Afrikaans and Dutch, German and French

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Open Access
Die Afrikaanse evangeliese gesang: 'n literêre ondersoek
(University of the Free State, 1969-01) Gaum, Frederik Malherbe; Beukes, G. J.; Kok, B.; Nienaber, G. S.
Abstract not available
Open Access
Die eufemisme in Afrikaans
(University of the Free State, 1970) Lubbe, Hendrik Johannes; Kok, B.; Badenhorst, W. J.; Van Heerden, C.
Abstract not available
Open Access
Intensivering in Afrikaans
(University of the Free State, 1974-12) Esterhuizen, H. L.; Van Heerden, C.
Abstract not available
Open Access
Die sinestetiese beeld in die poesie van Breyten Breytenbach
(University of the Free State, 1976-01) Galloway, Francina Cornelia Johanna; Beukes, G.
Abstract not available
Open Access
Rigtings in die taalwetenskap en die insigte wat hulle gebring het vir tweedetaalonderrig: 'n poging tot 'n sintese
(University of the Free State, 1979-12) Askes, Hendrik; Van Heerden, C.
Afrikaans: Die belangrikheid van hierdie studie lê daarin dat ‘n poging aangewend is om die kloof te probeer oorbrug tussen die taalwetenskap en T2-onderrig, an die insigte van die studie op die taalonderrigsituasie toe te pas en ‘n onderrigmetode daarop te fundeer. Hoewel daar baie navorsing bestaan, is die resultate nog baie min in die lig van die praktiese klaskamer beoordeel. Dié probleem het ontstaan omdat die taalwetenskaplike van ons tyd selde ook meester is van die vakmetodieken onderrigsituasie en omgekeerd is die goeie onderwysman selde ‘n deskundige op die gebied van die modernetaalwetenskap. Daar is in hierdie studie soos volg te werk gegaan. Die agtergrond van die onderskeie terreine van die linguistiek en die toegepaste linguistiek is geskets asook die plek van taalonderrig daarin. Die bespreking van die ouer linguistiek en die tradisionele grammatika, die strukturele benadering, die transformasionele generatiewe grarmatika en taalvenrerwing by die kind, vorm die kern van hierdie studie. Daar is vasgestel dat die onderrig van Grieks en Latyn ‘n definitiewe stempel geplaas het op die destydse onderrig van die vrearde tale. Dis op dieselfde streng, fomele wyse onderrig en as ‘n intellektuele oefening beskou sonder om met die gesproke taal en kommunikatiewe vaardighede rekening te hou. Daar gaan nou baie stemme op wat verandering bepleit en linguiste kom in verset teen die formele benadering tot grammatika. Die bestudering van die alledaagse spreektaal in volledige sinne en die vennyding van die gebruik van die Tl by die onderrig van 'n vreemde taal word bepleit. Daar moet in die taal en nie oor die taal geleer word nie. Verder is breedvoerig aandag bestee aan die onderskeie rigtings soos die deskriptiewe fonetiek van o.a. Sweet en die bydraes van verskeie linguiste/taalonderwysers soos Jesperson, Pa1mer, Bloomfield, Fries e.a. is bespreek. Omdat die taalwetenskaplike van hierdie tyd taalwetenskaplike sowel as praktiese taalonderwyser was, het die invloed van hul werk deurgedring tot die praktiese klaskamersituasie. Die histories-vergelykende tydperk in die taalwetenskap is ook bespreek, maar daar is nie veel vrugbare toepassings vir taalonderrig nie. Hierna volg ‘n bespreking van die twintigste eeuse strukturele linguistiek met as belangrikste figuur De Saussure. Die aandag word gevestig op die onderskeid wat hy tref tussen langue en parole en diachroniese en sinchroniese taalstudie. Ormdat die strukturalisme die klem laat val op die mondelinge, alledaagse taalgebruik (parole/performance), is die invloed op die praktiese taalonderrigsituasie fenomenaal. Die Amerikaanse oudiolinguale leërkursus behaal groot sukses, maar dis vir die gewone skool onprakties. Persone wat hier 'n groot rol gespeel het, is Bloomfield, Fries, Brooks, Skinner en ander. Die groot bydrae van die strukturele linguistiek vir taalonderrig is dat dit die taalonderwyser se oë oopqemaak het vir die strukturele in taal, die onderliggende sisteem. Verskeie aspekte van die TGG is ook bespreek. Volgens Chomsky is taalgedrag nie met behulp van Skinner se behavioristiese leerteorie te verklaar nie. Chomsky beklemtoon die kognitiewe prosesse van leer en die kreatiewe, aangebore vermoë van die kind an taal te genereer. Chomsky het die oë oopqernaak vir die kreatiewe vennoë van die kind en op grond hiervan kritiseer hy heelpartyaspekte van die oudiolinguale metode van taalonderrig. Wat die studie van taalverwerwing betref, is die onderskeie sienings van hoe 'n kind sy T1 verwerf, bespreek. Die resultate van navorsers is bestudeer en dit blyk dat veral die studie van taalverwerwing baie insigte toon waarmee die T2-onderwyserrekening behoort te hou. Aspekte soos motivering, die rol van die onderwyser, verskille tussen TI- en T2-verwerwing, die kreatiewe venroë van die kind, wanneer 'n kind sy T2 moet begin leer, ens. Word nog dikwels nie in aanmerking geneemby die aanleer van 'n T2 nie. Die slotsom waartoe in hierdie studie in die lig van die linguistiek gekan word, is dat wat T2-onderrig betref, 'n eklektiese benadering 'n gesonde balans sal wees - 'n sogenaamde Multiple Line of Approach - soos Palmer dit noem. Die klem moet verskuif van 'n onderwyser-gesentreerde onderrig na dié waar die leerling sentraal staan en kan leer. Daar is plek vir 'n kognitiewe, behavioristiese taalaanleerteorie en -strategie. Die insigte wat met hierdie studie verkry is, het verder ook iets te sê vir die beplanning van 'n sillabus, die skryf van taalboeke en lesbeplanning in die T2.
Open Access
Visioenere perspektiefverruiming in Etienne Leroux se tweede trilogie
(University of the Free State, 1980-12) Steyn, Izak Frederick Wessels; Malan, C. W.
Etienne Leroux toon 'n besonder boeiende vermoe tot perspektiefverruiming in sy tweede trilogie. Die volgende probleemstelling word in die verband ondersoek. Hoe slaag Leroux, ten spyte van banalisering en parodiering, daarin om sy besondere psigo-religieuse visie te laat triomfeer en tot die groots-visioenere te laat ontplooi? Die volgende hipotese dien as sentrale vertrekpunt: met sy konkretisering van visioenere simboliek slaag Leroux daarin om die banale werklikheid te transendeer, soos in die misteriegodsdienste, die gnostiek, die alchemie, ens. Dit word veral deur die superposisionering van mitologiese, religieuse en dieptesielkundige temas bewerkstellig. Ironiese jukstaposisionering, satiriese oordrywing, groteske distorsie, ens. bly egter op 'n trefsekere wyse in al drie die onderhawige romans van krag, ten spyte van 'n momentele oorheersing van die verskuilde outeur se visie. As gevolg van die feit dat daar nie aldag eenstemmigheid oor aksentplasings binne die probleemveld bestaan nie, word die eerste hoofstuk aan enkele begripomskrywings gewy, nl. die omskrywing van visie, perspektief, satire, groteske en ironie. Hieruit blyk dat enige literere werk 'n visioenere bousel is en dat alle vertelvorme tot twee basiese perspektiewe gereduseer kan word, nl, die ouktoriele en personale. Die toonaard (satiries, grotesk en ironies) behoort, benewens die feit dat dit 'n sekere ingesteldheid impliseer, net soos perspektief tot die verbale komponent in die literere werk. Uit die ondersoek na die ouktoriele perspektief blyk dit dat die leser se visie verruim word deur die struktureringsprocede van die verskuilde outeurs. Voorts maak die verskuilde outeur as fokusinstansie ook van gedelegeerde fokusmeganismes gebruik waardeur die visie op die ruimte, die karakters en die gebeure verbreed en verdiep, en die tydelike getransponeer en getransendeer word. Ironiese jukstaposisionering word bewerkstellig deur korrigerende personale perspektiewe wat die vorm van fyn, gedetailleerde fokusopnames aanneem, asook deur momentele toetredes van die verskuilde outeur en die feit dat die visie van laasgenoemde met die van die enkele karakters saamval. Deur die ontleding van visie, perspektief en toonaard in kernpassasies van die betrokke romans, word strukturering en stilering aangedui en die meesterlike tegniek wat Leroux aanwend om die multi-interpretabele geheel daar te stel, blootgele.
Open Access
Die mededinging tussen die manlike en vroulike voornaamwoord in Afrikaans
(University of the Free State, 1984-06) Du Plessis, Chris; Van Jaarsveld, G. J.
Die probleem wat in die verhandeling onder die loep kom het drie fasette, naamlik: - die manlike dominansie in die taal van mans en vrouens; - die konkurrensie van hy/sy en hy/dit en om die dominansie te bepaal: - die wisselende gebruik van hy en sy met verwysing na lewende geslagtelike referente, nie-lewende referente, menslike referente en om voorbeelde en moontlike voorwaardes vir die onreëlmatige gebruik te probeer bepaal. 'n Werkbare definisie is gegrond op die omskrywing wat in WAT gevind word en die voornaamwoorde is aan die hand van hierdie definisie getoets. Die ondersoek het die volgende bevindings aan die lig gebring, naamlik dat: - taalverandering besonder sterk aan die werk is by voornaamwoordelike anaforiek en dat hy klaarblyklik besig is om dit nog verder te verdring; - die primêre funksie van hy die gebruik in verband met manlike persoons- en diername en by gemeenslagtige persoons- en diername is waar die geslag nie ter sake is nie; - hy egter onder bepaalde omstandighede deur sy verdring word; - die dominansie van die manlike voornaamwoord vir onsydige voorwerpe en vir gemeenslagtige persoonsname suggereer dat manlike dominansie moontlik ook op ander vlakke van die taal gereflekteer word. Die belangrikste bevindings wat gemaak is, is naamlik dat: - onreëlmatige voornaamwoordgebruik in sommige streke 'n patroonmatige voorkoms het, andersins toon die wisselende verskynsel 'n minder patroonmatige gebruik wat in beide die Standaard en nie-Standaardafrikaans voorkom; - die verskynsel van wisselende voornaamwoordgebruik hom landswyd voordoen en by beide geslagte aangetref word; - die onreëlmatige gebruik in nie-Standaardafrikaans sterk ooreenkoms toon met die Namakwalandse spreekstyl; - die gebruik 'n subsisteem van die spreker se taalskat is as gevolg van faktore soos die volgende: respek; vleitaal; liefdevolle, versagtende optrede, simpatieke meegevoel, neerhalende gebruik, woede, selfstandigheid, Engelse invloed, Nederlandse invloed, gevoelswaarde. Ten slotte is aangetoon dat: - die onreëlmatige gebruik gemanifesteer word in opvoedingshiërargieë; - beheersdheid gepaard gaan met die wisseling; - daar 'n proses van taalverandering aan die werk is, maar dat algehele standaardisering uitgesluit is omdat te veel affktiwiese faktore betrokke is.
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.
Open Access
Die digter en sy middele: 'n ondersoek na die vernufpoesie in Afrikaans
(University of the Free State, 1988-11) Hugo, Daniel Johannes; Kannemeyer, J. C.; Van Coller, H. P.; Scholtz, M. G.
Abstract not availble
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.
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.
Open Access
Grammatikale en leksikale verskynsels in die Afrikaans van 'n groep Tswanastudente in Kimberley
(University of the Free State, 2001-05) Bessinger, Johanna Elizabeth Cornelia; De Wet, A. S.; Jenkinson, A. G.
English: This study examines the Afrikaans of a group of Tswana students (TswaA) at Phatsimang College of Education in Kimberley. The sample group live in a language situation in which they are constantly exposed to contact with various languages and varieties. A study of grammatical and lexical phenomena in their usage reflects this contact. The aim of this study is to produce a morphological, syntactical and lexical description of the TswaA variety, to determine its typical characteristics and to compare it with Standard Afrikaans and with other languages, such as English, and dialects such as Griqua Afrikaans and Cape Afrikaans. The data base thus compiled can be used in the teaching situation at the college. A short historical background of the Tswana is provided in Chapter 2 in order to explain the influence of the course of their history on their use of language and language preferences. Some socio-economic and linguistic information regarding the Tswana language community is also provided. Chapter 3 outlines the research procedure. The TswaA variety is predominantly the product of language contact; therefore special attention is paid in Chapter 4 to language modification with specific reference to language contact processes, namely borrowing and interference resulting from incomplete language assimilation. After this, interlanguage theory, mother tongue interference in L2 acquisition, language shifts and pidginisation are discussed. Then the reasons for language shifts, as well as the processes by which language modifications spread through a community, are examined. Finally, the effect of this contact situation on TswaA is briefly reviewed. In Chapters 5, 6 and 7 the written and spoken data obtained from the sample group are examined and described from the perspectives of morphology, syntax and semantics. Significant differences from Standard Afrikaans, as well as points of correspondence with Griqua Afrikaans and Cape Afrikaans are indicated. With regard to morphology, the formation of plurals, diminutives and compounds, flexion and derivation are examined. Syntatic variation is discussed with reference to prepositions, pronouns, negation, the infinitive, the article and certain striking phenomena in verb use and word order within sentences. With regard to compounds and derivations, the creation of new words is characteristic of the semantic variation in TswaA, as is ingenuity in the creation of own expressions. Existing South African lexical items undergo broadening of meaning in TswaA to compensate for limited vocabulary. Typical characteristics found in TswaA reflect the influence of contact with other variaties and languages. Contact with Griqua Afrikaans is evident in morphological and syntactic correspondence, for example, the double diminutive, the hypercorrect ge- in the formation of the past tense, foregrounding of the te in the infinitive construction and the heaping up of the connectives loop and gaan. Constructions which are typical of Cape Afrikaans, but also occur in GA, and which have a high frequency in TswaA, are the use of is and hel in infinitive constructions instead ofwees and hê and the weak past tense form gehel instead of gehad. The influence of English is apparent in numerous grammatical phenomena, such as the omission of the second nie in negative constructions, the use of prepositions, the use of was in place of is in the past tense of passive constructions, as well as in the many instances of derivation and borrowing and arbitrary code switches that occur. TswaA is also a learner variety and reveals typical interlanguage characteristics, for example periphrastic marking in the indication of number and diminution, elevation of gender differentiation in the pronominal system, typical periphrastic forms such as prepositional division and the high frequency of unaltered SVO word order. However, from the absence of other typical interlanguage characteristics such as a high frequency ofpassive and copulatory constructions, it would seem that this variety has already undergone development and extension Mother tongue interference leads, for example, to direct translation of the mother tongue pattern, as can be seen in the anaphoric use of the pronoun and noticeable differences in word order from Standard Afrikaans. These findings can serve as a data base and as guidelines in the teaching situation at the Phatsimang College. of Educati on.
Open Access
'n Kritiese bespreking van taalverandering met verwysing na Afrikaans en sy variëteite
(University of the Free State, 2001-11) Roux, Susanna Petronella; Jenkinson, A. G.; De Wet, A. S.
English: The typological language change that separate the older Germanic languages from the modem Germanic languages, can be seen as a shift of linguistic parameters where synchronic variables give an indication of this specific process. This process can be described as the replacement of a synthetic marking system (flexion morphemes) by an analytical marking system (grammatical words). The variables Gods Woord and Die Woord van God currently used in Afrikaans, are distinguished examples of these two marking systems. The linguistic parameters influenced by the replacement of the flexion system, are also related to syntagmatical variables such as syntactic order (SOV in opposition to SVO) and the position of the qualifier in relation to the qualified within the phase. Compare the position of the phase - the adjective - in the phases of the older Dutch and the modem Afrikaans sentences (the Dutch sentence is taken from a child's prayer): Ik ben een kindje klijn/ Ek is 'n klein kindjie. These parametric variables are interconnected and fixed and therefore result in a linguistic paradigm change: inflective languages and analytical languages represent different language typologies and different periods in the history of a language - older Germanic and modem Germanic. This is seen as normal language change - a process which can be traced back to the Indo European time. This perspective, however, is only applicable on matured languages. Reduced languages with the inclusion of inter-languages, which developed through the processes of pidginization and creolization, as well as the learners' dialects of Afrikaans are not addressed by this perspective. The typological classification of matured languages (standard forms) in opposition to reduced (restricted) languages is very important in this regard as the development of Standard Afrikaans from the Dutch of the first colonists was influenced by the inter-language development of the learners' dialects of the Khoikhoi and the Malay slaves. Grammatical and sosiolinguistic variation in the Afrikaans of the mother tongue speakers is therefore broadly classified between Standard Afrikaans en Non-standard Afrikaans. An analysis of the nonnative classification of Super Standard Afrikaans, Formal Standard Afrikaans, Informal Standard Afrikaans and Non-standard Afrikaans is important as the processes of standardization have an influence on the vernacular. At this stage it seems that Afrikaans has a mixed typology - it is also classified as a non-typical Creole language or as a deflected modem Germanic language showing typical creolistic characteri stics. Variation in Afrikaans from a historic perspective is therefore characterized according to the following three dialects, e.g. Cape Afrikaans, Orange River Afrikaans and the Afrikaans of the Eastern Border. However, certain questions are raised over this characterization, especially with regard to the Afrikaans of the Eastern Border as this dialect is geographically enclosed by its name where as it can be found demographically over a larger area. Lastly the focus falls on the reasons for the development of specific Afrikaans as official language, and how it disowned its ally, Dutch, in its struggle against English. The final take-over by English is therefore subtle and crushing. This is described in the book, The influence of English on Afrikaans. A case study of linguistic change in a language contact situation by B.C. Donaldson (1991:285): The reaction of those sceptics who do not regard the influence English has had so far on Afrikaans as now being integral to the vely nature of the language and who thus presumably regard some of the tenets presented in this book as unacceptable, reminds one of the reaction of Afrikaans to Changuion 's publication in 1844 where he suggested that plat Kaapseli was not only the mother-tongue of Hottentots and slaves.
Open Access
"The dark place where talent leads": the merits and shortcomings of feminist criticism in the study of selected works by Christa Wolf
(University of the Free State, 2001-11) Weingartz, Gisela; Von Delft, K. U. T.
During earlier research, it became evident Feminist Literary Criticism could offer useful insights when reading Christa Wolfs work. At the same time, such criticism revealed certain limitations which inhibit a full and accurate reading of Wolfs work. Given this situation, an exploration of the merits and shortcomings of Feminist Literary Criticism when applied to selected works of Christa Wolf became necessary. The research question has been articulated thus: What are the merits and shortcomings of Feminist Literary Criticism when applied to selected works of Christa Wolf? Because the Feminist Movement lacks dominant theory, the question arises whether Feminism can be seen as a literary theory/criticism that can serve as an appropriate means of investigating Christa Wolfs work. A corollary to the research question consequently emerged: does Feminism offer a literary theory or rather a philosophy/ideology based on a diversity of presumptions, gender included? In order to seek answers to these questions, the following dimensions are addressed: (a) A brief historical background and critical overview of Feminism; (b) An exploration of the multiplicity and diversity of the Feminist approaches and methodologies and the question of whether an integrated Feminist theory exists at present; (c) A further exploration of differences between the Anglo-American and French 'schools' of Feminist because such theories impact upon the study; German Feminist Criticism is also dealt with; (d) A consideration of debates concerning the terms female writing, feminist writing and feminine writing based on Feminist distinctions between female, feminist and feminine as well as the difference between gender and sex. (e) A consideration of Christa Wolf's creative vision of a Utopian Society and its relationship to the Feminist Movement's critical stances towards patriarchies throughout history. (f) A discussion of the discrepancies between female and feminist re-tellings of mythical materials as well as the manner in which Wolf deconstructs and reconstructs prehistoric myth in such a way that patriarchal misrepresentations are made evident. This dissertation consists of five chapters. The opening chapter offers a critical overview of the main premises of Feminist Criticism, drawn from major and/or contemporary sources. Part of this discussion falls on writings generated especially by German and American feminist critics who focus on the reception of Christa Wolfs work. The focal point of discussion is whether the Feminist Movement offers a literary-critical theory that can be applied meaningfully to the works of Christa Wolf. Chapter 1 is followed by three chapters (Chapters 2, 3, and 4), each devoted to discussion of an individual text by Wolf: Nachdenken Ober Christa T., Kassandra and Medea respectively. Methodologically, each chapter manifests a tripartite structure consisting of (a) a detailed discussion of Feminist Criticism of the specific text; (b) a hermeneutic examination of the text itself; and (c) an explication of the similarities and differences between (a) and (b) to show the merits and shortcomings of Feminist criticism of the text. The penultimate chapter, Chapter 5, examines some of Wolfs non-fictional work with a view to delineating her perspectives on the major gender themes and motifs in her fiction while the final chapter offers a discussion of the findings. The dissertation concludes with a list of references.
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 available
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.
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.
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.
Open Access
Morphing moonlight : gender, masks and carnival mayhem: the figure of Pierrot in Giraud, Ensor, Dowson and Beardsley
(University of the Free State, 2007) Kreuiter, Allison Dorothy; Morgan, N.
Pierrot’s snowy garments with their touch of black, the tragic, frozen mien of the mask above the baggy, over-large habit became a prevailing symbol of artistic expression during the fin de siècle. The silent white-masked figure became the disguise for the artist in assailing and exposing the hypocrisy, complacency and posturing that the artist saw as the masquerade of society. Beneath the clown’s guise the artist could imaginatively act out all the forbidden and darker secrets concealed beneath the inscribed societal conventions of humankind. Pierrot could murder, commit incest, get riotously drunk, rape, be a bigamist, commit suicide, be morbidly depressed, steal, be gluttonous, rage, hate, be excessively carnal or ascetic, a hermaphrodite or androgyne or entirely genderless in his transgression, flouting all and every taboo. Using the mask of the clown as a distancing technique, the artist was vicariously experiencing all that was contrary to the societal mores and laws against which he or she was in rebellion. In this the blending of gender became of paramount importance. The androgyne and the hermaphrodite were, like Pierrot, leading images in the arts of the fin de siècle. They blurred the reality of the division of gender and called into question all the attributes that were apportioned to what was male and what female. Pierrot was seen as partaking of this gender indecision because the sexuality that lay behind the loose white garments was entirely uncertain, as were the lurking carnal appetites of the silvery, moonlit clown. Gender was as ghostly and as paradoxical as the clown’s own nature. Pierrot’s origins in the Commedia dell’arte and his original role as a buffoon had altered by the late-nineteenth century. He had come to represent a silent malevolence and shadowy evil which was subtly contained within the lineaments of his lunar-coloured garments. The pantomime role had involved the challenging and transgressing of boundaries and the world of the demonic was invariably present, though it never triumphed; rather, laughter and love prevailed with repeated beatings and roistering. With the Decadent movement of the fin de siècle the demonic became the prevailing tone, filled with a sardonic bitterness and searing, although hidden pain. Pierrot’s silence and pallor were seen as the ultimate attributes with which to convey the trangressive and mordant nature of the liminal artistic life. The clown’s achromatic colour and his muteness were aspects that resembled the unsullied emptiness of page and canvas, and his mutable, quicksilver nature was as indeterminate and fluid as any interpretation or subjective artistic representation. The artist could thus mould the figure to represent what was wished and in so doing reveal how slippery and subjective any representation is. In the chapters on Giraud, Ensor, Dowson and Beardsley this thesis explores the carnivalesque and transgressive attributes of the wan clown as a central concern in the work of these artists. Kristevan and Bakhtinian theory on the carnivalesque and the relation of language to transgression will structure and guide the tenets and arguments of the thesis. The mutability and fluid metamorphosis from one state to another, disregarding boundaries, is what Pierrot will be seen to do in the works of the chosen artists. Indeterminate gender and lunatic emotions will be shown as essential to the shadowy and insubstantial nature that allows the clown to ignore the extant social morals, laws and boundaries. Giraud, Ensor, Dowson and Beardsley could perhaps be regarded as marginal artists of the late nineteenth century, but considerations of marginality and greatness are based on subjective choice. These artists were a part of the fabric of their time and are strands that braid together the thematic concerns and representations of the fin de siècle, and this gives to their work and importance, however liminal that might be.
Open Access
'n Diskoersanalitiese ondersoek na die aard van Afrikaanse en Engelse radio-advertensies in reklamekompetisies
(University of the Free State, 2009) Bertram, Mariska; Van Niekerk, Angelique
English: A discourse analytical investigation is done into the nature of Afrikaans and English radio advertisements in advertisement competitions, namely, The Loerie Awards (English and Afrikaans) and the Pendoring Awards (2005, 2006) with the focus on the following research question: In what way can a discourse analytical investigation into the recursive language patterns found in radio advertisements contribute to the establishment of workable guidelines in order to write credible radio copy? The following goals were set on the basis of the above research question: A) Which language (e.g. dialogue and code-switching) and language-related strategies (e.g. humour and intertextuality) characterise Afrikaans and English radio copy? Advertising and communication do not occur in a socio-economic vacuum, and the fact that advertisements communicate with real people via real characters or spokespersons in a given socio-economic context, would make it possible to draw conclusions about the socioeconomic world as illustrated by radio advertisements from the selected competitions. This brings me to my second goal: B) What image does South African radio advertisements sketch about the socioeconomic world, given the marketing message in every advertisement? Given goal A was there a clear distinction made between the terms ‘language characteristics’ and ‘language related characteristics’. The distinction is to a great extent based on Van Jaarsveld’s (1987:204) distinction between the linguistic and the communicative assumptions as prerequisite for successful communication. Carstens’ (1997:105) distinction between constitutive and regulative principles for textuality according to me further justify the necessity of the distinction made. The former create and define the form of language behaviour what is to be known as textual communication. That implies that certain rules must be performed to determine the textuality of a text. The second principle control existing forms of behaviour and has as premise that this behaviour will still occur even if there do not exist clear rules for them. These assumptions and principles are being discussed in detail in chapters four and five that contain the language and language related characteristics. In the literature study an overview is given of the communication process, marketing, integrated marketing communications, advertising and the advertisement process. Here an overview is given of the nature of radio as advertisement medium, as well as of the functions of radio as medium, radio programming, the creative brief, the creative brief and the selling idea, positioning and message strategies. The focus then shifts to advertising and specifically radio advertising. Next, the data itself and the analysis of each advertisement are discussed. Here the Pendoring Toekennings and The Loerie Awards radio prize winners of 2005 / 2006 were used. Descriptions are given of the inventory variables (humour, intertextuality, codeswitching, and so forth) which were used to analyse the data. Each advertisement is analysed in terms of language and language-related characteristics, and concludes with the marketing message of each advertisement. The analyses of the data is consistent with the didactic-academic goal, namely, to compose guidelines for the writing of creative radio copy, which will be included in the conclusion. The following language characteristics are discussed as a whole in terms of their realisation in the data: Dialogue characteristics (address forms, turn-taking, hesitations, rude language use, lexicon, interruptions, cyclic nature of time, slang, tone of voice, pronunciation, exclamations, assimilation), repetition, code-switching, code mixing, rhyme and language play. According to the language-related characteristics – shared knowledge, historic time happenings, humour, intertextuality, irony, auditive nature (which consists of background sound and music), controversy and stereotypes – and the marketing message from the data as a whole, the image of the South African society can be expressed. The image from the data can be summarised as follows: South Africans presently live in an era where politics exercises great influence and is realised in contemporary radio advertisements. The biggest part of the dataset holds a connection with political changes which influence the society. It can, for example, be seen in the name changing of cities and the apartheid museum which was built. At the same time Afrikaans speakers fight for their language to survive – art festivals for example the KKNK are held, not only for entertainment, but also to promote Afrikaans.