Browsing by Author "Foster, Ronel"

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    Deur die loergat : ’n ondersoek na die voyeuristiese elemente in Johann de Lange se “Olympia”
    (LitNet Akademies, 2011-03) Kemp, Theo; Foster, Ronel
    ENGLISH ABSTRACT: The term voyeurism is normally seen as belonging to the field of psychology, where it is used to describe sexual abnormality and deviation. However, this view stigmatises the phenomenon of voyeurism as a perverse action. In this article the authors attempt to broaden the concept of voyeurism by indicating the role of the voyeur in poetry, specifically the oeuvre of Johann de Lange. It is argued that voyeurism fulfils an essential function in the writing and reading process; that not only the poet, but also both the text and the reader inevitably share in the voyeuristic action. Literature, according to this hypothesis, has its origin in the perspectival complexity of voyeurism. Voyeurism manifests and functions in different ways in De Lange’s poetry, namely in painting, photography, religion and the relationship between father and son. This article emphasises the voyeuristic action in painting and poetry by analysing De Lange’s poem “Olympia”, which is based on Edouard Manet’s homonymous painting.
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    Die dier as teken in Wilma Stockenstrom se Monsterverse
    (Stellenbosch : Stellenbosch University, 1987) Foster, Ronel; Stellenbosch University. Faculty of . Dept. of .
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    Literere pryse : 'n oorsigtelike bespreking met voorbeelde uit die Afrikaanse literere veld
    (LitNet, 2022) Bonthuys, Marni; Foster, Ronel
    Literatuurpryse het ’n lang geskiedenis en kan beskou word as ’n noodwendigheid binne die meeste literêre velde. Dit is verder ’n verskynsel wat heelwat media-aandag ontlok en verskeie voordele vir literêre rolspelers soos skrywers en uitgewerye (kan) inhou. Dit het veral ’n belangrike kanoniserende funksie – toenemend, in ’n era waarin kommersiële aandag ’n al groter rol in die literêre veld (asook ander kultuurvelde) speel. Tog is literêre bekronings, asook die breër terrein van literêre evaluering, nie histories ’n onderwerp wat dikwels deur letterkundiges akademies ondersoek word nie. Die vernaamste rede hiervoor is die hiërargiese element verbonde aan kultuurpryse wat dit volgens sommige akademici te subjektief sou maak om vanuit ’n wetenskaplike hoek te ondersoek, asook die skouspel en omstredenheid wat geneig is om met die prysverskynsel gepaard te gaan. In hierdie artikel word gepoog om die verskynsel van literêre pryse te belig deur aandag te skenk aan fasette soos die geskiedenis en proliferasie daarvan; die verwerwing en uitruiling van kapitaal – veral in die simboliese sin – wat deel uitmaak van die bekroningsproses; die kanoniseringsfunksie van literatuurpryse en die veranderende posisie van literêre hekwagters; die rol of bydrae van pryse binne die literêre veld; en ten slotte die kwessie van omstredenheid as kenmerkende eienskap van die kultuurprys. Telkens word die bespreking belig met voorbeelde uit die Afrikaanse literêre veld. Pierre Bourdieu se veldteorie word as teoretiese raamwerk benut en begrippe soos simboliese kapitaal, sosiale kapitaal, simboliese mag en die produksie van geloof word ingespan om verskillende fasette van die bekroningsproses te ondersoek. James F. English (2005) se seminale teks The economy of prestige, wat steeds ’n toonaangewende bron oor kultuurpryse is, asook onlangse studies oor literêre evaluering en kultuurpryse, word voorts betrek. Uiteindelik is dit die argument dat literatuurpryse deur die literatuursosiologiese navorser as belangrike kanoniserende en vormgewende verskynsel binne die hedendaagse literêre veld verstaan en verken moet word.
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    Postmodernisme en poesie, met spesifieke verwysing na die historiografiese metagedig 'Die heengaanrefrein' van Wilma Stockenstrom
    (Stellenbosch : Stellenbosch University, 2000-12) Foster, Ronel; De Goede, Petronella Hermina; Foster, Petronella Hermina; Viljoen, L.; Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Afrikaans & Dutch.
    ENGLISH ABSTRACT: The main aim of this study is to investigate the possibility of using a postmodern reading strategy for Afrikaans poetry, in particular that type of poetry which, following Linda Hutcheon, I will call historiographic metapoetry. The investigation consists of four phases. Firstly, in order to implement Hutcheon's model, cognisance will be taken of the theory of postmodernism (chapters 1- 3), particularly with regard to poetry, since the latter is apparently a marginalised genre in this theorisation. The second phase of the investigation encompasses a discussion of the discourse on postmodernism and poetry in America, the NetherlandsIFlanders and in Afrikaans (chapters 4-6, respectively). Attention is given to matters such as the developmental history of postmodernism, theorising on postmodern poetry and the practice of anthologising. The third phase bridges the gap between research on postmodernism and that on historiographic metapoetry (chapter 7). The focus will be on Pirow Bekker's poem "Apollo Smintheus", with specific attention being given to the representation of the event (the journey of Jonas de la Guerre into the hinterland in 1664) in the journal texts and other historiographic sources. Hutcheon's distinction between event and fact will also be adopted in the analysis. The last phase of this study is an application of Hutcheon's model to Wilma Stockenstrëm's poem, Die heengaanrefrein, a self-reflexive text on the arrival of the Huguenots in South Africa in 1688 (chapters 8-12). As an introduction to the discussion of the text, the problematising of various types of borders in the poem is examined. This is followed by an analysis of extracts from Die heengaanrefrein with reference to four matters that are, according to Hutcheon, central to postmodern theory and practice. These are: intertextuality, parody and the discourses of history; the problem of reference; the subject and the representation of subjectivity; and lastly ideological implications and political double-coding. The discussion of Die heengaanrefrein is supplemented with shorter discussions of other texts, for example, George H. Weideman's "Kieselguhr-kleim", two short poems from Breyten Breytenbach's Soos die so and P.J. Philander's poems "Die klippe praat" and "Genesis". In Chapter 13, the final chapter, the findings are summarised and Hutcheon's model is evaluated.