-53). Readers seeking to answer the question: Why is South Africa a violent society? might find at least part of the answer in the nature of, and the relationships between, English, Xhosa, Dutch, Khoi and Mfengu cultures in the 19th Century.
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    Skool
    (Stellenbosch : Stellenbosch University, 2011-03) Kemp, Christiaan Theodorus; Van Niekerk, Marlene; Anker, Willem; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: No abstract
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    Van plaas tot agterplaas : die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners, en, 'n Duisend stories oor Johannesburg : 'n stadsroman
    (Stellenbosch : Stellenbosch University, 2013-12) Kalmer, Harold; Van Niekerk, Marlene; Anker, Willem; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    AFRIKAANSE OPSOMMING: Die eerste gedeelte van hierdie tesis is ʼn opstel met die titel Van plaas tot agterplaas: Die uitbeelding van Afrikaners in Johannesburg in drie Hertzogpryswenners en die tweede deel is ʼn roman getiteld ʼn Duisend stories oor Johannesburg. Die roman en die opstel hou tematies met mekaar verband. Soos die roman, speel al drie bekroonde werke in Johannesburg af met Afrikaners as sentrale karakters. Die bepaalde historiese konteks waarin elkeen van die drie pryswenners verskyn het, dikteer die invalshoek van die opstel, hoe die werk krities ontvang is, sowel as die rol en waarde wat deur die Afrikaner-instelling daaraan toegeken is. Daar sal verder in die bespreking getoon word watter rol die Hertzogprys in die skepping van die Afrikaner-instelling gespeel het. Die gebruik van die begrip en eienaam “Afrikaner” in hierdie bespreking verwys na die wit, Afrikaanssprekende, Christelike gemeenskap in Suid-Afrika, in die sin dat dit ooreenstem met die (uiters aanvegbare) stelling dat alle wit Afrikaanssprekers saamgevoeg kan word in ʼn organiese “volkseenheid”. Hierdie voorveronderstelling aanvaar ook dat hierdie “Afrikanerdom” tradisionele, konserwatiewe volkswaardes deel, en altyd beskikbaar is vir mobilisering ter wille van gedeelde Afrikaner-belange, soos deur Dan O‟Meara gedefinieer in sy Volkskapitalisme: Class, capital and ideology in the development of Afrikaner nationalism, 1934 – 1948 (1983:6). Hierdie kwessies word, onder meer, deur die polisisteemteorie van die Israeliese kultuurnavorser, Itamar Even-Zohar, asook J.B. Thompson se kritiese teorie van ideologie gedoen. Daar word ook na Jacques Rancière se teorie oor “die verspreiding van die waarneembare” (the distribution of the sensible) verwys. Daar word tot die gevolgtrekking gekom dat die Hertzogprys van meet af aan in diens van die Afrikaner-instelling gestaan het en ten spyte van ʼn veranderende ideologiese landskap, ʼn voortgesette rol gespeel het in die daarstelling van die Afrikaner-repertoire. Binne die polisisteemteorie is die “repertoire” die versameling reëls en elemente wat die produksie van tekste bepaal. Die term “instelling” verwys na die faktore wat betrokke is by die instandhouding van die letterkunde as ʼn sosio-kulturele aktiwiteit. Die roman speel af in ʼn klein Johannesburgse hotelletjie, genaamd Mei Villa, in die buurt Belgravia, tydens ʼn uitbarsting van xenofobiese geweld in 2008. Binne ʼn raamverhaalstruktuur fokus die roman op twee karakters, naamlik die ontheemde argitek, Zweig van Niekerk, wat na 40 jaar na Johannesburg terugkeer, asook die hoteleienaar, die bekroonde maar mindere digter, Bosman Hiemstra. Omring deur hotelgaste en personeel met hulle uiteenlopende verhale, soek Zweig van Niekerk tevergeefs na die Johannesburg van sy jeug, terwyl Bosman Hiemstra met ewe min sukses ʼn tweede digbundel probeer skryf. Aan die einde van die boek begin die digter ʼn roman te skryf met sy gas se lewensverhaal as gegewe dalk ook die boek wat die leser pas klaar gelees het.