Die Suid-Afrikaanse romansisteem anno 1981 : 'n vergelykende studie
Abstract
The purpose of this study is the reconstruction of the system of the South African novel during 1981 by means of the
Comparison of three novels and their reception. The three
novels are Op die rug van die tier by Anna M. Louw, A ride
on the whirlwind by Sipho Sepamla and July's people by
Nadine Gordimer.
In chapter 1 key concepts of the general systems theory are
discussed and a theory of literary systems deduced from
the work of literary theorists. The main conclusions are:
1. A literary system is a proposal for arranging diverse
literary data into a unified whole. The boundaries of
such a system must be drawn beyond the text, since
literature as a system is open to its environment via
writer and reader. The entities within such a system
are further specified in a model of a novel system.
2. A literary system is a hierarchical structure of forms
and norms in which certain entities arc dominant, but
which also changes by way o[ conversion and automatization. A literary system is not monolithic, but consists
of competing strata.
3. Every new work both continues a system and changes it.
The state of a literary system can change very quickly.
Such changeability does not, however, mean that a system
cannot be perceived.
The model of a novel system proposed in chapter 1 focuses
on the structure of the code. It proposes a code consisting of three components, viz. a syntactic, a semantic and
a pragmatic component. In the syntactic component the relations between chosen syntactic units such as character,
time, setting, mood and voice are described. The semantic
component describes the relations between signs and denotata. Here principally literary historical segmentations
of the semantic universe are used. •The pragmatic component describes the enthralling effect a novel has on its
readers.
This model has been used to describe the main novel systems
in South Africa. After that the three novels are analysed
and their reception compared with the system descriptions.
To avoid interference the analyses have been done independently of the system descriptions.
Chapter 2 surveys literary systems, the drawing of system
boundaries and also the origin of literary systems in South
Africa. It is postulated that literary systems in South
Africa originated by a branching-off from two "mother traditions", viz. the English and the Dutch traditions. In
the course of that transition Afrikaans literature as well
as the emergent Black literatures underwent a transition
from oral to typographical culture. By a survey of the pioneer missions among Blacks and of the First Afrikaans
Language Movement it is demonstrated that the same methods
have been used and the same objectives sot.
From the early literary history of South Africa the following hypotheses are deduced:
1. There exists a common South African system of the novel.
2. The principal systems (or subsystems) are the Afrikaans, the
English and the Black systems of the novel. (By Black
system is meant the system of Black writers writing in
English. Novel systems in African languages are excluded from this study.)
3. The principal differences between the three systems can
be ascribed to different degrees of transition from an
oral to a typographical culture. This particularly concerns plot structure, time, the nature and depiction
of characters, distance and perspective. These concerns
are subsumed under the concept of interiorization.
The following pictures of the postulated systems have subsequently been drawn on the basis of existing historical
research into South African literature:
The Afrikaans novel system
Syntactically the Afrikaans novel tends towards innovation,
experimentation and a marked degree of interiorization.
Typically its structure is a re-enactment of the past from
some point in the present. The climactic linear plot remains a convention. The dominant character type is the
anti-hero, the little man, the outsider.
Semantically the recent novel, particularly in the seven=
ties, tries to capture the "full South African reality"
(the racial problem). In the work of the so-called men of
the eighties topoi like violence, meaninglessness and
"erotic materialism" are found. The uniqueness of each is
frequently emphasized.
Pragmatically the old didactic tendency is continued and
much effort is expected from the reader, which makes the
novel elitistic. Nevertheless the novel still has a function to be critic a l of society, but also to create meaningful patterns. In the work of the eighties there is to some
extent a rapprochement between the novel and the general
public.
This system is characterized predominantly by realism, but
a change towards Fabulation is under way. The semantic
component dominates the system. The principal oppositions
are good/bad, light/darkness, black/white, which have se=
mantic offshoots like Africa, sex across the colour bar and
concepts like freedom, responsibility and power. Paradoxically the realistic writer writes books instead of trying
to change the conditions he depicts.
Syntactically certain character stereotypes are used and
much attention given to settings. Character is viewed
realistically. Land s cape is used as an image of spiritual
barrenness. The chronological sequence is maintained. Generally heterodiegetic narrators and variable perspective are
used.
Pragmatically the function of the novel is mainly to expose
poor social conditions, thus inducing in the reader the need
to change. Self-knowledge of the reader is an important
issue, implying reader identification. The pragmatic component, however, has a subordinate position in the system.
By increasing interiorization many of the conventions of
realism are changing. Past and present of a character
blend, distorting the chronology. A sense of fragmentation
leads to a fragmented text structure and fragmented characterization. Mental space is explored. The social problematic is to a certain extent replaced by a personal problematic. Much reader effort is expected, in particular as
regards identification with the characters. Plot structure
deviates from the usual climactic Linear type.
This system shows the typical themes of the African novel
(mainly the conflict between the West and Africa). This conflict is enacted in an urban setting and is described in
language that distinguishes it from literature in the Black
languages and an emotional intensity that distinguishes
it from Afrikaans and South African English Literature. It
is orientated towards the present and shows few traces of
traditional colloquialisms and proverbs. Oral narrative
structure still plays a prominent part, however. This includes narrator commentary, a simple plot structure and
simplistic characterization. Characterization is, however,
more complex than in the African novel in general using
more interiorized methods. Female characters are especially
important.
The Black novel still has primarily a social function but
there are signs of the increasing importance or the individual problems of the writer .
Conclusions on Op die rug van die tier
The main semantic oppositions in this novel are spelled out
in the exposition . These include oppositions like earth/
heaven, pious/wicked, funny/serious. Thus the theme of
this novel is man's quest for holiness amidst life’s banalities.
This quest is embodied in the main character, Wynand Vercuyl.
The semantic oppositions are also reflected in the traits of
the characters. In Wynand traits like piousness, heaven-centredness,
and comicality are revealed. He is n complex
character, and also the most :important embodiment of the
motif of the clown in this book. Self-revelation is the
main method of characterization, especially through the
dialogues of Wynand with his alter egos and with the pictures on his walls.
Multiple focalization and a polyphony of voices are characteristic of this novel. Not only Wynand but also the other
characters, other ideologies and other texts are given
voice in this novel. It also shows a predilection for re=
ported speech (dramatization).
The first part is a subsequent narration, but the novel does
not end when the present is reached. On that follows a
second hook. The novel thus in its temporal structure also
reaches out to the wonder realizing itself.
Although this is a difficult book, there are many factors
that contribute towards its suspense. This includes the
strong prospection, the variable mood and the ironic contrasts. The common reader will easily identify with
pathetic little Wynand.
The reception of this novel corroborates the dominance of
the little man, the anti-hero as character type and of the
realistic view of character. The autodiegetic-hypodiegetic
polyphony in the novel is seen as an innovation of the system. Semantically the personal problematic of Wynand's quest
is more important than the racial issue. Pragmatically
there is a strong convention of reader identification. Complexity, mainly the contrast between the simple surface and
the complex deeper meaning of this novel, is positively
evaluated.
In at least five respects this novel deviates from the
system. I have already mentioned the polyphony. Secondly
it is not primarily a "remembrance of things past", but
in its temporal structure reaches out towards the future.
Thirdly religion and occultism are much more predominant
than in the system. Fourthly Wynand as outsider does not
show any of the meaninglessness of other outsiders in recent
Afrikaans novels. And finally the comicality of the book
is in marked contrast to the high seriousness of most Afrikaans novels.
Conclusions on A ride on the whirlwind
This novel is full of images of unity and integration, but
this changes to chaos and disintegration owing to the whirl=
wind of the title. That is also its theme.
The whirlwind consists of seven cycles of violence and counter-violence, the effect of these being particularly the
disruption of cosy groups among the characters. The disintegration of the group of 12 students is particularly important.
There are two opposing groups in the book, viz. the revolutionaries and the police, but there are also a number of
intermediaries between these groups. The "empathy centre"
of this book is, however, the kind -hearted Sis Ida. Her
inner character is revealed more detailed.
The narrator-focalizer is conspicuous throughout and the
narrative distance is great, internal focalization being
less important. In this respect there is thus little in=
terrorization.
Although the book is set in historic space and time, reality is fictionalized and telescoped. There is also a transition to subjective time in the encl. Duration is mostly
that of scenes, linked by indications of time reminiscent
of comic books. The chronological sequence of events is
maintained. The main settings in the book are interiors
dominated by women.
It is likely to be a gripping book, because it treats of
things known to a Black public, generates pathos with the
suffering of common people and has a strong prospective
effect. Western readers will probably recognize the grip=
ping situation of a hero sent on a mission.
The committee of experts' reservations about the book can
all be regarded as typical traits of the Black system. This
includes a naive style, forced character development, the
journalistic theme and episodic structure. From the reception it :is also clear that the police are not treated
totally unsympathetically; neither does the book allow complete hero-worship of the revolutionaries.
The book shows a greater affinity with the oral tradition
than is the current tendency with i n the Black system. There
are also some signs of interiorization. The characterization
and the relation to reality are more complex than in the
system. The book shows much "philosophical distance" and
less emotional intensity than was expected.
The epigraph to this book is an important key to its understanding. Semantically an ironic reversal of middle-class
liberal values takes place. Subtle shifts in interpersonal relationships are the main events,
The Smales undergo a sharp process of deterioration in the
novel as various Blacks claim credit for years of service.
By that the Smales' wrong consciousness is dismantled. The
end remains open, even though a psychologic, existentialistic or feministic interpretation of it is possible. In the
whole process tegnological things like the bakkie and the
helicopter acquire a magical function.
Characterization remains rather flat, an important technique being the description of characters' possessions. Outwardly Maureen is degraded most; July, however, regains
an identity. Intimate conversation is also an important
technique of characterization.
The norm for this novel is internal focalization through
Maureen, although variations do occur. The transitions from
the perspective of the narrator-focalizer to that of Maureen arc not marked, thus causing an .illusion of complete
interiorization.
The novel is set in an hypotheticaI•future, but is narrated
subsequently. In the final chapter, however, simultaneous
narration and the present tense arc used, suggesting the
beginning of something new. The first narrative is narrated in chronological sequence, but the past is related un-chronologically and associatively. The first narrative is
furthermore narrated singulatively, against a background of
iterative narration of the past. In the same way scenes
from the present are juxtaposed to scenes from the past.
The book seems to have a cautionary function for white
middle-class readers. Strong suspense building factors are
the uncertainties , the contrasts and the prospective effect
of the book. Although a complex novel readers seem to be
able to identify with it.
From its reception it is clear that the racial problem still
is the system's dominant theme, although some wider implications are noticed. Although the conventions of realism
are still strong, a movement away from it is accepted.
There are signs of marked interiorization, like much internal focalization and the use of mental space. Pragmatically
much is expected from the reader. Nevertheless the tendency still is to demand a social function of a novel. Identification with the characters still seems to be a major
requirement for a novel's success.
The reversal of the polarity between the West and Africa
is seen clearest in the male characters. Bam is gradually
emasculated, while .July regains his dignity. Bam represents the "great white hunter". His hunting is in view of
the system an ironic reverse of the traditional rites of
initiation. Still, individual problems are less important
in this novel than has been postulated for the system.
Conclusions
In general the hypothesis has been corroborated that the
differences between the three systems come down to differences in interiorization and to different degrees of transition between an oral and a typographical culture. Mukalovskj ' s view that literary change is a matter of both continuity and deviation also seems to be corroborated. The
marked syntactic similarities between the Afrikaans and the
English system are conspicuous, although the English system
still is strongly realistic and the Afrikaans systems still
tends towards experimentation.
The major difference between the three systems is a difference in ideological focalization: every system shows its
own ideological orientation or viewpoint. The biggest
difference between the Afrikaans and English system lies
in the preponderance of tl1e racial problem in the English
novel. In that respect it resembles the Black system. In
the light of the many differences the hypothesis of one
common system of the South African novel cannot be up help.
It seems justified, however, to maintain the view of the
three systems as separate but interacting wholes. There=
fore much more attention should be given to comparative
literature in South Africa. Students of literature should
also study the major South African literary systems, before
they can be regarded as properly trained. Such training is
of special importance for the evaluation of the South African novel.
It is clear from this study that the systems approach offers
many advantages in the study of literature. It poses new
questions and opens up new fields for research. A most
important benefit is the synthesis of diverse literary
data into a unified whole that is made possible - of great
importance for literature because it has become, through
excessive attention to the analysis of single works, a to
tally fragmented field. The greatest benefit deriving from
the systems approach is the rendering describable of the
meaning of a particular work for a specific audience at a
specific point in time in a fairly accurate way.
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