Show simple item record

dc.contributor.authorTaljard, Maria Elizabeth
dc.date.accessioned2009-03-16T14:52:47Z
dc.date.available2009-03-16T14:52:47Z
dc.date.issued2007
dc.identifier.urihttp://hdl.handle.net/10394/1643
dc.descriptionThesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2007.
dc.description.abstractThe volume of poetry Kleur kom nooit alleen nie (Colour never comes on its own) by Antjie Krog, is analysed extensively in this thesis. The main focus of the study is the way in which metaphors associated with boundaries, bordering, transgression and the crossing of boundaries are used to represent the struggle to come to terms with a traumatic past and to rethink new possibilities of co-existence in the future. In the poems the boundaries of the word, the text and the genre of poetry, as well as geographical and political boundaries and the boundaries of gender, especially the boundaries instituted by the patriarchal order, are challenged. The narration of alternative histories to supplement and correct documented history may also be considered as a boundary-crossing activity. Although colour is the most obvious metaphor of the divisions between people and is indeed used as the central metaphor throughout the volume, many other, sometimes more subtle examples of boundaries and bordering are explored and developed. There is for instance a strong focus on the psychological complexity of creativity and of writing poetry. The poet's withdrawal to a liminal zone which incorporates the almost spiritual dimension of her creative activities clearly forms a kind of leitmotiv in the collection. The text clearly suggests that the artist as a liminal figure achieves an enhanced ability to understand the forces at work in a community. Sharing the results of this insight from the liminal zone with the community implies that the artist can stimulate innovative processes which will obliterate boundaries and enable people to co-exist peacefully. Although the crossing of borders in most cases result in being wounded, there are also the possibilities of recovery and healing. The resultant scars are often regarded as strong identity-shaping features in people. Krog argues that language plays a decisive role in processes of reconciliation and that the text itself becomes a threshold area where different discourses interact and cross-fertilise one another. The structure of the thesis reflects the theoretical approach and is an attempt to present a balanced discussion of the aesthetic and the ideological aspects of Kleur kom nooit alleen nie as a poetic text. Appropriate theories are implemented to do justice to both the aesthetic qualities and the ideological undercurrents of single poems as well as the volume as such. Two discourses are therefore superimposed in order to present an adequate reading of this polyphonic and ambivalent text. 'The exploration of the varied manifestations of the boundary forms a continuous thematic line throughout the thesis but related themes such as identity, liminality and hybridity are also incorporated. On account of the postmodernistic nature of the text, the basic theoretical framework is that of literary postmodernism, with narrativity of the text, intertextuality, post-colonialism and feminism as its most significant manifestations.
dc.publisherNorth-West University
dc.subjectBoundaryen
dc.subjectLiminalityen
dc.subjectHybridityen
dc.subjectPostmodernismen
dc.subjectPostcolonialismen
dc.subjectFeminismen
dc.subjectIntertextualityen
dc.titleTussen Gariep en Niger : die representasie en konfigurasie van grense, liminaliteit en hibriditeit in Kleur kom nooit alleen nie van Antjie Krogafr
dc.typeThesisen
dc.description.thesistypeDoctoral


Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record