Doctoral Degrees (Afrikaans and Dutch)

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Browsing Doctoral Degrees (Afrikaans and Dutch) by browse.metadata.advisor "Foster, P. H."

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    Bybelse intertekste in resente Afrikaanse gedigte en lirieke, met spesifieke verwysing na identiteitsformasies in die (post)-postmoderniteit
    (Stellenbosch : Stellenbosch University, 2012-12) Engelbrecht, Gertruida Cornelia; Foster, P. H.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: The 11 September 2001 terror attacks on America are regarded by many as the end of the postmodern era and as a landmark event that irrevocably changed the world. Similarly, the 1994 South African political revolution and transition to democracy was a milestone that had far-reaching effects on all population groups in the country. This study examines evolving identity formation among Afrikaans-speaking South Africans in a new political dispensation and (post-) postmodern era – and specifically the ways in which religion still finds expression in Afrikaans-speakers‟ identity. With theoretical grounding from, among others, Stuart Hall and Zygmunt Bauman, a variety of recent poems and lyrics – representative of various generations and backgrounds – are studied. The conclusion drawn is that religion still forms part of Afrikaans-speakers‟ identity in various ways, but this does not necessarily equate to affiliation with any church. In some instances church and religion are seen as part of the rejected apartheid establishment, but in many cases Afrikaans-speakers‟ religious affiliations are in line with Jacques Derrida‟s “religion without Religion” school of thought, and panentheism is increasingly gaining ground.
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    Identiteitskonfigurasies in wit Afrikaanse rap-musiek met spesifieke verwysing na Die Antwoord, Jack Parow en Bittereinder
    (Stellenbosch : Stellenbosch University, 2017-12) Klopper, Annie Elizabeth; Foster, P. H.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: This study investigates identity configurations in white Afrikaans rap music, by focusing on rap artists Die Antwoord, Jack Parow and Bittereinder. Rap is a constituent element of hip-hop, a cultural form that developed during the 1970’s among the socio-politically and economically marginalised youth of New York’s South Bronx, and harbours a connection to black oral cultural traditions stretching back hundreds of years. Since the establishment of hip-hop, rap continued evolving and expanding its reach globally. It has been localized beyond North America as a mechanism – among many others – utilised in the continuous processes of cultural formation and identity configuration. Hip-hop is thus a glocal art form; global in reach but where it is adapted at a local level, it morphs to meet local realities and assumes a distinctive local character. Since its inception, hip-hop has aroused a steadily growing interest among academics. Whereas erstwhile examinations explored it as an African-American cultural form, studies have since the turn of the century increasingly focused on the variety of hip-hop’s local permutations, across continents and languages. This shift in focus entails a closer interest in the ways in which hip-hop functions in the continuation of local oral practices, processes of cultural formation and identity configuration. Popular music provides a space wherein South African youth actively and continuously reconfigure identity and interrogate associated issues surrounding it. This dissertation contributes to not only the discourse on local popular music and identity, but also to the discourse on the varied glocal permutations of hip-hop, by focusing on the development and the nature of white Afrikaans rap music. This follows local whiteness studies post-1994 democratisation which zeroes in on whiteness, centralised and normalised by the legacy of colonialism and the apartheid regime, to critically appraise its meaning and challenge its centrality. In doing this, and by exploring white artists utilising a historically black cultural form in various ways, the notion of essential or fixed identities are contested. To identify the symbolic capital of rap music, as well as to recognise its nature and characteristics, this study investigates the development of hip-hop culture whilst acknowledging the oral traditions preceding and influencing it. Earlier permutations of South African hip-hop during the 1980s and 1990s are examined. This is followed by the case studies, exploring Die Antwoord, Jack Parow and Bittereinder. Considering the uniqueness of the South African context, an interdisciplinary qualitative analysis is necessary to make sense of the ways in which local white rappers are actively negotiating identity, through an originally black cultural form. In conclusion, I argue that hip-hop is deployed in ongoing local processes of creolisation of language and music by (the very) means of language and music themselves.
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    Kompleksiteit in taakgebaseerde onderrig en leer van Afrikaans as tweede taal binne universiteitskonteks
    (Stellenbosch : Stellenbosch University, 2012-03) Adendorff, Elbie Maria; Visser, M. W.; Foster, P. H.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: The implementation of a multilingual language policy for Higher Education in South Africa (2002) requires the teaching and learning of different languages as a second or additional language – also the teaching of Afrikaans for specific purposes to students as adult learners. The teaching of Afrikaans for specific purposes to students as adult learners has not received much attention in the South African context, especially research on the learning and teaching of Afrikaans for specific purposes in a university context. This research on Afrikaans as a second language has as framework the theory of Task-Based Language Learning and Teaching. The research focuses on issues relating to complexity in task-based challenges which await students in a multilingual university context and the way in which a task-based teaching syllabus contributes to these needs and challenges. The main focus of this study is to explore the possibilities of a multiperspective approach to the analysis of complexity in the design of a task-based syllabus for university students. The aim of such a multiperspective approach is to research the full spectrum of approaches which is available to research task complexity. The adequacy of the different approaches lies in the architecture of the compositionality and combination of the individual researchers’ frameworks, which each on its’ own has elements of incompleteness regarding the development of students’ interlanguage. There can be argued that the multiperspective approach to complexity in task-based syllabus design is beneficial to task design for an Afrikaans task-based syllabus at university level because each approach promotes the development of an interlanguage. The central purpose of this study is to investigate the nature and properties of communication tasks employed in generic social and academic communication in Afrikaans on a university campus in South Africa within the framework of task-based language learning and teaching, as well as syllabus design. This study analyses the communication tasks in accordance with the needs of second language learners of Afrikaans in the context of campus communication. For the purpose of the research, a needs analysis was conducted through the use of a questionnaire and interviews with university students. This needs analysis shows that students whose first language is not Afrikaans, have the need to acquire communicative skills in Afrikaans to communicate effectively with fellow students and lecturers at the university. As a result of the needs analysis ten student-student-dialogues and ten student-lecturer-dialogues were constructed to simulate campus communication. The study researches the various cognitive and linguistic taskelements.The purpose of this research is to to examine the cognitive and structural properties in a task design which address the communication needs of students and lecturers for learning generic Afrikaans for communicating on campus. A framework for the analysis of complexity in the development of a task-based syllabus for a teaching and learning program for the teaching and learning of Afrikaans as a second language in the multilingual university context of a South African university campus will be proposed. The study examines the different components of tasks and the components of designing a syllabus, and how they influence the teaching and learning of the second language. This study analyses various complexity properties of the twenty Afrikaans dialogues in order to determine criteria for syllabus designers on how tasks can be graded and sequenced within a task-based language learning and teaching syllabus for second language learners of Afrikaans.
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    Poesie op die podium : ’n ondersoek na die sosiale rol en betrokkenheid van performatiewe kultuurvorme, met spesifieke verwysing na Afrikaanse gedigte en lirieke
    (Stellenbosch : Stellenbosch University, 2018-03) Smit, Mathilda; Foster, P. H.; Buelens, G.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: In this dissertation, “Poësie op die podium: ’n Ondersoek na die sosiale rol en betrokkenheid van performatiewe kultuurvorme, met spesifieke verwysing na Afrikaanse gedigte en lirieke” (Poetry on the podium: an investigation into the social role and engagement of performative cultural forms, with specific reference to Afrikaans poems and lyrics), I analyze performance poetry and all its manifestations in the cultural and literary system of Afrikaans. The history of performance poetry as original oral poetry is explained and then with a telescopic view I provide an overview of the American, Dutch, African and South African influences on the Afrikaans system. Different subcategories of “podium poetry” (podiumpoësie) in the Afrikaans system are identified and examples of each one is provided. Firstly my aim is to determine what the Afrikaans cultural and literary system, concerning performance poetry, consists of. Secondly I focus on the social role that this cultural form plays in society as a whole. I identified certain themes that are present in the manifestations of podiumpoësie in Afrikaans and tried to determine whether the socio-political commentary present in the examples can be viewed as engaged. Regarding theoretical support, I mostly relied on theories concerned with performance and performativity. As this study provides a broad overview of multiple systems, the polysystem theory introduced by Even-Zohar (1990) is used as theoretical background. I also used the model of approaches to literary theory by Abrams (1953) to organise the rest of the theories in this study. All the relevant elements (the artwork, the artist, the public and the reality it reflects) are present in podiumpoësie. The element of the artwork itself is supported by the theory of New Criticism, whereas the element of the performance artist is supported by performativity. Theories regarding the reception of artwork are used to look at the audience and their role in performance poetry and lastly, the universe or reality that is reflected in performance poetry is supported by using theories of engaged literature. My study provides an approach to performance poetry that relates specifically to the Afrikaans cultural and literary system. It seeks to firstly give a broad telescopic overview on what the system regarding this cultural product is, and secondly to zoom in microscopically on the Afrikaans system in order to determine the social role present in podiumpoësie.
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    'n Vergelykende ondersoek na die toekenning van debuutpryse vir Afrikaanse en Nederlandstalige poësie, 1990 - 2009
    (Stellenbosch : Stellenbosch University, 2016-12) Bonthuys, Marni; Foster, P. H.; T'Sjoen, Y.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Afrikaans and Dutch.
    ENGLISH ABSTRACT: In this thesis a comparative perspective is provided on the position of debut prizes for poetry in the Afrikaans and Dutch/Flemish literary fields between 1990 and 2009. Academic researchers tend to avoid the subject of literary prizes as well as the wider research terrain of literary evaluation. This is surprising, since literary evaluation is often a crucial activity within the study of literature and literary prizes are becoming more and more important in the literary field. Thus, the literary award as canonization mechanism is explored with particular focus on the debut prize for poetry that functions as an indicator of the canonization potential of new voices within a literary field. After a theoretical overview is provided of the selected debut prizes (and of a few other important prizes within the particular field), two chapters are presented about the selected Afrikaans and Dutch case studies. At the end of each of these chapters certain tendencies or patterns with regard to debut awards for poetry between 1990 and 2009 in Afrikaans and Dutch/Flemish are identified. In conclusion these tendencies in the different literary fields are compared. The methodological approach of this study is qualitative. Four debuts in Afrikaans and three debuts in Dutch are selected as case studies. These debuts were all awarded with more than one debut prize. The Afrikaans cases are: H.J. Pieterse for Alruin (1989), Ilse van Staden for Watervlerk (2003), Danie Marais for In die buitenste ruimte (2006) and Loftus Marais for Staan in die algemeen nader aan vensters (2008). Erik Menkveld for De karpersimulator (1997), Hagar Peeters for Koffers zeelucht (2003) and Ester Naomi Perquin for Servetten halfstok (2007) are the Dutch cases. The Afrikaans debut prizes identified are the Eugène Marais Prize, the Ingrid Jonker Prize, and the UJ Debut Prize; and in Dutch/Flemish the C. Buddingh’-prijs voor nieuwe Nederlandse poëzie; the Debuutprijs Het Liegend Konijn; the Vlaamse Debuutprijs/Herman de Coninck Debuutprijs; the J.C. Bloem-poëzieprijs; the Jo Peters Poëzieprijs; and the Lucy B. en C.W. van der Hoogt-prijs. In the two chapters about the selected cases, reception studies of reviews as well as jury reports (of the particular debuts) are provided. Here the research of Olf Praamstra (1984) and J.A.A. Mooij (1973, 1979) on the arguments and criteria used in reviews is applied. The research of Katinka Dijkstra (1989) and Susanne Janssen (1994) on canonization is also used. Short descriptions of the profiles and public claims made by these lauded poets are discussed with regard to the field theory of Pierre Bourdieu (1993, 1994); as well as the work of Jérôme Meizoz (2010) about posturing and the research of Kees van Rees and Gillis Dorleijn (2005, 2006) on the role of poetics. The work of these researchers builds on Bourdieu's field theory. In addition to this institutional approach, a textual analysis of selected poems from the prizewinning works is also provided. Some of the identified patterns and tendencies are mentioned in these analyses.