DOCSLIB.ORG

Letters of Stone. from Nazi Germany to South Africa. Steven Robins. Cape Town: Penguin, 2016. 314 Pp. ISBN 978 1 77609 024 2. In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Letters of Stone. from Nazi Germany to South Africa. Steven Robins. Cape Town: Penguin, 2016. 314 Pp. ISBN 978 1 77609 024 2. In Letters of Stone. From Nazi Germany to Alluding to the project of a German artist, South Africa. who has embedded “stumbling stones” Steven Robins. that are inscribed with the names of Cape Town: Penguin, 2016. 314 pp. Holocaust victims into the pavement of ISBN 978 1 77609 024 2. many German towns and cities, Robins DOI: http://dx.doi.org/10.17159/tvl.v.54i1.18 grasped the opportunity of using these “letters of stone” to uncover and preserve In this moving book the author takes the memory of his German relatives. the reader on a captivating but painful Much of the book consists of extensive journey of discovery through the history citations from these eyewitness accounts of his own family. Steven Robins, a of the ever-increasing discrimination and social anthropologist at Stellenbosch persecution of the Jews in Nazi Germany. University, describes his childhood in a The women in the photograph—the Jewish South African home within the book contains a considerable number familiar coordinates of a comfortable of family pictures—turned out to be the white middle class existence in the author’s grandmother and aunts who 1960s and 1970s. At an age when he perished in Auschwitz. became progressively aware of the gross It is well known that Holocaust injustices of apartheid he began to ask survivors, or those who were lucky questions about his father’s upbringing enough to escape before they were in post-World War I Germany. Initially, sucked into the Nazi extermination the curiosity of the author was incited industry, often suppressed their trauma by an old photograph of three sombre- in silence. As the author is able to attest, looking women in the family dining even the descendants of the survivors room that was never explained or spoken have to battle with the repercussions about. Herbert Robins was a refugee of blocked memories, especially when from Nazi Germany who had washed children become exposed to symptoms up on the shores of South Africa in 1936. of psychological trauma and erratic He steadfastly refused to talk about his behaviour of their parents. The author previous life and refrained from speaking openly describes his own feelings of about the fate of his parents, siblings dread and helplessness that frequently and other family members that he had overcame him at various stages of the to leave behind in Germany. The chance exploration of his family history. The discovery of a stack of letters in the Cape letters provide ample evidence of the Town flat of relatives after the death of humiliating circumstances that the Nazi his father became a turning point for bureaucracy created for Jews in Germany, the author. With the help of friends and whose impact was designed to destroy colleagues Robins began the difficult the spirit of people who were gradually task of deciphering and translating pushed into the abyss of the Holocaust. these letters from German into English. The writers of these letters had, of course, 258 TYDSKRIF VIR LETTERKUNDE • 54 (1) • 2017 every reason to express their anguish in Fischer, the author of an anthropological ways that would not provoke the wrath study of the Rehoboth Basters in German of the censors. Superficially cheerful South West Africa, who became a leading assurances of being able to cope must be academic under the Nazis. Robins is also read as transparent attempts to comfort inspired by Hannah Arendt’s quest for the Herbert in South Africa, who can only links between colonialism and European have agonised over the fate of his loved authoritarianism that she discussed in ones. The letters often revolve around the her book The Origins of Totalitarianism frantic attempts made to leave Germany. (1951). This attests to the intellectual Unsurprisingly, they increasingly integrity of the author as he makes an resounded with despair in the face of the effort in discussing the sinister aspects unwillingness of foreign countries, such as of the involvement of his own discipline South Africa from the late 1930s, to throw in endorsing racist stereotypes that were out a life line to Jews. Herbert had been meant to justify white supremacy. As lucky to enter his new country before the the general style of the book seems to immigration laws were tightened. indicate, however, these sections provide As Robins points out, it is impossible relevant background information more to read these letters without a sense of for the benefit of the non-specialist than foreboding. The guarded references to of scholarly readers. It is an ambitious the increasing economic hardship and undertaking to address the complexity social ostracisation experienced by Jews of the debates about the ideological and merely hint at the gruesome reality intellectual connections between German in Nazi Germany. With the hindsight National Socialism and South African granted to present-day readers, we know racism and apartheid within the scope the fate that awaited these men and of a biographical study. It should also be women as an elongated and agonising noted that some inaccuracies seem to have social death reached its culmination in slipped through the proofreading process. systematic mass murder. The South African maverick politician, In describing his journeys to Germany, Oswald Pirow, was not the founder of the Poland, Israel and the United States of right-wing Ossewa Brandwag as claimed by America in the course of his research, the author (102), and the famous German Robins is not merely concerned with writer Heinrich Mann, the brother of the uncovering the hidden history of his even more famous Thomas Mann, was father’s family. Interwoven with the story not Jewish as a fleeting remark appears of his search for more information are to indicate (182). chapters that discuss relevant trends in the These critical comments are not meant, history of scientific racism, trying to show however, to distract from the author’s connections between colonialism and achievement. This book succeeds in later developments in Nazi Germany. A salvaging previously hidden historical prominent figure in this narrative is Eugen memory from the catastrophe of the TYDSKRIF VIR LETTERKUNDE • 54 (1) • 2017 259 mass murder of the Jews in Europe. As emphasised by Robins, the book also may make readers pause to think about the awful circumstances currently faced by hundreds of thousands of refugees hoping to reach safe havens in the West and elsewhere despite rising xenophobia and prejudice in host countries. Tilman Dedering [email protected] University of South Africa Pretoria 260 TYDSKRIF VIR LETTERKUNDE • 54 (1) • 2017 A Necklace of Springbok Ears. /Xam (1956), Erasmus Smit se dagboeke (1815), Orality and South African Literature. Leipoldt se Polfyntjies vir die proe (1963) en Helize van Vuuren. “Die Uintjie-Eters” (2006) deur Barend J. Stellenbosch: SUN PRESS, 2016. 227 pp. Toerien kan lei tot nuwe plantkundige, ISBN 978‐1‐920689‐89‐6; historiese, kulinêre en kulturele kennis. ISBN 978‐1‐920689‐90‐2 (e-boek). Die kontekstualisering van die orale DOI: http://dx.doi.org/10.17159/tvl.v.54i1.19 “teks” wat deur middel van Van Vuuren se vergelykende benadering plaasvind, Helize van Vuuren is sedert 1993 besig is veral belangrik omdat, soos Van met navorsing oor narratiewe, mites Vuuren aanvoer, daar in die geval en poësie in die verskeie /Xam- en van ’n orale werk nie sprake van ’n ander Boesmantale. Dié navorsing is “oorspronklike teks” is nie—elke keer saamgebundel in A Necklace of Springbok wanneer ’n verhaal of lied voorgedra Ears. Drie van die boek se agt hoofstukke word, kan dit verander. Die opgetekende is nog nie voorheen gepubliseer nie. Twee weergawes van /Xam verhale en liedere van hierdie “nuwe” hoofstukke handel oor wat vandag aan lesers beskikbaar is, die lewe en werk van G. R. von Wielligh is slegs spesifieke weergawes wat in (1859–1932). Von Wielligh—prosaïs en ook ongewone omstandighede aan skrywers vertaler van Robinson Crusoe in Afrikaans— en navorsers oorgedra is. Die optekenings het Boesman-, Khoi- en Swaziverhale is naamlik in die laat neëntiende en opgeteken soos wat hulle aan hom vertel vroeë twintigste eeu gedoen, toe die is. Von Wielligh word soms deur kritici meeste Boesmantale, -gemeenskappe en daarvan beskuldig dat hy Bleek en Lloyd -leefwyses reeds uitgesterf het. se meer bekende /Xam-argief geplagieer Van Vuuren se ondersoek na het. Sy werk word ook afgemaak as van die omstandighede waarin hierdie min historiese belang. Van Vuuren dui optekenings plaasgevind het, en die egter oortuigend aan dat Von Wielligh se bemiddeling en vertaling wat daarmee werk geskakel kan word met die Lloyd en saamgegaan het, lewer ’n belangrike Bleek-argief sowel as Afrikaanse literêre bydra tot die ondersoek van orale werk deur, onder meer, Jan F. E. Celliers, literatuur in Suid-Afrika. Ook hier is C. Louis Leipoldt en Eugène N. Marais. haar fokus op Von Wielligh se werk In die hoofstuk “A spring song to vernuwend. In Die sterre sê ‘Tsau’ beweer the uintjieblom” illustreer Van Vuuren Antjie Krog dat dit dikwels uit (veral die die waarde van ’n interdissiplinêre sintaksis van) die Bleek en Lloyd-argief vergelykende benadering verder, wanneer duidelik is dat die gesprekke oorspronklik sy toon dat ’n vergelyking van “A song in ’n mengsel van /Xam-tale en Afrikaans sung by the star !Gaunu, and especially plaasgevind het en deur die Duitse by Bushman women” (soos in 1875 deur Bleek en Lloyd in Engels neergeskryf Dia!kwain oorgedra aan Lucy Lloyd), is. Daarteenoor is Von Wielligh se werk Dorothea Bleek se Bushman Dictionary neergeskryf in die Afrikaans van sy 260 TYDSKRIF VIR LETTERKUNDE • 54 (1) • 2017 informante en het die verhale en poësie lewensverhale in verband bring met die dus ’n nuanse en onmiddellikheid wat verbannings- en gevangenismotiewe in soms in Bleek en Lloyd se argief ontbreek.
Load more

Recommended publications
  • Verby Komatipoort? Rasseproblematiek in Die Portugees-Afrikaanse Reisverhale Van Elsa Joubert
    VERBY KOMATIPOORT? RASSEPROBLEMATIEK IN DIE PORTUGEES-AFRIKAANSE REISVERHALE VAN ELSA JOUBERT. LIZETTE GROBLER Tesis ingelewer ter gedeeltelike voldoening aan die vereistes vir die graad van Magister in die Lettere en Wysbegeerte aan die Universiteit van Stellenbosch. Studieleier Prof. Siegfried Huigen Desember 2005 Ek, die ondergetekende, verklaar hiermee dat die werk in hierdie tesis vervat, my eie oorspronklike werk is en dat ek dit nie vantevore in die geheel of gedeeltelik by enige universiteit ter verkryging van ’n graad voorgelê het nie. Handtekening: Datum: 1 September 2005 Bedankings My opregte dank aan: • My promotor, professor Siegfried Huigen, vir sy lankmoedigheid en skerpsinnige kommentaar • My eksaminatore, professor Louise Viljoen en professor Ena Jansen, vir hul insiggewende terugvoer • My eggenoot, Kobus Grobler, vir sy geduld, liefde, aanmoediging en ondersteuning • My ouers Albé en Suzie Bakker, vir hul gebede, taktvolle onderskraging en liefde • My skoonouers, Kobus en Jessie Grobler, my familie en ander pleitbesorgers vir hul ondersteuning, liefde en gebede • My vriendinne Retha Schoeman, Naomi Bruwer en Jihie Moon vir hul inspirasie en aanmoediging • My oupa, Freddie Bakker, wat my voorgraadse studie moontlik gemaak het • Al die dosente van die Departement Afrikaans en Nederlands, veral dr. Ronel Foster, vir hul hulp en belangstelling. • Mev. Hannie van der Merwe en mnr. Trevor Crowley wat gehelp het met die manuskrip se voorbereiding • My Hemelse Vader vir sy ruim oorskulp en groot genade. Erkennings Hiermee word
    [Show full text]
  • Van Calvinisme Tot Romantiek: Die Invloed Van Die Bybel Op Die Skrywerskap Van Hennie Aucamp Lina Spies
    LitNet Akademies Jaargang 13, Nommer 2, 2016, ISSN 1995-5928 Van Calvinisme tot Romantiek: Die invloed van die Bybel op die skrywerskap van Hennie Aucamp Lina Spies Lina Spies, Departement Afrikaans en Nederlands, Universiteit Stellenbosch Opsomming Hierdie artikel is die resultaat van my belangstelling in die neerslag van die Bybel en die godsdiens in die Afrikaanse letterkunde en spesifiek in die werk van Hennie Aucamp. Aucamp se omvattende oeuvre sluit sy groot kortverhaaloeuvre in, sy kabaret- en liedtekste, sy dagboeke en memoires. In sy memoires in In die vroegte (2003) skryf hy oor die sentrale rol van die Bybel en huisgodsdiens in die tipiese Afrikanergesin waarbinne hy grootgeword het. Ek bepaal my hoofsaaklik by Aucamp se kortverhaaloeuvre. In dié verband bespreek ek twee verhale uit sy debuut, Een somermiddag, waarin sy alter ego, die kind Wimpie, se skuld- en sondebesef ’n spelbederwer is. Twee personasies verteenwoordig in sy tweede bundel, Spitsuur, die buitestander wat breek met die tradisionele godsdiens van die Afrikanergemeenskap (“Au claire de la lune”) en die ek-spreker as reisiger (“My tante wat in Chelsea woon”), wat die voorloper is van die reisende romantikus en van die prominente romantiese en dekadente argetipes in Aucamp se latere werk. Hierdie argetipes is teenpole van die Bybelsgevormde Stormbergse boere in Aucamp se werk wat hy herskep as geesverwante van die wyse manne van Spreuke en Prediker. Waar Aucamp in sy memoires die lewensgevoel in sy kabaret- en liedtekste toeskryf aan die invloed van Prediker en ’n verband lê tussen die Prediker en Eugène Marais, kom ek tot die gevolgtrekking dat Aucamp se dekadentistiese sinisme inderdaad aansluit by die lewensgevoel van die digter van Prediker en van Eugène Marais.
    [Show full text]
  • The Dynamics of the Interaction Between Music and Society in Recorded Popular Afrikaans Music, 1900 – 2015
    The dynamics of the interaction between music and society in recorded popular Afrikaans music, 1900 – 2015. by Schalk Daniël van der Merwe Dissertation presented for the degree of Doctor of Philosophy (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Albert Mauritz Grundlingh Co-supervisor: Prof. Stephanus Muller December 2015 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2015 Copyright © 2015 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Acknowledgements Firstly, I would like to extend my gratitude to my two supervisors, Professors Albert Grundlingh and Stephanus Muller – I cannot think of a more suitable combination of minds for guiding me through the specific challenges of writing on this subject. I am also grateful for the History Department of Stellenbosch University for financial support, and to my colleagues Professors Sandra Swart, Bill Nasson, Wessel Visser, Dr. Anton Ehlers, (soon-to- be Dr.) Chet Fransch, Melvyn Daniels and Leschelle Morkel, and former colleague Dr. Sarah Duff – all of whom contributed in their own ways. Thank you to Mimi Seyffert, Marina Brink and Lynne Fourie at the University of Stellenbosch’s Library Archive for their help and guidance with archival material. Thank you also to Ernéne Verster and Huibre Lombard at the University of the Free State’s Institute for Contemporary History Archives, and to Monica van Deventer at the SABC Information Library for their help and correspondence.
    [Show full text]
  • The Influence of Indigenous Bushmen Musical Elements and Significant
    THE INFLUENCE OF INDIGENOUS BUSHMEN MUSICAL ELEMENTS AND SIGNIFICANT COMPOSITIONAL TRAITS ON NIEL VAN DER WATT’S SONG CYCLE, DIE WIN D DREUN SOOS 'N GHOERA, ‘N SIKLUS BOESMAN-MITES. Christiaan Bester, B.Tech., A.C., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Linda DiFiore, Major Professor Jeffrey Snider, Committee Member Paula Homer, Committee Member Stephen F. Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Bester, Christiaan. The Influence of Indigenous Bushmen Musical Elements and Significant Compositional Traits on Niel van der Watt’s Song Cycle, Die Wind Dreun soos ‘n Ghoera, ‘n Siklus Boesman-Mites. Doctor of Musical Arts (Performance), August 2014, 65 pp., 24 examples, bibliography, 21 titles. In Ghoera, Afrika-verse vir kinders, poet Hennie Aucamp demonstrates an affiliation with and reflection of his surroundings, such as the tribal communities he experienced as a child. This group of African children’s poems, published by Protea Boekhuis in 2011, became the source of inspiration for composer Niel van der Watt’s song cycle Die wind dreun soos ‘n ghoera, ‘n Siklus Boesman-mites. This study investigates and identifies significant compositional traits that contributed to van der Watt’s song cycle. To explore and understand the nature of such influences, the second chapter considers the composer’s early childhood; religious world views; student life; social, environmental, and political ideas; personal tonal language; and western musical elements.
    [Show full text]
  • Afrikaans Poetry (1955-2012)
    Athens Journal of Philology - Volume 3, Issue 2 – Pages 97-116 An Attempt at Periodizing Recent (Southern African) Afrikaans Poetry (1955-2012) By Bernard Odendaal A perspective is offered on Afrikaans poetry between 1955 and 2012. This literary era overlaps with the socio-political era of Apartheid and the struggle against it, as well as the consequent establishment of democracy in South Africa. An approach based on systems theory is combined with views that South African literature may be seen as a "story-scape" of major discourses. Both intra- and extra-systemic factors have influenced trends in Afrikaans poetry. Pressing Southern African socio-political issues have helped to shape the said Afrikaans poetry era into three distinctive periods. The first may be labelled the "literature of the Sixties" (a belated flowering of modernism in Afrikaans). The "Soweto riots" of 1976 then steered South Africa towards socio- political reform. A second poetry period, characterized by tensions between aesthetic and socio-political considerations, therefore covers the years up to the democratic elections of 1994. Since then, discourses like the postcolonial, postmodern and ecological have become centralized. Keywords: Afrikaans poetry, Periodization, Recent era. Introduction: A Bird’s-Eye View of the History of Afrikaans and Afrikaans Poetry before 1955 Afrikaans is a Southern African language, named after the continent on which it developed. It evolved from 17th century Dutch in the contact situation between Dutch and other settlers of European descent, the indigenous Khoikhoi cattle herders and other indigenous African peoples, as well as the Malaysian slaves who were imported to what was formerly known as the Cape of Good Hope.
    [Show full text]
  • Resensies/Reviews
    Resensies/Reviews • Leroux-Van der Boon, Marzanne. 2003. Granate bloei in Jerusalem. Wellington : Lux Verbi.BM. (Gretel Wybenga) ...................................................................... 181 • Crous, Marius. 2003. Brief uit die kolonies. Pretoria : Protea Boekhuis. (Adéle Nel) ................................................................................ 184 • Aucamp, Hennie. 2003. Skuinslig. ’n Dagboek (Maart 1996-April 1997). Pretoria : LAPA Uitgewers. (Thys Human) ........................................................................... 186 • Van Niekerk, Dolf. 2003. Die aarde waarop ek loop. Pretoria : LAPA Uitgewers. (Lucas Malan) ........................................................................... 189 • Carstens, W.A.M. 2003. Norme vir Afrikaans. Enkele riglyne by die gebruik van Afrikaans. Pretoria : Van Schaik. (A.G. Jenkinson) ....................................................................... 191 • Walters, M.M. 2003. Shih-Ching Liedereboek. Pretoria : Protea Boekhuis. (A.S. Robinson) ......................................................................... 194 • Moffet, Helen & Mphahlele, Es’kia. 2002. Seasons Come to Pass: A Poetry Anthology for Southern African Students. Cape Town : Oxford University Press Southern Africa. (J.E. Terblanche) ...................................................................... 197 Literator 25(1) April 2004:179-180 ISSN 0258-2279 179 • Coetzee, Christoffel. 2003. Toewaaisand. Pretoria : Protea Boekhuis. (Philip John) .............................................................................
    [Show full text]
  • Dramatic Arts
    NATIONAL CURRICULUM STATEMENT GRADES 10-12 (GENERAL) LEARNING PROGRAMME GUIDELINES DRAMATIC ARTS JANUARY 2007 CONTENTS 2 SECTION 1: INTRODUCTION 7 SECTION 2: INTRODUCING DRAMATIC ARTS 2.1 WHAT IS DRAMATIC ARTS? 2.2 WHAT IS THE PURPOSE OF DRAMATIC ARTS? 2.3 WHAT IS THE RELATIONSHIP BETWEEN DRAMATIC ARTS AND THE NATIONAL CURRICULUM STATEMENT PRINCIPLES? 2.4 PROFILE OF A DRAMATIC ARTS LEARNER 2.5 RELATIONSHIP BETWEEN DRAMATIC ARTS LEARNING OUTCOMES AND CRITICAL AND DEVELOPMENTAL OUTCOMES 2.6 WAYS TO ACHIEVE DRAMATIC ARTS LEARNING OUTCOMES SECTION 3: DESIGNING A LEARNING PROGRAMME FOR DRAMATIC 15 ARTS 3.1 INTRODUCTION 3.2 ISSUES TO ADDRESS WHEN DESIGNING A LEARNING PROGRAMME 3.3 DESIGNING A LEARNING PROGRAMME APPENDICES 27 APPENDIX 1: CONTENT FRAMEWORK FOR DRAMATIC ARTS GRADES 10-12 APPENDIX 2: SUGGESTED AND PRESCRIBED PLAYS APPENDIX 3: EXAMPLES OF WORK SCHEDULES FOR DRAMATIC ARTS LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – JANUARY 2007 1 SECTION 1 INTRODUCTION 1.1 INTRODUCING THE NATIONAL CURRICULUM STATEMENT 1.1.1 BACKGROUND In 1995 the South African government began the process of developing a new curriculum for the school system. There were two imperatives for this. First, the scale of change in the world, the growth and development of knowledge and technology and the demands of the 21st Century required learners to be exposed to different and higher level skills and knowledge than those required by the existing South African curricula. Second, South Africa had changed. The curricula for schools therefore required revision to reflect new values and principles, especially those of the Constitution of South Africa. The first version of the new curriculum for the General Education Band, known as Curriculum 2005, was introduced into the Foundation Phase in 1997.
    [Show full text]
  • Elsa Joubert: 'N Kommunikatiewe Benadering
    ELSA JOUBERT: 'N KOMMUNIKATIEWE BENADERING deur Dietloff Zigfried van der Berg Proefskrif voorgele ter gedeeltelike vervulling van die vereistes vir die Ph.D.-graad in Afrikaans en Nederlands in die Fakulteit Lettere en Wysbegeerte aan die Universiteit van Natal, Pietermaritzburg. Promotor: Prof. W. F. Jonckheere Junie 1993 Hiermee wil ek graag my dank betuig aan al die mense wat op soveel verskillende maniere daartoe bygedra het dat hierdie proefskrif voltooi kon word. My besondere dank aan professor Wilfred Jonckheere vir sy leiding, dominee Johan Spies vir sy programmering en aan Elizabeth vir jare se ondersteuning en geduldige Iyding. ELSA JOUBERT: 'N KOMMUNIKATIEWE BENADERING INHOUD 1 TEORETIESE ORleNTERING 1.1 Letterkundige benaderings 3 1.1.1 Mimetiese orientasie 6 1.1.2 Ekspressiewe teoriee 9 1.1.3 Objektiewe teoriee 12 1.1.4 Pragmatiese teoriee 15 1.2 Kommunikasiemodelle 17 1.2.1 Lineere model 18 1.2.2 Interaksionele model 19 1.2.3 Jakobson-model 20 1.2.4 Ontvangersmodel 24 1.2.5 Lesersmodel 28 1.2.5.1 Ooreenkomste 33 1.2.5.2 Verskille 36 1.3 Kommunikatiewe romankomponente 40 1.3.1 Sender c< S,! • r 48 1.3.1.1 Spraakweergawe 50 1.3.1 .2 Direkte vertellers 52 1.3.1.3 Indirekte vertellers 54 1.3.2 Boodskap 59 1.3.2.1 Karakter 62 1.3.2.2 Handeling 65 1.3.2.3 Tyd 70 1.3.2.4 Ruimte 72 1.3.3 Ontvanger 74 -1- 2 ONS WAG OP DIE KAPTEIN 2.1 Strategiese vaardigheid 78 2.2 Taalvaardigheid 91 2.2.1 Funksionele vaardigheid 92 2.2.2 Tekstuele vaardigheid 95 2.2.2.1 Koherensie 98 2.2.2.2 Tema 112 2.2.2.3 Tydruimte 124 2.2.2.4 Retorika 126 2.2.3
    [Show full text]
  • Reza De Wet (1952-2012): Life and Works
    Reza de Wet (1952-2012): Life and Works Daniël Botha Stander Dissertation presented in fulfilment of the requirements for the degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences at Stellenbosch University The financial assistance of the Andrew Mellon Foundation towards Daniël Botha Stander’s research is hereby acknowledged. Supervisors: Prof Shaun Viljoen and Dr Riaan Oppelt December 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2019 Signed: Daniël Botha Stander Copyright © 2019 Stellenbosch University All rights reserved 2 Stellenbosch University https://scholar.sun.ac.za Table of Contents Declaration 3 Abstract 6 Opsomming 7 Acknowledgments 8 List of figures 9 Chapter 1 “My plays are my diaries”: Situating a Biocritical Research Project on Reza de Wet in a Broader Literary Life Writing Discourse 13 Chapter 2 “My biographer will have fun”: Devising a Methodology for Reading De Wet’s Work in Relation to Her Life 47 Chapter 3 “I am deeply indebted to Jung”: De Wet's Idiosyncratic 'Jungian' Poetics 82 Chapter 4 “I am a period piece”: De Wet's Chronotopes and Her Symbolisation of
    [Show full text]
  • Woorde Wat Lewe 'N Huldeblyk Aan Elize Botha (19 November 1930 – 16 November 2007)1
    129 Huldeblyk Woorde wat lewe ’n Huldeblyk aan Elize Botha (19 November 1930 – 16 November 2007)1 Oor die jare heen het ek by meer as een geleentheid in formele trant oor Elize Botha geskryf. Daar was onder andere die inleiding tot ’n huldigingsbundel vir haar sestigste verjaarsdag,2 later ’n motivering vir haar aanstelling as buitengewone professor aan die Departement Afrikaans en Algemene Literatuurwetenskap ook aan Unisa,3 en meer onlangs ’n bydrae tot die geleentheidsbundel wat Naspers by haar uittrede uit hulle Direksie uitgereik het.4 Daardie skryfwerk het altyd maklik verloop omdat ek – ons persoonlike vriendskap daar gelaat – soveel dimensies van haar akademiese bedrywighede beleef het. Sy was die dosent vir Middelnederlands aan die Universiteit van Pretoria vanaf my tweede jaar; ek was haar eerste doktorale student en het onder haar leiding in die Nederlandse moderne prosa gepromoveer, en vanaf 1983 tot 1995 was ons kollegas in die Letterkunde-afdeling van die Departement Afrikaans aan Unisa. Toe sy vir drie jaar by ons ’n baie aktiewe professor extraordinarius was, was ek die Hoof van die Departement. Nogtans het daardie jarelange kollegialiteit my nie voorberei op hoe moeilik dit sou word om die huldeblyk aan te pak wat ek nou versoek is om te skryf nie. Dat Elize Botha nie meer met ons is nie, is deur die siekbed en begrafnis in November 2007 meedoënloos aan haar geliefdes en vriende duidelik gemaak. Dat Elize Botha die akademikus, die leser en skrywer, die woordmens stil geword het, is ’n leemte wat kollegas telkens opnuut ervaar. Botha se akademiese betrokkenheid kan met die omskrywing “Renaissance-mens” in sy klassieke betekenis gekarakteriseer word.
    [Show full text]
  • CV Hv Coller Afr Sonder Id 09
    CURRICULUM VITAE 1. PERSOONLIKE BESONDERHEDE NAAM: Hendrik Petrus van Coller GEBOORTEDATUM: 24 Maart 1949 GEBOORTEPLEK: Pretoria WERKSADRES: Departement Afrikaans en Nederlands, Duits en Frans Universiteit van die Vrystaat Posbus 339 Bloemfontein 9300 TELEFOON: (051) 401-2816 (w) NASIONALITEIT: Suid-Afrikaner HUIDIGE BETREKKING: Uitstaande professor en Departementshoof DEPARTEMENT: Departement Afrikaans en Nederlands, Duits en Frans 2. KWALIFIKASIES 2.1 Skoolopleiding Matrikuleer in die eerste klas met onderskeiding in Afrikaans aan die Hoërskool Florida (1966). Hoofseun, junior stadsraadslid, redakteur van skooltydskrif, eerstespan tennis, provinsiale kleure vir atletiek. 2.2 Naskoolse opleiding 1970 B.A. Regte, Universiteit van die Witwatersrand Onderskeidings: Afrikaans en Nederlands III Engels III (1992) 1971 B.A.-honneurs, Universiteit van die Witwatersrand (cum laude). 2 1973 M.A., Randse Afrikaanse Universiteit Titel van verhandeling: Die nasionale element in die skeppingswerk van N.P. van Wyk Louw. 1973-1975 Drs. Litt.: Doktorale studie in Algemene Literatuurwetenskap aan die Universiteit van Utrecht: Vergelykende Literatuurwetenskap. Byvakke: Teoretiese Literatuurwetenskap en Nederlandse Letterkunde. D. Litt et Phil.: Doktorale skripsie: Die mitologiese en psigologiese agtergronde van Die mugu; studieleier: prof. D.W. Fokkema. 1981 Doktorstesis: Etienne Leroux as siklusbouer; Randse Afrikaanse Universiteit; promotor: prof. F.I.J. van Rensburg. 3. ERVARING 3.1 Beroepservaring 1970-1972 Akademiese assistent, Universiteit van die
    [Show full text]
  • Hennie Aucamp: ʼn Gerontologiese Oeuvrestudie // Hennie Aucamp: a Gerontological Oeuvre Study
    Hennie Aucamp: ʼn gerontologiese oeuvrestudie S van Zyl orcid.org/0000-0002-3276-9354 Proefskrif voorgelê ter nakoming vir die graad Philosophiae Doctor in Afrikaans en Nederlands aan die Noordwes-Universiteit Promotor: Prof PL van Schalkwyk Gradeplegtigheid: Oktober 2019 Studentenommer: 20459408 VOORWOORD Ek bedank graag die volgende instansies vir hul ruim finansiële bydraes tot hierdie studie: NWU Nagraadse Beursskema, NWU Institusionele Kantoor, NWU Skool vir Tale se Navorsingseenheid: Tale en Literatuur in die Suid-Afrikaanse Konteks, prof. Phil van Schalkwyk vanuit sy persoonlike NRF-fonds, en die Suid-Afrikaanse Akademie vir Wetenskap en Kuns. Menings gelug en gevolgtrekkings gemaak in hierdie proefskrif is dié van die outeur en word nie noodwendig aan die onderskeie instansies en persone toegeskryf nie. ʼn Aanvanklike beoogde bydrae van hierdie studie was om Hennie Aucamp se literêre werke te digitaliseer, wat wel gedoen is met behulp van NB-uitgewers en die NWU se Sentrum vir Tekstegnologie (CTexT). Hiermee my dank aan Johann de Lange, Catrina Wessels en Roald van Eiselen in hierdie verband. Voorts bedank ek ook die biblioteekpersoneel verantwoordelik vir die Hennie Aucamp-versameling by die Universiteit van Stellenbosch, by name Marina Brink, Marieta Buys en Lynne Fourie, vir hul hulp met hierdie studie. My innige dank en waardering aan my jarelange vriendin, Sophia Kapp, vir die keurige teksredaksie van hierdie proefskrif. Haar onvoorwaardelike liefde en ondersteuning loop soos ʼn goue draad regdeur die studie. Hierdie proefskrif sou nie kon bestaan sonder die professionele akademiese leiding en ondersteuning van my promotorvriend, prof. Phil van Schalkwyk, nie. Wie sou ooit in 2007 kon raai dat ons eendag hier sou staan? Dankie dat jy in my bly glo het – veral toe ek aan myself getwyfel het.
    [Show full text]