Eksperiment en intertekstualiteit: 'n studie van Ingrid Winterbach se Niggie (2002) en die oorlogsdagboek van Jan F.E. Celliers 1899-1902 (1978), asook ander Anglo-Boereoorlog tekste
- Authors: Botha, Maria Elizabeth
- Date: 2006
- Subjects: Afrikaans fiction -- History and criticism , Winterbach, Ingrid. Niggie , Intertextuality , South African War, 1899-1902 Fiction
- Language: Afrikaans
- Type: Thesis , Masters , MA
- Identifier: vital:8442 , http://hdl.handle.net/10948/436 , Afrikaans fiction -- History and criticism , Winterbach, Ingrid. Niggie , Intertextuality , South African War, 1899-1902 Fiction
- Description: This study focuses on the creative adaptation of Anglo-Boer War material in Ingrid Winterbach’s (Lettie Viljoen) Niggie [Cousin] (2002) with specific reference to the Oorlogsdagboek van Jan F.E. Celliers, 1899-1902 [War Diary of Jan F.E. Celliers, 1899-1902] (1978) and other texts written during or shortly after the Anglo Boer War in Dutch, such as Totius’ Vier-en-sestig dae te velde: ‘n Oorlogsdagboek [Sixty Four Days Afield: A War Diary] (1977) and in English, Woman’s Endurance (1904) by A.D.L. and Deneys Reitz’s Commando. A Boer Journal of the Boer War (1929). More recent Afrikaans novels dealing with the same war are also analysed, such as Ons oorlog [Our War] (2000) by Klaas Steytler, Op soek na Generaal Mannetjies Mentz [In Search of General Mannetjies Mentz] (1998) by Christoffel Coetzee and Etienne Leroux’s Magersfontein O! Magersfontein (1976). A literary analysis is done of the novel Niggie, with specific focus on the nature and function of Anglo-Boer War material in Winterbach’s text. The question is posed why there is such a sustained focus and creative adaptation of Anglo-Boer War texts in Winterbach’s oeuvre (especially in Belemmering [Impediment], 1990, Karolina Ferreira, 1993, Buller se plan [Buller’s Plan], 1999, and Niggie [Cousin], 2002)? This novel has a profound effect on the reader a century after the war, because it addresses postcolonial issues and predicaments such as a defragmenting identity, as well as the possible demise of the Afrikaans language and culture, faced by the descendants of those involved in the war a century ago. In her reworking of the past to come to grips with the present, Winterbach confronts difficult South African topics, such as interracial relationships, racism, the relationship with the land, possible language death, gender relationships, the role of the supernatural and the unconscious in everyday life (in the form of dreams and trickster figures), amongst many others. The dissertation offers an intertextual study as well as a literary analyses of the literary techniques used, and the characteristics of this magisterial novel, which deservedly won the Hertzog prize in 2004, the highest accolade possible for an Afrikaans novel. The anomaly of such a novel in 2002 seemingly dwelling on the past, is shown up for what it is: a metaphor for the present and its dilemmas, reflecting the social conflicts existing at present in the crumbling Afrikaans community.
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- Date Issued: 2006
Die outobiografiese kode in Antjie Krog se poëtiese oeuvre
- Authors: Botha, Maria Elizabeth
- Date: 2011
- Subjects: Krog, Antjie -- Criticism and interpretation , Autobiography -- History and criticism , Afrikaans poetry -- 20th century -- History and criticism
- Language: Afrikaans
- Type: Thesis , Doctoral , DLitt
- Identifier: vital:8444 , http://hdl.handle.net/10948/1534 , Krog, Antjie -- Criticism and interpretation , Autobiography -- History and criticism , Afrikaans poetry -- 20th century -- History and criticism
- Description: This study primarily investigates the autobiographical code in Antjie Krog's poetical oeuvre, spanning from 1970 to the present. Krog's poetry collections may be read as offering life writing through poetry, while the prose works mostly present the reader with a mixture of autobiographical fact plus creative reworkings of fact and fiction. Even though her 10 volumes of poetry follow her biological development from young girl to grandmother, uncertainty still exists about about where truth ends and fiction begins in this poet and autobiographer's interwoven tapestry of multiple and varied perspectives. Furthermore, autobiographical (as utilised and adapted in Krog's oeuvre, in combination with the conventioans from other genres), offers a variety of creatively innovative, experimental strategies and possibilities exploited adroitly by Krog. Reading her poetry with the focus on autobiographical markers leads to another, mostly untapped, dimension of interpretation. This literary approach is in stark contrast to the approach prescibed by N.P. van Wyk Louw in "Die 'mens' agter die boek" ["The 'Person' behind the Book] (1956), in which he states clearly that a text should be interpreted as not "about the human behind the text". To a large extent Krog as poet is inviting the reader to consciously break the taboo that Louw placed on the reader intent on "searching the actual person behind the text". My hypothesis is that in Krog's poetry there is a distinct interrelationship between the perceptions, experiences and sensual impressions of the lyrical "I" in the poems and that of the authobiographical "I" writing. It would be irresponsible to declare the poet and the speaker as one and the same, but in instances where the poet purposefully integrates autobiographical elements into her poems, she is implicitly requesting the reader to interpret her work in this way. This fictive and implicit request is referred to by Philippe Lejeune as the autobiographical poet. Krog's poetry can be divided into four categories: "direct autobiographical", "indirect autobiographical", "universal" and "general" poems. The first category involves criteria that are linked to the poet, such as the use of the names, initials and dates. Indirect autobiographical poems can be read against the background of knowledge (previously published information) about the poet. Poetry with no apparent autobiographical element, but with universal themes such as love, loss and transience, fall into the third category of "universal" poetry. If poems do not fit into the mentioned categories, they are deemed "general".
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- Date Issued: 2011