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Browsing Afrikaans and Dutch, German and French by Advisor "Van Coller, H. P."
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Item Open Access Die argivering van die Afrikaanse film (1916 – 2014)(University of the Free State, 2015-07) Steyn, Christa; Van Jaarsveld, A.; Van Coller, H. P.Abstract not availableItem Open Access Die bydrae van nie-artistieke praktyke tot die literêre sukses van eksemplariese Afrikaanse tekste. 'n Ondersoek na beeldvorming(University of the Free State, 2019) Erasmus-Alt, Joanita; Van Coller, H. P.English: 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.Item Open Access Die pikareske grondpatroon in enkele werke van Etienne Leroux(University of the Free State, 1987-11) Botha, Wilna Marie; Van Coller, H. P.Die 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.Item Open Access 'n Diskursiewe ondersoek van enkele verteenwoordigende Afrikaanse en Nederlandse historiese romans(University of the Free State, 2005-11) Marais, Nina-Marié; Van Coller, H. P.English: 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.Item Open Access Grensoorskryding in Alfabet van die voëls deur S.J. Naudé en Sondag op ’n voëlplaas deur Johann Nell(University of the Free State, 2016) Erasmus-Alt, Joanita; Van Coller, H. P.English: 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.Item Open Access Henk van Woerden se "Kaapse trilogie" as 'n vorm van bekentenisliteratuur(University of the Free State, 2006-08-22) Bruwer, Aletta Susanna; Van Coller, H. P.English: 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.Item Open Access Die impak van sosiopolitieke verandering op die plek van vroueskrywers in die Afrikaanse literêre kanon(University of the Free State, 2009) Human-Nel, Maria Johanna; Van Coller, H. P.; Van Jaarsveld, A.Abstract not availableItem Open Access The literary representation of identity and alienation in counterinsurgencies(University of the Free State, 2013-11) Senekal, Burgert A.; Van Coller, H. P.; Limon, JohnEnglish: This interdisciplinary study investigates how alienation manifests in American literature on the Vietnam War and Afrikaans literature on the war in Namibia/Angola (the so-called Border War). After an historical contextualisation, the sociological branch of alienation theory, which is based on the writings of Melvin Seeman, is discussed, and it is illustrated how the six aspects of alienation, as identified by Seeman, manifest in several texts on these wars. In keeping with the interdisciplinary nature of the thesis, insights from alienation theory are integrated with theories of historiography, trauma, masculinity, and counterinsurgencies, all in an attempt to come to a better understanding of the texts under consideration. Despite literary theory’s insistence that alienation is a feature of modernist and postmodernist literature, and literature on these counterinsurgencies in particular, little has been written on what alienation actually is. Seeman’s variant was chosen because it is the most detailed and comprehensive treatment of alienation available, and although published in 1959, Seeman’s notion of alienation continues to be relevant within sociology. Seeman’s six aspects of alienation include powerlessness, meaninglessness, normlessness, cultural estrangement, social isolation, and self-estrangement, and these are used to discuss the literature on these two counterinsurgencies, highlighting how these aspects of alienation manifest in a variety of literary texts. The line between history and fiction is of course also an important boundary challenged by literature on these wars, and therefore a section is included under meaninglessness that deals with the writing of history and the role historical fiction plays in representing the past. Under cultural estrangement, a section is also included on masculinity, because since the army was often seen as offering a rite of passage, alienation manifests in this sense as well by rejecting the cultural values of masculinity. A section is also included on the alienating effects of trauma, because trauma is of course an important facet of literature on these wars, and it is shown how alienation ties in with trauma through two texts in particular: Larry Heinemann’s Paco’s Story and Anthony Feinstein’s Kopwond (released in English as Battle Scarred). Lastly, the study discusses all six aspects of alienation in reference to two of the seminal texts on these wars: Tim O’Brien’s If I die in a combat zone and Alexander Strachan’s ‘n Wêreld sonder grense. In general, the thesis tries to come to terms with the complexities of these wars: history, alienation, and identity are complex issues in these conflicts, and the interpretation of literary texts can be done from an extensive variety of perspectives. It is shown how alienation theory provides a useful prism for looking at these texts that stem from two watershed conflicts that changed their societies irrevocably.Item Open Access Die Middeleeuse Yslandse saga: 'n kreatiewe Afrikaanse perspektief(University of the Free State, 2004-11) Senekal, Burgert Adriaan; Van Coller, H. P.; Raftery, M. M.English: Theoretical part The medieval Icelandic saga can be divided into various categories, but the most widely known category is the Íslendingasögur and it is on this that the focus of this study has fallen. It was committed to writing in mainly the thirteenth century and some scholars (for example Sigurðsson, 2004) allege that these writings are based on an oral tradition. Actions described in the Íslendingasögur take place in the tenth- and early eleventh centuries and are based on the history of the Scandinavian world and Iceland, and more specifically they are based on those people who established a name for themselves in this period. The narrative style is simple and objective: the narrator tells the saga as it would be perceived by an outsider and therefore depicts characters without detailed character sketches or by relating their thoughts. Rather are the characters revealed by their actions and dialogue. The sagas are not moralizing in character and therefore they differ considerably from other medieval literatures. It was argued in this study that the majority of characteristics exhibited by the sagas are determined by the focus on character and the attempt at creating a realistic narration. This focus on character determines for example that detailed descriptions of scenery and moralizations are omitted: the narrator strives to depict his characters rather than embedding his text with lessons in morality. The attempt at creating a realistic narration is established by incorporating scenes from their everyday lives and by not omitting the peasants or even slaves. The Icelandic sagas also belong to the Germanic heroic literature and its characters are heroes of this heroic milieu. A further characteristic of the Íslendingasögur is that poetry is also found which belongs mainly to the skaldic branch, and for this reason Old Norse poetical genres are briefly discussed in the theoretical discussion and its characteristics indicated. Skaldic poetry is the most complex of these and terms such as kenning are therefore explained and illustrated through suitable examples. Lastly the sagas offer a glimpse into the medieval world and especially the Viking Age and incorporate pre-Christian traditions and religious perceptions as well as everyday realities which aid the interpretation of archaeological finds, for example the descriptions of burials or ships. It is a genre which distinguishes itself within the context of medieval European literature for it exhibits little continental influence and thereby attains uniqueness. Creative part The theoretical part is followed by a creative application in the genre of the Íslendingasögur. Valgarðr Gunnvaldsson is a member of the Norwegian nobility by ancestral right. The saga begins with his grandfather, Aldúlfr, and his involvement in tenth century politics. Valgarðr's family fight in most of the important battles in tenth century Scandinavia and goes on raiding expeditions in Europe, and the saga tells of three generations involved in such activities. A second family which features is the family of Þorvaldr, who are mainly merchants not wanting to involve themselves in politics, but even they are offered no choice and eventually fight alongside Valgarðr and his companions. Valgarðr marries Þorvaldr's daughter, Guðríðr, and she later bears him a daughter called Áshildr. Gradually everyone around Valgarðr dies and he emigrates to Greenland along with the two Scottish widows (Kaðlin en Mýrún), from where they conduct a series of expeditions to America (Vínland). On these expeditions contact is established with the indigenous population, but eventually Valgarðr becomes ill and returns to Norway to be buried with his family. Throughout the saga a character named Þagall is present, but no-one ever understands his true identity, involvement and motivation.Item Open Access 'n Ondersoek na George Weideman as dramaturg(University of the Free State, 2012-10-18) Beuke-Muir, Christina Maria; Van Coller, H. P.Abstract not availableItem Open Access Referensialiteit binne die onderrigkonteks van Afrikaanse literatuur as tweedetaal(University of the Free State, 1994-11) Van Jaarsveld, Anthea; Van Coller, H. P.; Pienaar, A. J.English: The root of this study lies in die changing socio-political situation together with the changes in the literary teaching arena. All texts should be approached from within a specific context. Only if literature is studied from such an angle, it becomes a medium through which the realisation of political and social spheres, as well as cultural differences transpire. The text becomes an aid through which contextualised cultural cross references can be made. Uterature should be seen as a communicative network in which tuition should be functional and interactive in all relevant fields of use. For such an approach one needs a specific referencial framework whereby the pupil as reader can interpret any text. Words supply the reader with frames of reference through which he/she can understand and describe the world behind the text. The emphasis is on a specific reader namely the second language pupil, and a distinct accentual transfer is perceptible form: textual studies to textual experience This ratio between text, reader and reality is in fact a pragmatic relation. Within such a pragmatic system the stipulation of any linguistic expression in a specific context is of the utmost importance. This presumes the investigation of referencialities in the text, as well as the users thereof. In the literary text there is talk of problemsolving without a definite frame of absolute reference. Defining and determining underlying codes as the basis of interpretation and the indication of meaning, becomes a necessary qualification within a new model for the teaching of Afrikaans as second language. The essence of pragmatics lies in the following classification: - the study of speech acts; - the study of what is suggested or implied, in comparison to what is literaly said; and - the study of diectic expression. The focus in this study falls on referenciality. Referenciality becomes the foundation on which pragmatic systems are built, and pragmatics in turn becomes the foundation on which interpretation is built. Interpretation as consequence of pragmatic and referencial systems forms the basis of literary communication that is the central idea of this study. Literature implies a relationship between language and man. Therefore, literature calls for an emotional and intellectual independence op each and every reader. The reader has to take an active part in the reading process. The study of literary pragmatics is to a great extend a process which demands referenciality. An important diversion made in this study is that the reader's line of thought is channelised by interpretation, and that literature is seen from whithin a hermeneutic perspective in which the relation between object and subject, text and reader, plays a primary roll.Item Open Access 'n Sosiolinguistiese ondersoek na die gebruik van tienertaal aan die hand van Jackie Nagtegaal se Daar's vis in die punch(University of the Free State, 2004-06) Du Preez, Petru Isabella; De Wet, A. S.; Van Coller, H. P.Abstract not availableItem Open Access Tekswysigings in "die eerste siklus" (Leroux) - 'n evaluerende ondersoek in die lig van die Afrikaanse edisietegniek(University of the Free State, 1996-11) Teise, Victor Nico; Van Coller, H. P.This 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.