An analysis of poetic syntax with special reference to Stockenström’s The Wisdom of Water (2007)
- Authors: Murdoch, Alan
- Date: 2019
- Subjects: Poetics , Poetry -- History and criticism Afrikaans poetry -- 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/41581 , vital:36538
- Description: Poetry, by its very nature, is different to prose. Through ostranenie, the poet tries to foreground his or her message (meaning). Ostranenie is defined as follows: ‘A neologism, it implies two kinds of action: making strange, and pushing aside. Consistent with this double meaning, the concept refers to the techniques writers use to transform ordinary language into poetic language’ (www.oxfordreference.com). Gräbe (1997: 25) states: ‘The recognition of a difference between ordinary or normal language on the one hand, and “unusual” or “different” language use on the other hand is dependent upon the distinction […] between “automatisation” and “foregrounding.”’ This study will look at poetry, specifically that of Wilma Stockenström in The Wisdom of Water (2007), through the lens of syntax.The aim of this study is to determine the unique contribution of syntactic strategies for analysing and interpreting poetry and how they aid the poet in foregrounding his or her intended meaning. The strategies investigated are those detailed by Ina Gräbe in Syntax in Poetry (1997), namely the violation of grammatical rules in poetic language (specifically displacement, deletion and selectional deviation), the exploitation of forms of repetition in syntactic pattern formation (specifically coupling, parallelism and elaboration) and finally syntactic units and typographic demarcations (specifically the relationship between sentence and line and, the relationship between sentence and stanza). Through qualitative analysis, this study performs a syntactical structure analysis of Stockenström’s poetry in The Wisdom of Water (2007) and shows how the use and effect of Gräbe’s syntactic strategies can foreground a poet’s intended meaning. It will further show the way in which such a linguistic analysis can provide insight into the poet’s meaning, that might not otherwise have been apparent to a reader.
- Full Text:
- Date Issued: 2019
- Authors: Murdoch, Alan
- Date: 2019
- Subjects: Poetics , Poetry -- History and criticism Afrikaans poetry -- 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/41581 , vital:36538
- Description: Poetry, by its very nature, is different to prose. Through ostranenie, the poet tries to foreground his or her message (meaning). Ostranenie is defined as follows: ‘A neologism, it implies two kinds of action: making strange, and pushing aside. Consistent with this double meaning, the concept refers to the techniques writers use to transform ordinary language into poetic language’ (www.oxfordreference.com). Gräbe (1997: 25) states: ‘The recognition of a difference between ordinary or normal language on the one hand, and “unusual” or “different” language use on the other hand is dependent upon the distinction […] between “automatisation” and “foregrounding.”’ This study will look at poetry, specifically that of Wilma Stockenström in The Wisdom of Water (2007), through the lens of syntax.The aim of this study is to determine the unique contribution of syntactic strategies for analysing and interpreting poetry and how they aid the poet in foregrounding his or her intended meaning. The strategies investigated are those detailed by Ina Gräbe in Syntax in Poetry (1997), namely the violation of grammatical rules in poetic language (specifically displacement, deletion and selectional deviation), the exploitation of forms of repetition in syntactic pattern formation (specifically coupling, parallelism and elaboration) and finally syntactic units and typographic demarcations (specifically the relationship between sentence and line and, the relationship between sentence and stanza). Through qualitative analysis, this study performs a syntactical structure analysis of Stockenström’s poetry in The Wisdom of Water (2007) and shows how the use and effect of Gräbe’s syntactic strategies can foreground a poet’s intended meaning. It will further show the way in which such a linguistic analysis can provide insight into the poet’s meaning, that might not otherwise have been apparent to a reader.
- Full Text:
- Date Issued: 2019
Semiotics as a medium of analysis in selected poetic works of S.E.K. Mqhayi
- Authors: Mzinzi, Thanduxolo Samuel
- Date: 2007
- Subjects: Mqhayi, S. E. K. -- Criticism and interpretation , Poetry -- Analysis , Poetics , Semiotics
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8470 , http://hdl.handle.net/10948/576 , Mqhayi, S. E. K. -- Criticism and interpretation , Poetry -- Analysis , Poetics , Semiotics
- Description: In reference to Moleleki (1988:122), African poetry as a result of contrast rather than individual, is the representation of a community. This representation contains a scale of values based on the community, and it gives symbolic expression to the community: manifesting a community of tradition from the past through the present to the future. Going by the above notion, the poet assumes the responsibility of being the spokes-person of the community in which he/she finds and identifies himself/herself. He/she feels the pain felt by his/her people, and shares the joy shared by them. His/her representation therefore is both genuine and representatively expressive in nature. In the chosen poems of S. E. K. Mqhayi the above mentioned aspects of poetic writing are well expressed. This representation being a symbolic expression on behalf of the community holds a magnificent semiotic significance. Such semiotic significance, which boarders around the several highs and lows of the community’s lifestyle. The community poet in this context blends the past and the present in his verses attempting to both preserve and express the sorrows, the joys, the pains as well as the fears of his community and its people. These are captured in chapters three and four of this study. The community poet under the worst form of systematized inhuman, racist subjection called apartheid employed careful and skilful means of reciting as well as penning his verses. In the last four chapters one discovers a skilful means of masking in order to avoid being penalised. S.E.K Mqhayi’s element of symbolic expression is by far the most significant aspect of his poems. A man who lived in the days of abject institutionalised racism and being one of those discriminated against, had no choice but to be loyal to his oppressors and at the same time, expressing himself in the most creatively careful manner. His works are rich with encodings and embellishments. These encodings and embellishments require some careful skills to decode and unveil. This research work will centre mainly on the unravelling of all that was either encoded or embellished within each selected work.
- Full Text:
- Date Issued: 2007
- Authors: Mzinzi, Thanduxolo Samuel
- Date: 2007
- Subjects: Mqhayi, S. E. K. -- Criticism and interpretation , Poetry -- Analysis , Poetics , Semiotics
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8470 , http://hdl.handle.net/10948/576 , Mqhayi, S. E. K. -- Criticism and interpretation , Poetry -- Analysis , Poetics , Semiotics
- Description: In reference to Moleleki (1988:122), African poetry as a result of contrast rather than individual, is the representation of a community. This representation contains a scale of values based on the community, and it gives symbolic expression to the community: manifesting a community of tradition from the past through the present to the future. Going by the above notion, the poet assumes the responsibility of being the spokes-person of the community in which he/she finds and identifies himself/herself. He/she feels the pain felt by his/her people, and shares the joy shared by them. His/her representation therefore is both genuine and representatively expressive in nature. In the chosen poems of S. E. K. Mqhayi the above mentioned aspects of poetic writing are well expressed. This representation being a symbolic expression on behalf of the community holds a magnificent semiotic significance. Such semiotic significance, which boarders around the several highs and lows of the community’s lifestyle. The community poet in this context blends the past and the present in his verses attempting to both preserve and express the sorrows, the joys, the pains as well as the fears of his community and its people. These are captured in chapters three and four of this study. The community poet under the worst form of systematized inhuman, racist subjection called apartheid employed careful and skilful means of reciting as well as penning his verses. In the last four chapters one discovers a skilful means of masking in order to avoid being penalised. S.E.K Mqhayi’s element of symbolic expression is by far the most significant aspect of his poems. A man who lived in the days of abject institutionalised racism and being one of those discriminated against, had no choice but to be loyal to his oppressors and at the same time, expressing himself in the most creatively careful manner. His works are rich with encodings and embellishments. These encodings and embellishments require some careful skills to decode and unveil. This research work will centre mainly on the unravelling of all that was either encoded or embellished within each selected work.
- Full Text:
- Date Issued: 2007
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