Jaargang 8, nommer 2 – Augustus 2011 - LitNet

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152 LitNet Akademies Jaargang 8(2) – Augustus 2011 Generiese merkers in die kortverhaalsiklus: Deel 2: ‘n Toepassing op Die dag toe ek my hare losgemaak het van Willemien Brümmer 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 2: An application to Die dag toe ek my hare losgemaak het by Willemien Brümmer This article forms the second 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. In the previous article (“Generic markers in the short story cycle: Part 1: Theoretical foundations”), some issues pertaining to the short story cycle were discussed. First, it was shown that the Afrikaans term eenheidsbundel (unified volume of short stories) is an umbrella term for three types of linked short story volumes that can be distinguished based on the level of tension between autonomy and coherence, namely the short story cycle, unified volume of short stories and short story sequence. Secondly, a number of theoretical issues pertaining to the short story cycle were discussed using Ingram (1971), Mann (1989), Dunn and Morris (1995), Kennedy (1995), Lundén (1999) and Nagel (2004). The different approaches (author-centred, reader-centred and textcentred) to the short story cycle were discussed. It was argued that a text-centred approach is the most functional for this textual form, as the most important characteristic of this genre is the tension between the autonomous shorter texts and the coherence of the volume. The generic possibilities of the short texts that create the larger whole were illuminated and it was shown that a combination of the views of Dunn and Morris (1995) and Mann (1989) offer a useful demarcation of the short texts comprising a cycle. Different descriptive terms for this genre were evaluated and it was found that the concept of a cycle offers a useful way of understanding the nature of autonomy and coherence in this genre. Based on the critical review, six conventions of the short story cycle were identified. Thirdly, a number of coherence markers identified by Dunn and Morris (1995) were discussed, namely setting, a single protagonist, a collective protagonist, textual patterns and storytelling. 152 ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
153 LitNet Akademies Jaargang 8(2) – Augustus 2011 In this article the previous article is used as a theoretical basis to investigate the generic markers in Die dag toe ek my hare losgemaak het by Willemien Brümmer. This article focuses firstly on the autonomy of the short texts. Each of the texts in Die dag toe ek my hare losgemaak het can be regarded as a short story when measured against theoretical views on the genre of the short story offered by Du Toit (1974), Aucamp (1978) and Botha (1992). The autonomy of the texts is also signalled by paratextual elements, including the blurb, reviews and interviews. Secondly, the coherence of the greater whole is investigated using the coherence markers identified by Dunn and Morris (1995) as our point of departure, specifically the single protagonist, setting and textual patterns. It is argued that the single protagonist, Mia Ragel Albertyn, is the most noticeable unifying factor. While each of the short stories focuses on one element of the protagonist’s development, the text as a whole focuses on the gradual development of the protagonist. As such, Die dag toe ek my hare losgemaak het displays a similarity to the Bildungsroman. Important elements in the protagonist’s development include successive confrontations with hereditary depression from which both Mia and her father suffer, Mia’s gradual sexual initiation, her maturation process regulated by her mother, and various relationships necessary for her development. Other unifying elements include the setting (with the majority of the stories set in either Cape Town or on the family farm and with prominent landmarks referenced throughout), a continual third-person narrator focalising through Mia, and specific motif patterns. The motif of food functions in different ways in the narrative, every time connected to Mia’s rite of passage at that moment in her development, ranging from sexual initiation to selfacceptance. In a number of stories the central action is also organised around a family meal, and the problematic relationships of the family are explored through this trope. The glass motif illustrates the vulnerability of Mia, her father and her grandmother caused by depression. These motifs signal the different phases of Mia’s development, but at the same time also create dynamic links between stories as they are developed and expanded throughout the narrative. As a result the different themes are further explored through “dynamic patterns of recurrence and development” (Ingram 1971:20). Thirdly, the effect of the tension between autonomy and coherence in Die dag toe ek my hare losgemaak het is investigated according to the implications it has on the levels of structure and meaning. Although the maturation of a protagonist is usually associated with novels, Die dag toe ek my hare losgemaak het reveals that the short story cycle can also be a useful genre for this type of narrative, as it allows a focus on “only those people and incidents that are essential to character development” (Mann 1989:9). Because every short story represents one crisis moment in the development of the protagonist, subordinate characters like Nick, Phillip, Mario and Andries are utilised only where they contribute to the action, and can disappear with no explanation being necessary. Similarly, the events and relationships leading to Mia’s becoming a mother – which had no impact on her development – are not narrated; only the development of her being a mother is included. Thus, details that are important for causality in the genre of the novel, but unimportant in character development, can be left out when using the genre of the short story cycle. Since each short story represents a crisis moment in the development of the protagonist, with no passages bridging the different moments of crisis, the handling of time in the short story cycle is different from that in the novel: in Gérard Genette’s terms, the short story cycle utilises ellipses and summary to a much greater extent than the novel. Consequently the narrative speed is greater in the short story cycle than in the novel, as narrative time of the whole (the cycle) consists of only small narrative times of the short stories, with no narrative time (ellipses) between the stories. In addition, the crisis moments of each story, with no, or very short, alternating moments of equilibrium, create a greater level of tension than the traditional Bildungsroman. Thus the intensity of the short story is combined with the gradual 153 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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