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Magnum Premium Flow vloerverwarming verdeler 1 groeps - Sanitair Issue 1, 2015 Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies - Volume 36,
Volume 37 (2016) Volume 36 (2015) Volume 35 (2014) Volume 34 (2013) Volume 33 (2012) Volume 32 (2011) Volume 31 (2010) Volume 30 (2009) Volume 29 (2008) Volume 28 (2007) Volume 27 (2006) Volume 26 (2005) Volume 25 (2004) Volume 24 (2003) Volume 23 (2002) Volume 22 (2001) Volume 36,
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –2 (2015)
Andries Bezuidenhout se tweede bundel gee tegelykertyd blyke van die skrywer se veelvlakkige kunstenaarskap en sy nering as sosioloog. Tesame met patentsketse (ongelukkig baie klein gedruk) waarop deur die skrywer bygeteken is, tref die leser in hierdie bundel verwysings na verskeie ander kunsvorme aan, waaronder die skilderkuns, die digkuns, musiek en dies meer; verwysings wat uitgebrei word in versreëls soos &apos;ons die arme geeste van skepping / ons die gode&apos; (&apos;Dagdroom&apos;). Hierdie verwysings is deel van &apos;n opmerklike intertekstuele gesprek met sowel die werk van Afrikaanse skrywers (Gert Vlok Nel, Sheila Cussons en andere), as met advertensies, lirieke, die wêreldletterkunde, sosiologiese vakliteratuur en filosofiese werke (soos telkens aangedui in die motto&apos;s by sommige gedigte en in die omvattende lys &apos;Bestanddele&apos; agter in die bundel). Eweneens figureer die maatskaplike problematiek en politieke geskiedenis van die land in heelparty gedigte, hetsy eksplisiet (&apos;ons is die ratte, die rusperwiele van stootskrapers /wat mure moes platstoot&apos; in &apos;Onderdele&apos;) of meer verhul (in gedigte soos &apos;Welverdiend&apos;, die roerende &apos;Aansoek om betrekking&apos; met sy ontnugterende slot, asook die ritmiese &apos;Ritrympie&apos;).
&apos;[D]ie beeld wat Berlyn by my nagelaat het&apos;Deelstad: &apos;n Boek oor Berlyn, Karel Schoeman : boekresensie
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –4 (2015)
Karel Schoeman se Deelstad: &apos;n Boek oor Berlyn verskyn in 2013 by Protea Boekhuis. Wie hierdie boek ter hand neem met die verwagting om reisindrukke oor Berlyn te lese te kry, klop aan by die verkeerde adres. Weliswaar begin en sluit die werk op &apos;n manier wat skakel met die konvensies van reisboeke, en word iets daarvan plek-plek in die opeenvolgende hoofstukke/essays weer na vore gebring, maar uiteindelik is dit die historiese aspek wat breedgeskouer op die voorgrond staan.
An age of vampires
Natural history of a disease, Tvrtko Kulenović Amila Karahasanović (Transl.) : book review
Nicholas (Nick) Meihuizen
Tvrtko Kulenović is a well-known Sarajevan writer, the author of works on theatre, art theory, literary criticism, and of novels, travel books, short stories, radio scripts, and a film script. The present book was first published in the original in 1994, and won the Writers of Bosnia and Herzegovina Award. It is a literary salmagundi based on the author&apos;s own life and works. Among its various elements are: novelistic passages; autobiographical entries; social commentary; passages of what could be radio or film script; and accounts of travel.
Die ou digter en die jong hond
Atlas teen die vergeetrivier, Pirow Bekker : boekresensie
Pirow Bekker (1935-) was al in verskeie professionele hoedanighede werksaam - verslaggewer, dosent, navorser, boeksamesteller, boer - en het as skrywer oor meer as vier dekades heen met betreklike sukses werk in verskeie genres gelewer, vanaf romans tot radiodramas. Sy sterkste bydrae is egter ten opsigte van die kortverhaal, waarmee hy Hennie Aucamp, voorste Afrikaanse kortverhaalkenner en -beoefenaar, al teen 1985 van sy meesterskap oortuig het (vgl. Aucamp 1987), en die poësie, wat algaande tot die sterkste en mees standhoudende aar van sy skrywerskap ontwikkel het.
Absurde maar onderkoelde emosie
Kom in, dit vries daar buite, Alfred Schaffer, Daniel Hugo (Transl.) : boekresensie
Die verse in hierdie bundel is &apos;n keuse deur die digter self uit sy vorige bundels, Zijn opkomst in de voorstad (2000), Dwaalgasten (2002), Geen hand voor ogen (2004), Schuim (2006) en Kooi (2008). Daarby het hy drie ongepubliseerde gedigte ingesluit. Daniel Hugo se vertalings van die gedigte is langs die Nederlandse teks afgedruk. Die bundel bied die Afrikaanse lesers dus &apos;n besondere kennismaking met Schaffer se werk, al ken hulle dit al uit die gedigte van hom wat in Beeld en Die Burger verskyn het.
Emancipatory discourse in the names of children of the present generation : some attempts of balancing power relations with special reference to Tshivenḓa naming practices : original research
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –10 (2015)
In most African cultures children are given names by the elders, especially by grandmothers. This task is assigned to them as they are seen as custodians of culture, history and heritage. They in turn have over the years used the power bestowed upon them to make critical statements to their children or any other person they disagree with through the names that they give to the family&apos;s new-born children. For this reason, there have been silent wars in families and communities. These silent feuds have been difficult to deal with, as any challenge to the elders or their way of doing things is a challenge to tradition, and challenging traditions has historically been unheard of or frowned upon amongst Africans in general. This article intends to demonstrate that, whereas in some cases the elders have continued to give names to their grandchildren which are not so favourable to their parents, over the years parents themselves have used subtle diplomacy to do it on their own instead. The names are, therefore, free from the usual conflicts, quarrels and disagreements that they themselves had to contend with even when all these conflicts have nothing to do with them. They have in the main also tried to pacify the elders or parents by naming their children after their own great-grandparents and other ancestors in order to build bridges.
Bevrydingsdiskoers in die name van die kinders van die huidige geslag: &apos;n Paar pogings om magsverhoudings te balanseer met spesiale verwysing na Tshivenḓa naamgewingspraktyke.
In die meeste Afrikakulture word kinders name gegee deur senior lede van die familie, meestal die grootmoeders. Hierdie taak word deur hulle verrig omdat hulle gesien word as draers van die kultuur, geskiedenis en nalatenskap. Op hulle beurt het hulle deur die jare die mag wat aan hulle toegeken is, gebruik om kritiese stellings teenoor hulle kinders of enige ander persoon waarvan hulle verskil, te maak, deur name wat hulle aan pasgeborenes toeken. Om hierdie rede was daar voortdurend konfliksituasies binne families en gemeenskappe wat moeilike situasies geskep het. Enige poging wat aangewend is om van senior familielede te verskil, is beskou as &apos;n aanslag op tradisie, as ongehoord en is dus op neergesien in Afrikagemeenskappe. Hierdie referaat het ten doel om te demonstreer dat nieteenstaande die feit dat grootouers in sommige gevalle steeds voortgaan met naamgewing aan kleinkinders sonder die goedkeuring van die ouers, hul kinders tog op eie stoom voortgaan om hierdie praktyk met subtiele diplomasie toe te pas. Name wat hedendaags gekies word is daarom vry van die gebruiklike konflik, twis en verskille waarmee ouers as kinders moes saamleef terwyl hul self gewoonlik niks daarmee te doen gehad het nie. Kinders wend oor die algemeen &apos;n poging aan om brûe tussen generasies te bou deur hulle kinders na groot-grootouers asook na geslagte verder terug, te vernoem.
Umberto Eco&apos;s The Prague cemetery : a game of double co-incidence : original research
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –7 (2015)
Although classified as a literary novel with a fictional plot, The Prague cemetery is crammed with historical information on 19th century Europe, with the focus on the rise of anti-Semitism during this period. The overwhelming amount of data has been criticised as distracting from the plot and creating difficulty for the reader in making sense of the storyline. This article examines the role of the reader in deciphering the twisting of historic events and fiction in The Prague cemetery, that is, a literary text packed tight with historical data intertwined with a fictional story, loaded with signs, symbols and hidden meanings that have to be decoded. It is demonstrated, firstly, that a Model Reader with encyclopaedic knowledge will be able to decode the hidden meanings in the text; secondly, that the nonmodel, or empirical reader, who does not actualise all of the meaning-content, will not be hindered in his understanding of the story and thirdly, that the author&apos;s intentions will duly be accomplished.
Umberto Eco se The Prague cemetery: &apos;n Spel van die dubbelsinnigheid en toeval.
Umberto Eco se The Prague cemetery is wyd gekritiseer oor die digtheid van die inhoud, wat sentreer om die geskiedenis van Europa in die 19de eeu en die opkoms van anti-Semitisme in daardie tyd. Die groot hoeveelheid data kan die leser oorweldig sodat die storielyn dalk daaronder kan ly. Hierdie artikel ondersoek die rol van die leser, wat sin moet maak van &apos;n teks, waarin tekens, simbole en verskuilde betekenisse gedekodeer moet word, maar ook die storielyn moet kan volg. Daar word eerstens aangedui dat die modelleser met ensiklopediese kennis in staat sal wees om die verskuilde betekenisse te dekodeer; tweedens, dat die niemodelleser, wat nie al die inligting kan absorbeer nie, die storie tog nog sal kan geniet en derdens, dat die doelwit van die skrywer ontsluit sal word deur blootlegging van die verskuilde betekenis wat die teks onderlê.
Re-framing the prostitute identity in Zimbabwe : an approach to Virginia Phiri&apos;s novel Highway queen (2010) : original research
In Zimbabwe, as in most traditionally conservative, patriarchal and Christian dominated countries, female sex work is abhorred on moral grounds as an unbecoming means of livelihood which takes away the practising woman&apos;s social respectability. In such societies, then, the moral threat and stigma associated with female sex work affect women&apos;s decisions on whether or not to take up sex work as a permanent means of livelihood. One can, however, ask how sustainable and stable these patriarchally constructed notions of morality and female identity are, especially in the face of crises? This article uses Virginia Phiri&apos;s novel Highway queen, which is set in one of Zimbabwe&apos;s economically tumultuous eras, to demonstrate how cultural texts grapple with the discourse of female sex work in contemporary Zimbabwe. The gist of my argument is that dominant prostitute identity constructs shaped by Zimbabwe&apos;s patriarchal social and economic system are unstable. I find that the novel Highway queen manipulates such instability not only to re-inscribe sex work as a product of patriarchal impairment of female agency but, perhaps more importantly, to reflect on how women who are forced by circumstances to become sex workers can rise above their passive victimhood to achieve personal goals despite the social odds charted by patriarchy. Zooming in on the representation of the daily experiences of the female sex worker and protagonist, Sophie, the article explores the various ways in which the novel deconstructs stereotypical perceptions of female sex work and sex workers. The analysis ends with the argument that, whilst Sophie&apos;s situation is fundamentally tragic, it affectively appeals to our sense of morality in a way which destabilises dominant (patriarchal) constructs of sex work.
Die herformulering van die prostituut-identiteit in Zimbabwe: &apos;n Benadering tot Virginia Phiri se roman Highway koningin (2010).
Soos in die meeste tradisioneel konserwatiewe en patriargale lande waar die Christendom dominant is, word vroue se sekswerk in Zimbabwe op morele gronde verfoei as &apos;n onaanvaarbare manier om &apos;n inkomste te bekom. Dit word beskou as iets wat so &apos;n vrou se sosiale eerbaarheid tot niet maak. In sulke gemeenskappe beïnvloed die morele dreigement en stigma wat met vroue se sekswerk geassosieer word dus vroue se besluite rakende sekswerk as &apos;n permanente manier om &apos;n inkomste te verdien. Die vraag is hoe volhoubaar en stabiel sulke patriargaal-gekonstrueerde idees aangaande moraliteit en vroulike identiteit is, gegewe ekonomiese krisis-toestande? Hierdie artikel gebruik Virginia Phiri se roman Highway queen, wat teen die agtergrond van een van Zimbabwe se ekonomiese krisistye afspeel, ten einde uit te wys hoedat kulturele tekste probeer om met die diskoers van vroulike sekswerk om te gaan. Die kern van my argument is dat dominante konstruksies van prostituut-identiteite soos gevorm deur Zimbabwe se huidige diep patriargale kultuur en sosio-politieke en ekonomiese sisteem onstabiel is en dat die roman Highway queen hierdie onstabiliteit manipuleer ten einde sekswerk as &apos;n produk van die patriargale inkorting van die handelingsbevoegdheid van vroue te herdefinieer. Belangriker nog, die roman besin oor hoe vroue hulle persoonlike doelwitte kan bereik ten spyte van die ongelyke kanse wat die patriargie vir hulle skep. Deur middel van &apos;n fokus op die weergee van die alledaagse ervarings van die vroulike sekswerker en protagonis, Sophie, ontleed hierdie artikel die verskillende maniere waarop die roman stereotipiese persepsies van vroulike seks-werk dekonstrueer. Ten slotte betoog ek dat, hoewel Sophie se situasie diep tragies is, dit emosioneel inwerk op ons sin vir moraliteit op &apos;n wyse wat dominante (patriargale) konstruksies van sekswerk destabiliseer.
Troubled reading : &apos;Sonny&apos;s blues&apos; and empathy : original research
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –6 (2015)
This article uses a discussion of Baldwin&apos;s short story &apos;Sonny&apos;s blues&apos; as a means of exploring reading and approaches to drug literature. It considers the possibility of understanding Baldwin&apos;s fictional text as a statement on reading social as well as subjective &apos;problems&apos; as universal across contexts. Using conclusions gleaned from a detailed reading of the primary text, as well as the contributions of others to the field, it argues for the importance of reading, as audience and as scholars, with the capacity to allow for the transformation of problematic subjective experience such as drug addiction into artistic expression with value beyond its initial context.
Bewoë lees : &apos;Sonny&apos;s blues&apos; en empatie. Hierdie artikel verken die lees en benadering van dwelmliteratuur vanuit &apos;n ontleding van James Baldwin se kortverhaal &apos;Sonny&apos;s Blues&apos;. Dit probeer Baldwin se fiktiewe teks te verstaan as &apos;n stelling dat die lees van sosiale as persoonlike probleme universeel is, ongeag die konteks. Deur bevindings uit &apos;n noukeurige lesing van die teks met ander bydraes in die veld te kombineer, betoog ek dat ons as lesers en ondersoekers sulke tekste moet lees met die vermoë om te aanvaar dat problematiese persoonlike ervaring, soos dwelmverslawing, omgesit kan word in artistieke uitdrukkings wat ook buite hulle aanvanklike konteks waardevol bly.
De fascinatie blijft : recente Nederlandse reisliteratuur over het nieuwe Zuid-Afrika : original research
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –11 (2015)
The fascination continues: Recent Dutch travel literature about the new South Africa. Recently, and within a relatively short period of time, ten Dutch language non-fiction books on the new South Africa were published. Dutch authors apparently continue to be fascinated by the history and inhabitants of this country and after more than fifteen years of democracy try to take stock of it from a Dutch perspective. Thus, in 2009 an epistolary travel report was published by Dylan van Eijkeren, Ik zag een aap : reisbrieven uit het nieuwste Zuid-Afrika, and Bram Vermeulen, correspondent for the quality paper NRC Handelsblad, wrote Help, Ik ben blank geworden : bekentenissen van een Afrika correspondent. From diverging perspectives these two authors reported on their experiences, expectations and disappointments in respect of the new South Africa. The travel writer experiences a modern version of the Great Trek whereas the journalist tries to fathom the complexity of the country after a blood bath. The article starts with an introductory overview of recent Dutch non-fiction on South Africa, placed in the context of post-colonial travel literature. This is followed by a close reading of the said two diverging texts.
Onlangs het kort na mekaar &apos;n tiental Nederlandse nie-fiksie boeke verskyn oor die nuwe Suid-Afrika. Nederlandse skrywers bly gefassineer deur die geskiedenis en inwoners van die land en hulle probeer na ruim vyftien jaar van demokrasie in Suid-Afrika die balans op te maak vanuit Nederlands perspektief. In 2009 het Dylan van Eijkeren &apos;n reisverslag geskryf, Ik zag een aap : reisbrieven uit het nieuwste Zuid-Afrika, en Bram Vermeulen, korrespondent van die kwaliteitskoerant NRC Handelsblad het Help, Ik ben blank geworden : bekentenissen van een Afrika correspondent geskryf. Vanuit twee uiteenlopende gesigspunte berig hierdie outeurs oor hul ervarings, verwagtings en teleurstellings ten opsigte van die nuwe Suid-Afrika. Die reisbriefskrywer ervaar &apos;n moderne weergawe van die Groot Trek, terwyl die joernalis op sy beurt probeer om aan die hand van &apos;n moordtog &apos;n groter prentjie te skilder in &apos;n poging om die kompleksiteit van die land te deurgrond. Die artikel begin met &apos;n inleidende oorsig van resente Nederlandse nie-fiksie oor Suid-Afrika en plaas die literatuur vervolgens in die konteks van postkoloniale reisliteratuur. Daarna volg die bespreking van die twee genoemde uiteenlopende tekste.
The flâneuse and the City as uncanny home in Lawrence Durrell&apos;s The Alexandria quartet : original research
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –8 (2015)
The concept of the home is not something that can be readily associated with Lawrence Durrell&apos;s The Alexandria quartet. Generally, the word home is defined as a place where one lives, a house or dwelling. The idea of home is associated with the architectural construct of the house, as both a place and a space. With this in mind, I approach the conceptualisation of the house as representative of safety and happy remembrance from a somewhat different premise, exploring Durrell&apos;s representation of Alexandria as an enclosing womb-like home that voraciously consumes her inhabitants. Although Durrell&apos;s Alexandria has been considered by scholars from many angles, I propose my position represents a rather different approach to the manner in which the city has previously been examined. Durrell&apos;s city, as uncanny home, will be shown to create her residents as fragments of her own consciousness, and this is particularly true of the character Justine. The narrator Darley&apos;s memories of Justine moving through the streets of the city evoke her in the guise of a flâneuse and this flânerie, I go on to suggest, establishes a symbiosis between herself and the city, setting up an interplay through which Justine becomes the proxy for the city as unhomely home.
Die flâneuse en die stad as geheimsinnige tuiste in The Alexandria quartet deur Lawrence Durrell. Die begrip tuiste is nie iets wat geredelik met The Alexandria quartet deur Lawrence Durrell vereenselwig kan word nie. Gewoonlik word die woord tuiste gedefinieer as &apos;n plek waar &apos;n mens bly, &apos;n huis of &apos;n woning. Die idee van tuiste word vereenselwig met die boukundige konstruk van die huis, as sowel &apos;n plek as &apos;n ruimte. Gedagtig hieraan benader ek die konseptualisering van die huis as verteenwoordigend van veiligheid en geluk vanuit &apos;n ietwat ander hoek. Ek ondersoek Durrell se uitbeelding van Alexandria as &apos;n inperkende soort baarmoeder van &apos;n tuiste wat haar bewoners met groot gulsigheid verorber. Hoewel akademici Durrell se Alexandria reeds uit talle hoeke benader het, voer ek aan dat my posisie&apos;n nuwe blik werp op die uitbeelding van die stad. Ek sal aantoon dat Durrell se stad as geheimsinnige tuiste haar inwoners tot stand bring as brokstukke van haar eie bewussyn. Dit is veral merkbaar in die geval van die karakter Justine. Die herinneringe wat die verteller Darley het van hoe Justine deur die stad beweeg roep haar op in die gedaante van &apos;n flâneuse. Ek argumenteer verder dat hierdie flânerie &apos;n simbiose tussen haar en die stad tot stand bring. Dit skep dan &apos;n wisselwerking waardeur Justine die gevolmagtigde word van die stad as geheimsinnige tuiste.
On being a discontinuous person : ontological insecurity, the wounded storyteller and time in Daniel Keyes&apos;s Flowers for Algernon : original research
This article explores ontological security and insecurity in Daniel Keyes&apos;s novel, Flowers for Algernon. It opens with a very brief overview of the 1960s counter-culture to contextualise not only Keyes&apos;s novel but also Laing&apos;s theories of ontological (in)security. After a discussion of Laing&apos;s concept of ontological security and insecurity, the focus shifts to Arthur W. Frank&apos;s notions of the wounded storyteller and how Charlie Gordon&apos;s entry into the medical world constitutes a colonisation of the body that brings with it a deepening sense of ontological insecurity. In entering the world of medical research, Charlie becomes the wounded storyteller, offering a first-person account of his experiences during the experiment and its aftermath. As the initial success of the surgery deteriorates steadily into failure, with the protagonist&apos;s intelligence returning steadily to its pre-operation level, the question of time and how he can make the best use of it to record the experiment becomes paramount. The final section of the article centres on the growing link between the surgery&apos;s failure and how it increases the protagonist&apos;s ontological insecurity. He uses the diminishing amount of time available to him in search of understanding the fuller implications of the experiment. Eventually, he reverts to his initial rudimentary ontological security when he finds himself with the same intellectual level, as prior to the experiment.
Om &apos;n onderbroke persoon te wees: Ontologiese onsekerheid en tyd in Daniel Keyes se Flowers for Algernon. Hierdie artikel ondersoek ontologiese sekerheid en onsekerheid in Daniel Keyes se roman, Flowers for Algernon. Dit begin met &apos;n kort oorsig oor die kontrakultuur van die 1960&apos;s ten einde sowel Keyes se roman as Laing se teorieë oor ontologiese (on)sekerheid te kontekstualiseer. Na &apos;n bespreking van Laing se konsep van ontologiese sekerheid en onsekerheid word die fokus verskuif na Arthur W. Frank se begrip van die verwonde verteller en hoe Charlie Gordon se toetrede tot die mediese wêreld &apos;n kolonisering van die liggaam voorstel wat tegelykertyd &apos;n dieper wordende gevoel van ontologiese onsekerheid meebring. Wanneer Charlie die wêreld van mediese navorsing betree, word hy &apos;n verwondeverteller en gee hy in die eerste persoon rekenskap van sy ondervinding gedurende en na die eksperiment. Terwyl die aanvanklike sukses van die operasie geleidelik tot mislukking vervaag, met die hoofkarakter se intelligensie wat dan ook geleidelik tot die pre-operasievlak daal, word die kwessie van tyd en hoe Charlie dit die beste kan opteken, van oorheersende belang. Die artikel se laaste afdeling fokus op die groterwordende skakel tussen die mislukte operasie en die verhoging van die hoofkarakter se ontologiese onsekerheid. Hy gebruik die beperkte tyd wat tot sy beskikking is om die implikasies van die eksperiment breedvoeriger te verstaan. Uiteindelik keer hy terug na sy rudimentêre ontologiese sekerheid wanneer hy homself weer op dieselfde intellektuele vlak bevind as voor die eksperiment.
Liminality in J.M. Coetzee&apos;s later experimental texts : original research
A.M. De Lange and
Postcoloniality, which is essentially concerned with the transition and transgression of boundaries and borders, contextualises and defines liminality as an ephemeral concept that eludes pinning down. Liminality is continually involved in a dual process of evolving and subverting : dynamic in the sense of promoting the centre, but subversive in its destabilisation of the previous status quo. In the more recent novels by Coetzee (Slow man, Diary of a bad year,Elizabeth Costello), themes that are especially acute in highlighting the subversive nature of liminality emerge repeatedly : the threshold, death, proliferation and imitation. The problem investigated is : how is the concept of liminality developed in these novels? An examination of these novels in terms of the above-mentioned themes and various conceptual and theoretical elements shows that Coetzee encourages the reader to assume a liminal status, not only as reader of the texts but also in relation to contemporary reality. It is concluded that Coetzee uses certain themes that promote liminality, often in a subversive and deconstructive manner, to inform the reader and, thus, influence him or her to effect change in the contemporary world.
Liminaliteit in J.M. Coetzee se latere eksperimentele tekste. Liminaliteit word as &apos;n efemere en ontwykende konsep gekontekstualiseer deur postkolonialisme, wat in wese te make het met die oorsteek en oorgang van grense. Liminaliteit is voortdurend betrokke in &apos;n tweeledige proses van ontwikkeling en ondermyning : dinamies in die sin van die bevordering van die sentrum, maar ondermynend in die destabilisering van die vorige status quo. In Coetzee se meer onlangse romans (Slow man, Diary of a bad year, Elizabeth Costello), verskyn temas wat die subversiewe aard van liminaliteit skerp kan uitwys, voortdurend : die drumpel, die dood, vermeerdering en nabootsing. Die probleem wat ondersoek is, is : hoe word die konsep van liminaliteit in hierdie romans ontwikkel? Na &apos;n ondersoek van bogenoemde romans in terme van die voorgenoemde temas, is bevind dat Coetzee die leser aanmoedig om &apos;n liminale status aan te neem nie alleen as leser van die teks nie, maar ook in die leser se eietydse werklikheid. Die gevolgtrekking is dat Coetzee bepaalde temas gebruik om liminaliteit te bevorder, dikwels op &apos;n subversiewe en dekonstruktiewe wyse, om die leser in te lig, maar ook om hom of haar aan te moedig om self verandering in sy of haar eietydse wêreld te bewerkstellig.
Lucky Marais : die verpersoonliking van kameleontiese manlikheid : oorspronklike navorsing
Stefan Van Zyl and
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –14 (2015)
Hierdie artikel fokus op die representasie van manlikheidsbeelde in Eben Venter se roman Santa Gamka (2009) en meer spesifiek op die uitbeelding van die veelfasettigheid van manlikheid in die hoofkarakter Lucky Marais. Die werkbaarheid van die kognitiewe narratologie as literêre benadering word ook getoets deur kognitiewe rame en skripte in die roman te identifiseer. Die ruimtes waarin gebeure afspeel en die manier waarop handelinge en gebeure uitgebeeld word, word in verband gebring met bekende rame en skripte. Die veronderstelling is dat die teksgegewe op die eerste vlak geplaas word binne die raamwerke van bekende kognitiewe skripte en dat bepaalde manlikheidsbeelde dus potensieel op die manlike hoofkarakter geprojekteer kan word. Hierdie projeksies kan egter deur die verhaal ondermyn word. Daar is volgens die kognitiewe teorie potensiële prosesseringsmoontlikhede wat tydens die lees van &apos;n narratief in werking kan tree. Eerstens kan die narratief sterk op die leser inwerk sodat bestaande idees en persepsies verwerp word en daar ruimte ontstaan vir nuwe idees en persepsies in ooreenstemming met die uitbeelding in die narratief; tweedens kan bestaande idees gewysig word deur die kognitiewe prosessering van inligting in die roman; en derdens kan dit gebeur dat die nuwe idees onderliggend aan die handelinge en gebeure in die narratief in geheel verwerp word. Die moontlikheid bestaan dus dat, ongeag in welke mate dit plaasvind, die kognitiewe prosessering van die inligting in die roman &apos;n uitwerking kan hê op die leser. In hierdie geval kan die representasies van manlikheid in die roman dus potensieel &apos;n effek hê op die manier waarop die leser manlikheid in die toekoms in die werklike lewe ervaar. Venter toon &apos;n fyn aanvoeling en deernis vir die karakters in sy romans en die hipotetiese verwagting is dat die skrywer daarin slaag om by die leser &apos;n soortgelyke aanvoeling en deernis te ontwikkel vir die hoofkarakter in Santa Gamka. Die roman kan dus &apos;n beter begrip van sowel menslikheid as manlikheid bewerkstellig omdat manlikheid op bepaalde maniere uitgebeeld word. Die oogmerk van die artikel is om aan te toon dat die kognitiewe narratologie gebruik kan word om die aandag te vestig op die manier waarop die roman bestaande en gevestigde rame en skripte ten opsigte van manlikheid ondermyn deur die uitbeelding van die gekompliseerde persoonlikheid van Lucky Marais.
Lucky Marais: The epitome of chameleontic masculinity.
This article focuses on the representation of masculine images in Eben Venter&apos;s novel Santa Gamka (2009) and more specifically on the multifaceted representation of masculinity in the main character Lucky Marais. The effectivity of the cognitive narratology as literary approach is also tested by identifying cognitive frames and scripts in the novel. The spaces in which events take place and the manner in which actions and events are represented are interpreted according to known frames and scripts. The premise is that textual information is initially understood within the frameworks of known cognitive scripts and that certain fixed masculine images have the potential to be projected onto the male main character. These projections can however be undermined by the narrative. According to the cognitive theory there are potential processing possibilities that can be activated during the reading of a narrative. Firstly, the narrative manipulates or entices the reader to reject existing ideas and perceptions and to create a space for new ideas and perceptions in concordance with the representation in the narrative; secondly existing ideas can be altered by the cognitive processing of information in the novel; and thirdly it can happen that new ideas, underlying the actions and events in the narrative, are completely rejected. The possibility therefore exists that, regardless of the extent to which it takes place, the cognitive processing of information in the novel will have an effect on the reader. In this case the representations of masculinity in the novel may have a potential effect on the manner in which the reader experiences masculinity in future real-world situations. Venter demonstrates sensitivity and compassion for all the characters in his novels and the hypothetical expectation is that the author succeeds in the development of a similar sensitivity and compassion for the main character in Santa Gamka. The novel can thus lead to a better understanding of both humanity and masculinity because of the way in which masculinity is represented. The goal of the article is to show that cognitive narratology can be used to focus the attention on the manner in which the novel undermines existing and established frames and scripts with regard to the representation of the complex personality of Lucky Marais.
Writing back to colonialism, again : the novel The Chimurenga Protocol and the &apos;new&apos; resistance literary culture in post-2000 Zimbabwe : original research
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –9 (2015)
Some contemporary Zimbabwean literature demonstrates a discernible resistance thread. These literary works create fictional life-worlds in which the ambivalence of colonial land and economic injustices are exposed as potentially mutating and threatening the independent nation. In this way, such works validate &apos;nationalist&apos; corrective measures through inserting a narrative that implicitly refers back to past colonial imbalances. In the choreographed discourses of national sovereignty that characterise the Third Chimurenga - epitomised by Mugabe&apos;s book Inside the Third Chimurenga - there are perceived dangers from infiltrating forces which pose a threat to the nation&apos;s sovereignty. Britain&apos;s refusal to fund land reform in Zimbabwe is viewed as an implicit declaration of that country&apos;s intention to derail the Zimbabwean people&apos;s movement towards total independence and the &apos;fast track land reform&apos; of the Third Chimurenga. The anti-Britain campaign is inextricably linked to the land question. The cultural sphere (especially its literary, theatrical and musical dimensions) in Zimbabwe&apos;s recent past has been faced with the political urgency of (re)defining the land question. Literary texts such as Nyaradzo Mtizira&apos;s novel The Chimurenga Protocol, theatre performances such as Christopher Mlalazi&apos;s &apos;Election Day&apos; and musical compositions by the war veteran singer Dickson Chingaira are some of the artistic productions that reveal conflicting perspectives on the land and its significance in the people&apos;s search for self-determination and national identity. Using the example of Nyaradzo Mtizira&apos;s novel The Chimurenga Protocol, this article argues that whilst many Zimbabwean writers published in the post-2000 period have attempted to imagine &apos;alternative&apos; national identities, the text&apos;s anti-West thematic and aesthetic texture resonates with the state&apos;s post-2000 ideological grand narratives of the nation and can therefore be read as the newest form of resistance literature in Zimbabwe&apos;s postcolonial literary oeuvre.
Nogmaals terugskryf teen kolonialisme: Die roman The Chimurenga Protocol en die &apos;nuwe&apos; literêre versetskultuur in post-2000-Zimbabwe.
Sommige kontemporêre Zimbabwiese literêre werke toon &apos;n duidelike versetstendens. Hierdie letterkundige werke skep fiktiewe wêrelde waarin die ambivalensie van koloniale grond- en ekonomiese onreg uitgelig word as potensieel muterende en bedreigende invloede op die onafhanklike nasie. Hierdie werke regverdig &apos;nasionalistiese&apos; korrektiewe maatreëls deur &apos;n narratief wat implisiet terugverwys na koloniale wanbalanse van die verlede. In die gechoreografeerde diskoerse van nasionale sowereiniteit wat die Derde Chimurenga kenmerk en in te voeg wat verpersoonlik word deur Mugabe (2001) se boek Inside the Third Chimurenga - is daar vermeende gevare komende van infiltrerende magte wat &apos;n bedreiging vir die nasie se sowereiniteit inhou. Die kulturele sfeer (veral die letterkundige, teater- en musikale dimensies daarvan) in Zimbabwe se onlangse verlede het al &apos;n tyd lank te kampe met die polities dringende uitdaging om die grondvraagstuk te (her)definieer. Deur Nyaradzo Mtizira se roman The Chimurenga Protocol as voorbeeld te gebruik, voer hierdie referaat aan dat, hoewel baie Zimbabwiese skrywers gepubliseer in die post-2000-tydperk gepoog het om &apos;alternatiewe&apos; nasionale identiteite te bedink, die teks se anti-Westerse tematiese en estetiese tekstuur met die staat se ideologiese grootse narratiewe van die nasie post- 2000 resoneer en dat dit dus gelees kan word as die nuutste vorm van versetletterkunde in Zimbabwe se postkoloniale letterkunde-oeuvre.
Die Auslotung des Menschenmöglichen : die Verschränkung von Sprache und Identität bei Hugo Loetscher : original research
Waldo Grove and
Over the course of his career as a writer, Swiss intellectual Hugo Loetscher developed a fragmentary body of ideas on the themes of language and identity respectively. In this article, it is shown that these two themes may fruitfully be compared in five aspects. Firstly, Loetscher conceives of both as being deficient and as mere potentialities. Furthermore, he desires to experience the entirety of possibilities which being human could offer, with respect to the dimensions of language and identity. These interactions with language and identity subsequently leave him with unresolved issues, of which he thinks as a remainder. Lastly, his conception of a gamut of partial identities as human possibilities is also central to a language he wishes to invent. Although Loetscher&apos;s ideas on these themes can only be extrapolated from his literary writings or essayistic fragments, a systematic treatment of these ideas in the context of philosophy of language reveals a unique and avant-garde way of thinking.This discussion leads to the realisation that Loetscher purposefully and repeatedly employs language and identity as synonymous with the possibilities of being human.
Existence and essence in Venda oral literature : original research
Jaco Kruger and
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –16 (2015)
This article analyses two Venda ngano narratives that portray coming-of-age experiences. Viewed in juxtaposition, they express the radical shift from premodern modes of material and symbolic production to the reified consciousness of capitalist relations. This shift implicates the rootedness of local world views and global market forces within colonial and Western history, as well as contemporary political and economic conditions. The first narrative accordingly describes a classic rite of passage towards adulthood and citizenship within an ancient, precolonial world. Its protagonist is the culture hero whose society prioritises qualities and ideals like spirituality and social integration. In contrast, the second story is located in the colonial world. Its young hero migrates from his rural village to the city, andhis adventure is an embryonic representation of the sociopolitical and racial dynamics of the colonial encounter. His actions evolve within a modernist world view, specifically a rational materialism driven by a teleology of progress that conceives economic organisation as the mediator of social relationships and personal fulfilment. The engagement of these diverse world views with history is explored from a perspective that aligns the ancient Venda concept of zwivhuya with Fromm&apos;s notion of qualitative freedom, of actualisation in all realms of human experience and of transcendence in all forms. The resplendent materiality presented in the second narrative is accordingly argued to conceal a spectre of fear and incomplete self awareness. This poses a dilemma that speaks to all humanity, namely the need to transform the actual poverty of reified materiality into the wealth of an integrated world.
Bestaan en wese in Venda mondelinge literatuur. Hierdie artikel ontleed twee Venda ngano narratiewe wat volwassewording uitbeeld. Saamgelees openbaar hierdie verhale die radikale verskuiwing van premoderne vorms van materiële en simboliese produksie totdie gereïfiseerde bewussyn van kapitalistiese verhoudings. Hierdie verskuiwing toon aanhoe gewortel plaaslike wêreldsbeskouings en globale markkragte is binne die koloniale en Westerse geskiedenis, asook kontemporêre politieke en ekonomiese omstandighede. Die eerste narratief beskryf derhalwe &apos;n klassieke deurgangsrite na volwassenheid en burgerskap in &apos;n antieke, voorkoloniale wêreld. Die protagonis is &apos;n kultuurheld wie se samelewing voorrang gee aan kwaliteite en ideale soos spiritualiteit en sosiale integrasie. In teenstelling hiermee ontvou die tweede narratief in die koloniale wêreld. Die jong held verhuis van die platteland na die stad, en sy avontuur is &apos;n embrioniese uitbeelding van die sosiopolitieke en rassedinamiekvan die koloniale ontmoeting. Sy optrede word bepaal deur &apos;n modernistiese uitkyk, spesifiek &apos;n rasionele materialisme wat gedryf word deur &apos;n teleologie van vooruitgang waarvolgens ekonomiese organisasie die mediator van sosiale verhoudinge en persoonlike vervullingis. Die skakeling van hierdie uiteenlopende wêreldsbeskouings met die geskiedenis wordverken vanuit &apos;n perspektief wat die antieke Venda konsep van zwivhuya belyn met Fromm se begrip van kwalitatiewe vryheid, van aktualisering in alle domeine van menslike ervaring en van transendensie in alle vorme. Derhalwe word daar aangevoer dat die glinsterende materialiteit in die tweede narratief in der waarheid &apos;n skrikbeeld van vrees en gebrekkige selfgewaarwording verdoesel. En so kom die ganse mensdom te staan voor &apos;n gedeeldedilemma, naamlik die noodsaaklikheid om die werklike armoede van &apos;n gereïfiseerde materialiteit te transformeer tot die rykdom van &apos;n geïntegreerde wêreld.
A critical analysis of &apos;face&apos;-managing factors in isiZulu idioms : original research
Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies 36, pp 1 –5 (2015)
People have an inherent need to communicate. They communicate out of need as well as for leisure. Human speech abounds with unpleasant and undesirable statements that could embarrass and even humiliate those spoken to or oneself. Brown and Levinson assert that unpleasant and undesirable statements have the potential to threaten the &apos;face&apos; or self-esteem of the other person or persons. They define &apos;face&apos; as the public self-image that every member of society wants to claim for themself. Simply put, &apos;facework&apos; refers to ways people cooperatively attempt to promote both the other&apos;s and their own sense of self-esteem in a conversation. As linguistic speech forms, idioms perform a variety of functions in a language. Not only do they make speech more colourful, but they also perform a communicative function in that they tend to soften the embarrassment and humiliation that often accompanies unpleasant and undesirable statements in speech. IsiZulu idioms will be examined in this article to establish to what extent they could contribute to managing &apos;face&apos; issues. Examples of idioms will be drawn from C.L.S. Nyembezi and O.E.H. Nxumalo&apos;s work Inqolobane Yesizwe. The facework theory as espoused by Brown and Levinson will underpin this discussion on isiZulu idioms.
&apos;n Kritiese analise van die hantering van aansienkwessies in isiZulu idiome. Die behoefte aan kommunikasie is eie aan alle mense. Mense kommunikeer sowel uit noodsaak as vir ontspanning. Kommunikasie bevat dikwels onaangename en ongewenste stellings wat verleentheid skep vir die ontvangers en wat hulle selfs kan verneder. Brown en Levinsonstel dat sulke onaangename en ongewenste stellings die vermoë het om die aansien (&apos;face&apos;) ofselfrespek van die ander persoon te bedreig. Hulle definieer aansien (&apos;face&apos;) as die openbare selfbeeld wat elke lid van &apos;n samelewing vir hom- of haarself opeis. Eenvoudiger gestel, verwys die term &apos;aansienkwessies&apos; (&apos;facework&apos;) na die maniere waarop mense saamwerk in&apos;n poging om sowel die eie as die ander se sin vir selfrespek te bevorder in &apos;n gesprek. As linguistiese uitingsvorme vervul idiome &apos;n verskeidenheid funksies in enige taal. Hulle maak nie net die taal kleurryker nie, maar vervul ook &apos;n kommunikatiewe funksie in dié sin dathulle die gevoelens van verleentheid en vernedering kan versag wat dikwels deel uitmaak van onaangename en ongewenste stellings in gesproke taal. In hierdie artikel sal Zoeloeidiome onder die loep geneem word om vas te stel tot watter mate hulle kan bydra tot die hantering van aansienkwessies. Voorbeelde van idiome is afkomstig uit C.L.S. Nyembesi en O.E.H. Nxumalo se werk Inqolobane Yesizwe. Die aansienkwessieteorie soos uiteengesit deurBrown en Levinson sal die raamwerk vorm vir hierdie bespreking van die Zoeloe-idiome.
Tradition and the culture of rights at the crossroads : a literary perspective : original research
Nompumelelo B. Zondi and
Bonginkosi C. Khuzwayo
Using cultural theories, this article focuses on a literary text that presents a fresh perspective on one of the cultural practices of disposing of a dead body, namely cremation. The scarcity of burial sites is increasingly becoming a concern for municipalities, yet traditional ways of thinking are strongly against cremation. The liberty to investigate the burning issue of cremation as an alternative burial method in this way derives from the fact that through the ages literature (oral and written) has been effectively used by creative writers to offer an allusive quality and fictitious setting which has allowed them to comment on contemporary issues without blatantly seeming to do so. In this sense, the novel Intando kamufi ("Will of the deceased") by S. Mathaba contributes to various discourses on cremation, either reinforcing or critiquing it.
The portrayal of single women characters in selected African literary texts : original research
Die uitbeelding van enkelvroue in enkele literêre tekste uit Afrika.
Hierdie artikel ondersoek die uitbeelding van enkelvroue asook hulle pogings om selfstandige status te bereik in werke van &apos;n aantal vroueskrywers uit Afrika. Dié vroue word uitgebeeld as sterk, onafhanklike en realistiese tipes karakters wat moedig weerstand bied teen manlike paternalisme en oorheersing en wat die toekoms moedig tegemoetgaan. Enkelvroue word uitgebeeld as onafhanklike individue eerder as blote familieskapaanhangsels. Hulle verskyn as karakters wat self hulle potensiële geluk verwesenlik eerder as om bloot die patriargale voorskrifte te aanvaar. Die artikel sal ook aantoon dat die vrouekarakters rekenskap kan gee van hulle eie waardes en nie net inpas by &apos;n stereotipiese konvensie nie. Die Afrikavroueskrywers beeld enkelvroue uit as sou hulle die nodige professionele en ekonomiese middele hê om vir hulleself te sorg. Hierdie uitbeelding van vrouekarakters is deel van &apos;n debat wat ook in die hedendaagse filosofiese sienings van die alledaagse samelewing gevoer word.