Jaargang 8, nommer 2 – Augustus 2011 - LitNet

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LitNet Akademies Jaargang 8(2) – Augustus 2011 Generiese merkers in die kortverhaalsiklus: Deel 1: Teoretiese uitgangspunte Summary Nina Botes Departement Letterkunde Universiteit Antwerpen Neil Cochrane Departement Afrikaans en Algemene Literatuurwetenskap Universiteit van Suid-Afrika Generic markers in the short story cycle: Part 1: Theoretical foundations This article forms the first part of a two-part study of the short story cycle in Afrikaans with the main purpose being to investigate autonomy and coherence as generic markers in Die dag toe ek my hare losgemaak het by Willemien Brümmer. This part focuses on theoretical issues pertaining to the genre of the short story cycle, while the second part focuses on the generic markers of Die dag toe ek my hare losgemaak het. This article focuses first on the difference between short story cycles, unified volumes of short stories and short story sequences in the Afrikaans literary tradition. Recently in the Afrikaans tradition there has been an increase in the production of volumes of short stories that are linked in some way, with texts such as Die dag toe ek my hare losgemaak het (2008) by Willemien Brümmer, Alle paaie lei deur Die Strand (2008) by Corlia Fourie, Op reis met ’n hond (2010) by Anna Kemp, Maal (2010) by Nicole Jaekel Strauss, In die mond van die wolf (2010) by Paul C. Venter and Die sneeuslaper (2010) by Marlene van Niekerk. In Afrikaans literary criticism shorter texts that are linked in some way and published in a single volume are usually labelled “eenheidsbundels” (unified volumes). Older examples often mentioned by critics include ’n Wêreld sonder grense (1984) by Alexander Strachan, Jaarringe (1966) by Henriette Grové and Sewe-en-sewentig stories oor ’n clown (1985) by Fransi Phillips. However, when we consider a few examples mentioned by critics, it appears that this is an umbrella term used for a variety of texts displaying various degrees of coherence (of the volume) and autonomy (of the individual short texts). Using a combination of international genre theories of the short story cycle and Afrikaans theoretical views on this phenomenon, three types of texts traditionally labelled unified volumes in the Afrikaans literary tradition are distinguished based on the degree of autonomy and coherence: the short story cycle, the unified volume and the short story sequence. It is argued that the short story cycle differs from the unified volume in that the volume-level coherence of the short story cycle influences the interpretative possibilities of the autonomous texts, while in the unified volume the shared theme (or other organising principle) creates an overall impression without altering, influencing or adding to the meaning of the individual texts when read within the context of the volume. Some theorists of the short story cycle prefer the term short story sequence for the genre (Kennedy 1995, Luscher 1989). In this context, 112 ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
LitNet Akademies Jaargang 8(2) – Augustus 2011 however, the term is not used as such, but as the term proposed by Aucamp (1978:56) to refer to texts dealing with the same theme or sharing some other organising principle. In the case of the short story sequence, links between stories can function either in the manner of the short story cycle (with the bonds between texts altering the individual texts) or in the manner of unified stories (with an overall impression, but with no or little change to the interpretative possibilities of the texts). In the case of the short story sequence, not all the texts of a volume fit into the sequence, and sequences need not be bound in a single volume. Secondly, some theoretical issues pertaining to the short story cycle are expanded upon using Ingram (1971), Mann (1989), Dunn and Morris (1995), Kennedy (1995), Lundén (1999) and Nagel (2004). Different approaches to a definition of the genre, namely author-centred, reader-centred and text-centred approaches, are critically reviewed. It is argued that Ingram’s original delineation of the short story cycle, with its strong focus on authorial intention and the reader’s experience of the narrative, is insufficient in describing a genre in which the tension between autonomy and coherence is the most important characteristic. More recent theoretical views on the short story cycle provide a more useful approach to this genre by focusing on the textual characteristics of autonomy and coherence. As part of the theoretical review the generic possibilities of the short texts that create the larger whole are discussed. While both Ingram (1971) and Mann (1989) regard these texts as short stories, Dunn and Morris (1995) argue that these texts need not be short stories and that the term short story cycle should be replaced with the term composite novel for this reason. In their view the autonomy of the short text is signalled by the presence of a title. Using the views of Ferguson (2003) and Alderman (1985), it is argued that the delineation of this genre proposed by Dunn and Morris (1985) is too wide in scope to distinguish between the short story cycle and the novel. A combination of the views of Dunn and Morris (1995) and Mann (1989) offers a more useful demarcation of the short texts that a cycle is composed of. The last theoretical issue discussed in this article is the ways in which the shorter texts engage with one another to form a cycle. A number of theorists have argued that the term cycle is inadequate for describing the dynamic links between texts, and have subsequently proposed a number of alternatives: composite novel (Dunn and Morris 1995), short story sequence (Kennedy 1995) and short story composite (Lundén 1999). The functionality of these terms is evaluated and it is argued that the concept of a cycle is indeed a functional description of the relationship between the short texts. It also appears that since 2001 the term short story cycle has been readopted by a number of theorists (Lynch 2001, Nagel 2004, Whalan 2007). Based on the critical review six conventions of the short story cycle are identified. Firstly, the short texts may belong to different genres, but are usually short prose. Secondly, although the short texts are mostly prose, a variety of genres may be found in a short story cycle, including texts that are not necessarily of a literary nature, such as visual or instructional texts. Thirdly, the majority of texts in a cycle should be of a literary nature. Fourthly, the majority of short texts should be autonomous, although not all the texts are necessarily autonomous. Fifthly, the texts in a short story cycle should be connected in such a way that the total meaning of the cycle is greater than the sum of the meanings of the autonomous texts. Lastly, these short texts should be published in a single volume so that the reader can experience the collection as a whole and to distinguish the colelction from longer prose cycles. Thirdly, a number of coherence markers identified by Dunn and Morris (1995) are discussed, namely setting, a single protagonist, a collective protagonist, textual patterns and storytelling. Throughout the article, arguments are clarified and illustrated through examples, with a strong focus on South African English and Afrikaans examples. According to Snyman (2011) the absence of a proper description of and terminology for this genre in Afrikaans has an impact on the marketing of texts in this genre, which is especially problematic as Afrikaans writers are experimenting with the possibilities of the genre. This study attempts to illuminate some of the issues pertaining to this genre. In the second part of 113 ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
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Jaargang 8, nommer 2 – Augustus 2011 - LitNet

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