1887

n Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies - Die sin as narratiewe kode in "Die uur van die idiote" deur Abraham H. de Vries

Volume 31, Issue 1
  • ISSN : 0258-2279
  • E-ISSN: 2219-8237
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Abstract

In hierdie artikel word gefokus op die volgende aspekte van die sinshantering in "Die uur van die idiote" deur Abraham H. de Vries: woord- en fraseherhaling, enumerasie, weglating (ellips), woordorde, ritme, lengte en samestelling, en klankherhaling. Deur herhaling word die ironiese situasie waarin die karakters hulle bevind, gereleveer, asook hulle frustrasie en wedersydse magteloosheid. Enumerasie staan eweneens in diens van die ironie, meer bepaald ironie wat geskep word deur die teenstelling tussen materiële volheid en eksistensiële leegheid, asook van die feit dat die karakters verbruiksartikels is binne 'n metaforiese tronk waarin daar gebrek aan medemenslikheid is. Deur ellips word die sentrale karakter se ontnugtering gekommunikeer, asook die enigmaties-onsekere verhouding tussen hom en sy vrou, maar daarteenoor ook haar oortuiging dat liefde tóg nog tussen hulle moontlik is. Verder demonstreer dit die versaakliking van die mens. Woordordewysiging sluit aan by die paradigma van ontmensliking, maar dui ook op die oortuiging dat eksistensiële bevryding tóg moontlik is. Dit loop ook uit op 'n klimaks. Ritme staan in diens van die temas van ironie en eksistensiële ontreddering. Dit dien ook as emosionele kode vir die karakters se eksistensiële krisis. Sinslengte en -samestelling releveer 'n versteurde verhouding, asook eksistensiële gebondenheid; verder ook die soms magtelose sinisme van die sentrale karakter. Deur klankherhaling word die leser se aandag gevestig op begrippe wat vir die strekking van die verhaal belangrik is.


This article focuses on the following aspects of syntax in "Die uur van die idiote" by Abraham H. de Vries: word and phrase repetition, enumeration, omission (ellipsis), word order, rhythm, length and composition, and sound repetition. Through word and phrase repetition the ironic situation in which the characters find themselves is made relevant, as well as their frustration and mutual powerlessness. Enumeration also is an agent of irony, more specifically irony created by the contrast between material fullness and existential emptiness, as well as of the fact that the characters are consumer items inside a metaphorical prison in which there is a lack of humaneness. Through ellipsis the disillusionment of the central character is communicated, as well as the enigmatically uncertain relationship between him and his wife, contrasting with her conviction that love is still possible between them. It also demonstrates the objectification of the human being. Change in word order is connected to the paradigm of dehumanisation, but also indicates the conviction that existential liberation is after all possible. This also leads to a climax. Rhythm communicates the themes of irony and existential bewilderment. It also serves as an emotional code for the existential crisis of the characters. Sentence length and composition emphasise a disturbed relationship, existential imprisonment and the sometimes helpless cynicism of the central character. Through sound repetition the reader's attention is focused on concepts that are important for the meaning of the story.

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/content/literat/31/1/EJC62127
2010-04-01
2017-12-15

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