Stilet : Tydskrif van die Afrikaanse Letterkundevereniging - latest Issue
Volume 27, Issue 2, 2015
Source: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp i –ii (2015)More Less
Op uitnodiging van 'n plaaslike leeskring het bekroonde Afrikaanse digter en dramaturg Adam Small in September 2014 'n besoek aan Potchefstroom gebring. Die geleentheid is deur die vakgroep Skryfkunde en die ATKVSkryfskool van die Noordwes-Universiteit aangegryp om 'n verskynsel van kennelike aktualiteit in die Afrikaanse letterkunde, met name in die Afrikaanse digkuns, by wyse van 'n seminaar oor die aangeleentheid in die kollig te plaas.
Author Anastasia De VriesSource: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp 1 –16 (2015)More Less
This article explores the literary reflection of Kaaps in two poems written by Marlene Van Niekerk, writer and poet, which appear in her latest publication, Kaar (2013) from the perspective of linguistic diversity. A dialectological and sociolinguistic analysis of her use of Kaaps serves as background for the view that Kaaps belongs to all speakers who regard Afrikaans as a heterogeneous language, even those who are not native speakers of Kaaps. I argue that Van Niekerk's Kaaps is not merely a representation of what she perceives Kaaps to be or an attempt at "imagining the other" but that her documentation of this variety is a true and authentic reflection of Kaaps as it is spoken in the Boland and Macassar near Strand in the Western Cape. In her Kaapse poems we see both a linguist and creative writer at work, and beyond that, Van Niekerk as a medium for Kaaps.
Author Hans Du PlessisSource: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp 17 –31 (2015)More Less
The question is often asked why I have written poetry in the Griqua dialect of Afrikaans? The term Griqua verse refers to my four volumes of poetry in this dialect. The article deals with the subsequent issue of appropriation in literature and questions connected to it, including: Whose dialect is it? What do you know about the dialect? Whose intellectual property is it? Whose voice is it? Within the framework of practice based research, the ethics of my writing in a dialect are discussed, and it asks about the place of this poetry in the Afrikaans literary system. It points out that the choice of the specific linguistic code is based on extensive sociolinguistic research. A number of other literary works in dialects are referred to. It is argued that negative reaction on the Griqua poetry is in most cases a political reaction and not a literary one.
Source: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp 32 –62 (2015)More Less
Dialectic varieties of Afrikaans in poetry since the Movement of the Sixties
Employing dialectic or colloquial varieties of Afrikaans for poetic purposes has been a trend of growing importance in the history of Afrikaans literature, especially since the advent of the Movement of the (Nineteen) Sixties. The relevant Afrikaans varieties include regional idioms like Karoo and Bushmanland Afrikaans, but also sociolects like "Loslitafrikaans" ('informal' Afrikaans, in which a significant amount of English vocabulary is introduced), forms of Cape Afrikaans, and Griqua Afrikaans. As a stylistic device, the use of dialectic Afrikaans has served - sometimes simultaneously - both literary strategic purposes (striving for poetic and/or poetry system renewal) and socio-political aims (as actuality poetry or socio-politically engaged literature). Seen in total, it transpires that the pressing socio-political and broader cultural conditions that have dictated past or are powering present developments in South Africa, loom large behind the relative importance of this trend in Afrikaans poetry.
Author Jako OlivierSource: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp 63 –82 (2015)More Less
This article explores Swartafrikaans and Tsotsitaal as alternative non-standard codes of Afrikaans in two poems. The concept of standardised Afrikaans is well documented in the subject literature, but proves problematic in a context where language borders are dynamic. To this end the concept of translanguaging is useful to represent the negotiation between languages by bi- and multilinguals. Another important aspect is the use of language crossing through which languages are imitated. Swartafrikaans refers to a variety of Afrikaans historically used by non-Afrikaans speakers of African languages in South Africa. Furthermore, Tsotsitaal refers to an informal slang based on Afrikaans. The use of Tsotsitaal in 'Last Night' by Frans van Rensburg and Swartafrikaans in 'Die Djêrrê en die dooiwêl' by R.K. Belcher were explored in this article. It was found that rather than using Tsotsitaal and Swartafrikaans respectively these two poets employed a language-crossing strategy through which translanguaging takes place.
Author Christo Van RensburgSource: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp 83 –111 (2015)More Less
"Klipwerk" (Stone Work), Van Wyk Louw's 1954 poem, actually a series of 97 separate poems, is interpreted as a poem about romantic and amorous inclinations. "Klipwerk" tells of courtship strategies, of falling in and talking about and making love, of hardships, loneliness, jealousy and the many sides attached to the natural urge of humans to fulfil their obligation to populate the earth. As will be pointed out, the sub-poems in "Klipwerk" are clearly linked thematically. New light is shed on parts which were previously deemed to be unclear parts: some verses, the title of the poem, as well as the syntactically unfinished first two lines, written in the standard Afrikaans code. The rest of the poem is written in the Afrikaans dialect of the Roggeveld region - one of the oldest Afrikaans dialects in the north western Karoo-region, where Van Wyk Louw grew up and which forms the spatial setting of "Klipwerk". This warrants some remarks about the dialect used, as well as on closely related Afrikaans dialects of that region. It is shown that Van Wyk Louw's presentation of the poem series inspires many interconnected interpretations of it - meanings well concealed under a seemingly simple surface.
Author Daniel HugoSource: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp 112 –119 (2015)More Less
A translator's biggest challenge is to determine the exact register of the source text. When translating from a dialect, the translator encounters an even bigger problem, as the dialect could sound much more informal or humorous to a standard language speaker than was originally meant. When translating Kaaps, it becomes more complicated, as there are many variants of this sociolect (even if a poet like Nathan Trantraal denies this vehemently). The language of Adam Small, Loit Sôls, Peter Snyers and Nathan Trantraal differs in many aspects. A standard language translation of a dialect text is just as unsatisfactory as a translation into an artificially created dialect (as illustrated by Mike Dickman's translation of Nathan Trantraal). Therefore, it seems as if dialect texts are, in essence, untranslatable.
Author Adam SmallSource: Stilet : Tydskrif van die Afrikaanse Letterkundevereniging 27, pp 120 –131 (2015)More Less
Wat volg is wesentlik my bydrae tot die oggendseminaar wat in Potchefstroom gehou is op 27 September 2014. Die seminaar self is aangebied onder die titel 'Afrikaanse omgangsvariëteite'. Die titel van mý stuk op die dag was Die impak van armoede op woordkuns: 'n persoonlike verslag.