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You searched for +publisher:"University of Pretoria" +contributor:("Grove, A.P."). Showing records 1 – 3 of 3 total matches.

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University of Pretoria

1. Ferreira, Jeanette. Terugkerende simbool in die poësie van Breyten Breytenbach.

Degree: MA, Afrikaans, 1982, University of Pretoria

Die literêre simbool word onderskei van die konvensionele simbool soos dit in A dictionary of Symbols van J.E. Cirlot verskyn. Die literêre simbool kan in die literêre kunswerk dieselfde, of 'n ander betekenis as die konvensionele simbool hê. Die literêre kunswerk self is die kontrole vir die literêre simbool. Die literêre kunswerk moet genoeg konstituerende elemente bevat om die literêre simbool "simbool" te maak. 'n Woord wat as literêre simbool funksioneer, kan in ander verse, selfs in dieselfde vers, weer voorkom sonder dat dit simbolies funksioneer. Die studie wys op die gevare van waninterpretasie indien simboliek van buite die kunswerk op die kunswerk afgedwing word. "Vel", "glas", "groen", "swart", "wit", en "water" word as simbole in Die ysterkoei moet sweet bespreek. Tabulering by hoofstukke 4, 5 en 6 dui aan in watter verse en versreëls die simbole voorkom, asook waar dieselfde woorde voorkom, maar nie as simbole funksioneer nie. Die simbole wat behandel word, is terugkerende simbole; dit keer telkens terug en roep telkens dieselfde assosiasie op, naamlik die van wysiging van konvensionele grense. Terselfdertyd skep dit 'n wêreld van versoenende eenheid, 'n wêreld waarin die paradoks van lewe en dood, binne en buite, heel en verbrokkeld, een word. In hoofstuk 7 wys die studie ook op die waarde van "buite-literêre" gegewe, naamlik die invloed van die Zen-Boeddhisme en die Surrealisme in Breytenbach se poësie. Hierdie invloede bevestig wat reeds deur analise uit die vers duidelik geword het: dit is nie irrelevant ten opsigte van die poësie nie, maar dit alleen kan nie die vers bevredigend genoeg verklaar nie. Die slotsom is dat die eenheid van 'n totale wêreld, deur o.a. die gebruik van terugkerende simbole, in Breytenbach se poësie herkenbaar word wanneer, met die vers as enigste gegewe, die verse aan analise onderwerp word. Advisors/Committee Members: Grove, A.P. (advisor).

Subjects/Keywords: Terugkerende simbool; Poësie; Breyten Breytenbach; UCTD

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Ferreira, J. (1982). Terugkerende simbool in die poësie van Breyten Breytenbach. (Masters Thesis). University of Pretoria. Retrieved from http://hdl.handle.net/2263/32320

Chicago Manual of Style (16th Edition):

Ferreira, Jeanette. “Terugkerende simbool in die poësie van Breyten Breytenbach.” 1982. Masters Thesis, University of Pretoria. Accessed September 27, 2020. http://hdl.handle.net/2263/32320.

MLA Handbook (7th Edition):

Ferreira, Jeanette. “Terugkerende simbool in die poësie van Breyten Breytenbach.” 1982. Web. 27 Sep 2020.

Vancouver:

Ferreira J. Terugkerende simbool in die poësie van Breyten Breytenbach. [Internet] [Masters thesis]. University of Pretoria; 1982. [cited 2020 Sep 27]. Available from: http://hdl.handle.net/2263/32320.

Council of Science Editors:

Ferreira J. Terugkerende simbool in die poësie van Breyten Breytenbach. [Masters Thesis]. University of Pretoria; 1982. Available from: http://hdl.handle.net/2263/32320


University of Pretoria

2. Roodt, P.H. (Pieter Hendrik). Ek (-spreker) in Die ysterkoei moet sweet van Breyten Breytenbach.

Degree: Afrikaans, 1977, University of Pretoria

ENGLISH : In this study I examine the I-speaker in Breyten Breytenbach's first volume of poetry. In order to do this a representative number of poems were selected from the three sections in this book and the role and function of the I-speaker in these were traced. Critics differ as to how the I manifests itself in these poems. In the first chapter this is pointed out by briefly quoting a few of these differences, e.g.: According to F.I.J. van Rensburg and R. Schutte Die ysterkoei moet sweet (The iron cow must sweat) is exhibisionistic; N.P. van Wyk Louw is of the opinion that the poet is somewhat too much involved with himself (" 'n bietjie te veel ek-Breyten-rig-heid"); A.P. Grové judges that the I in some of these poems enforces itself upon the reader with the danger of impairing the ontic status of the work of art; André P. Brink and Rob. Antonissen consider these poems as being poetry of the I without an egotistic tone; for D.J. Opperman this is poetry with a preference for selfportrayal and mockery of the self; however, he finds some of the poems forced and exhibisionistic. In Chapter 2 I deal theoretically with the I-speaker in the poem. By referring to and commenting on various critics I try to arrive at answers on among others the following questions: What rôle does the I fulfil in the poem? Is there a difference between the poetic I and the personal I? These questions have been satisfactorily answered in theoretical writings, but Breytenbach's poetry forces one to answer these questions anew. From Chapter 3 onwards I analysed the selected poems. The first poem "Bedreiging van die Siekes" (Threatening of the Ill) is dealt with at length. This is a most unusual poem for Afrikaans. In this introductory poem there are two conspicious I-speakers: a jeering master of ceremonies who introduces to an audience ,"Die maer man met die groen trui" (The thin man with the green sweater) - "Breyten Breytenbach ". This Breytenbach then recites a poem which is revealing of his anxiety and fear: he is entangled in a world which threatens him. This world is portrayed through strong visual images - a surrealistic world in which the streets are transformed into blood by the rain. This speaker prophetically describes his inevitable burial in which his audience shall play a part, since he demands them to wound him first and then plant him in the ground. But he - an invalid - will continue talking about the coexistence and togetherness of extremes: death and decomposition on the one hand, "leeubekkies" (snapdragons) and "prewelende monnike" (muttering monks) on the other. In the last stanza the master of ceremonies again comments jeeringly on the Breytenbach in the poem: He is harmless, have mercy on him. This poem can be read as a dedication to the remainder of poems in the volume, and in particular to those in the first section, Die maer man met die groen trui (the thin man with the green sweater) - a title taken from the poem: particularly through the precédé of selfmockery and the continual recurrence of the motives of… Advisors/Committee Members: Grove, A.P. (advisor).

Subjects/Keywords: Die ysterkoei moet sweet; Breyten breytenbach; The iron cow must sweat; I-speaker; Ek-spreker; UCTD

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Roodt, P. H. (. (1977). Ek (-spreker) in Die ysterkoei moet sweet van Breyten Breytenbach. (Masters Thesis). University of Pretoria. Retrieved from http://hdl.handle.net/2263/25284

Chicago Manual of Style (16th Edition):

Roodt, P H (Pieter. “Ek (-spreker) in Die ysterkoei moet sweet van Breyten Breytenbach.” 1977. Masters Thesis, University of Pretoria. Accessed September 27, 2020. http://hdl.handle.net/2263/25284.

MLA Handbook (7th Edition):

Roodt, P H (Pieter. “Ek (-spreker) in Die ysterkoei moet sweet van Breyten Breytenbach.” 1977. Web. 27 Sep 2020.

Vancouver:

Roodt PH(. Ek (-spreker) in Die ysterkoei moet sweet van Breyten Breytenbach. [Internet] [Masters thesis]. University of Pretoria; 1977. [cited 2020 Sep 27]. Available from: http://hdl.handle.net/2263/25284.

Council of Science Editors:

Roodt PH(. Ek (-spreker) in Die ysterkoei moet sweet van Breyten Breytenbach. [Masters Thesis]. University of Pretoria; 1977. Available from: http://hdl.handle.net/2263/25284


University of Pretoria

3. Nolte, Katie Elizabeth. DJ Opperman en die dogterlike beeld.

Degree: Afrikaans, 1976, University of Pretoria

Subjects/Keywords: Die werkwoord-metafoor; Die genitief-matafoor; Die verplasende en die verwysende metafoor; Die digterlike beeld; DJ Opperman; UCTD

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Nolte, K. E. (1976). DJ Opperman en die dogterlike beeld. (Doctoral Dissertation). University of Pretoria. Retrieved from http://hdl.handle.net/2263/32382

Chicago Manual of Style (16th Edition):

Nolte, Katie Elizabeth. “DJ Opperman en die dogterlike beeld.” 1976. Doctoral Dissertation, University of Pretoria. Accessed September 27, 2020. http://hdl.handle.net/2263/32382.

MLA Handbook (7th Edition):

Nolte, Katie Elizabeth. “DJ Opperman en die dogterlike beeld.” 1976. Web. 27 Sep 2020.

Vancouver:

Nolte KE. DJ Opperman en die dogterlike beeld. [Internet] [Doctoral dissertation]. University of Pretoria; 1976. [cited 2020 Sep 27]. Available from: http://hdl.handle.net/2263/32382.

Council of Science Editors:

Nolte KE. DJ Opperman en die dogterlike beeld. [Doctoral Dissertation]. University of Pretoria; 1976. Available from: http://hdl.handle.net/2263/32382

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