Die komposisionele spel in die poësie : 'n verkenning van Antjie Krog se Otters in Bronslaai / Thomas Gouws

• Main Author: Gouws, Tom
• Language: other
• Published: 2015
• Online Access: http://hdl.handle.net/10394/14636

In this study an attempt has been made to put forward within the framework of literary theory the concept of ‘composition’’ as an integral manifestation of a literary work. An eclectic investigation of the text was the method followed. It became obvious that a thorough look at composition and unity of structure needed to be placed in a wider context, namely in an interlocutory framework of communication in which the author, text and reader each contributes in generating the resultant interaction. Each component is therefore a specific part of the total communicating act, and each on its part is based on some or other literary movement or train of thought. The variety of perspectives naturally shows up many facets of the concept of composition. In this study composition in Antjie Krog’s OTTERS IN BRONSLAAI is investigated. In the course of the discussion a variety of motifs, themes and symbols is at all times pointed out in the closely interwoven network which comprises the anthology. These structural principles within the text are mainly generated from the title of the book. The arrangement of the sections, made possible by presenting the anthology in separate rubrics, has given an external structuring to the over-all text. This was thoroughly investigated from the compositional aspect. The compositional juxtaposition of the two main streams of thought in the collection of poems - eroticism and religion comprises the basic tension of the poetical discourse. In con= junction with this, the special combinatory nature of the compositional technique of complement_ forms the basis of the exceptionally closely-knit composition of the whole collection. The conclusion is reached that, as a coherent system, a good literary text also communicates by way of its compositional structure. === Thesis (MA)--PU vir CHO, 1986