DIE VERWIKKELDHEID VAN DIE VROUEBEELDING IN DIE POeSIE VAN SHEILA CUSSONS
Antoinette Joubert B.A., Hons. B.A., H.O.D.
Verhandeling voorgele vir die graad Magister Artium in die Departement Afrikaans en Nederlands aan die Potchefstroomse Universiteit vir Christelike Hoer Onderwys.
Studieleier: Prof. M.C.A. Seyffert Hulpleier: Prof. J. van der Elst
POTCHEFSTROOM
DANKBETUIGINGS
My diepste dankbaarheid aan my stuqieleier, prof. M.C.A. Seyffert, vir sy volgehoue aanmoediging, hulp en bystand in baie moei like omstandighede.
Ook innige dank aan Prof. J. van der Elst vir sy hulp en leiding as medeleier.
My dank aan my ouers en seun, Marius, vir hulle geloof en aanmoediging gedurende my jare van navorsing.
Dankbetuiging a an Navorsing vir die tegemoetkoming ten
die Raad vir Geesteswetenskaplike finansiele hulp en vir die begrip en opsigte van die afhandeling van my studie. Die menings wat in hierdie verhandeling uitgespreek word, is nie noodwendig die van die RGN nie.
Innige dank aan Yvonne de Bruyn, my tikster, vir haar hulp, raad en geduld tydens die tik en afronding van die verhandeling.
'n Dankgebed aan die genadige Vader.
ABSTRACT
THE COMPLICATED MANNER OF PRESENTATION OF THE FEMALE PERSONA IN THE POETRY OF SHEILA CUS~ONS
The of the
objective of this dissertation is to indicate the importance
the female persona
-
-
in the poetry of Cussons and to analyse~
-unique, complicated way in which the female personas has
been created.
The influence of Roman Catholicism is emphasised because Cussons
is a self acknowledged Catholic and the main female persona in
her poetry is the Blessed Virgin Mary. The religious doctrine
of the Roman Catholic Church is based on the fact that Mary is
the intermediary between Christ and man. She is portrayed by
Cussons as the eternal woman, the primordial mother, the
archetype of everything female and holy. This Catholic outlook
on life definitely influences the way in which the Mary persona
is postulated in the poetry oeuvre of Cussons.
Another important influence in the presentation of the female
characters is the- Jungian theory on analytical psychology
regarding archetypes, the collective unconscious and
individuation. I indicate in this study the explicit connection
between Jung's view on myth and religion, and the way in which
Cussons presents her female personas. I categorize the
different female personas and indicate the frequency of
portrayal of the main females , namely Mary, Hera, the Greek
goddess of marriage, Eve and St Theresa. I also try to indicate
and motivate the differences and similarities in the
characterization of the different female personalities.
Certain aspects of parapsychology are discussed in depth - Jung
expresses the theory that the collective unconscious includes
the archetypes, archaic types more comprehensible in myths, more
evident in dreams and visions. The archetype per se cannot be
directly known; thus the best way of judging whether a
thought-content is of archetypal origin is to establish whether it
tales and major religions. As the poetry of Cussons has such a
vast content of religion, myths and fairy tales, i t is quite
evident that the theories of Jung have had a definite impact on
the female personas in this poetry oeuvre.
The interchangeability of the characteristics of the Biblical
personas, the mythical and cont~mporary women, indicates the
connection between these female personas.
The most important mythical female persona is Hera, goddess of
marriage and the family. draw a comparison between the
portrayal of the Biblical females and the mythical female
personas with the Mary persona in the centre as the total
encompassment of what is understood as the female archetype.
Cussons has a compelling desire for wholeness, or
'individuation' in Jung's terminology, and it can be explicitly
observed in the presentation of the female personas in her
poetry.
that is
side and
She is constantly searching for a closeness to God and only possible if the human being is purged from his dark walks in the light of Christ.
INHOUDSOPGA WE HOOFSTUK l VERANTWOORDING 1 . 1 1 . 2 1 . 3 1 . 4 Inleiding Probleemstelling en aktualiteit Begripsomskrywing
Afbakening van die studiegebied
1 2 6 9
1.5 Oorsig van vorige navorsing oor Cussons en leemtes
wat nog bestaan 9
10 1 2 1 3 1 6 1 . 6 1 . 7 1 . 8 1 . 9
Sentrale teoretiese stelling
Doelstellings van die navorsing
Metodologie Verdere verloopsplan HOOFSTUK 2 TEORETIESE VERANTWOORDING 2. 1 2.2 2. 2. 1 2.2.2 2.2.3 2. 2. 4 2. 2. 5 2.3 2. 3. 1 2.3.2 2.3.3 2.3.4 2.4 2. 4. 1 2.4.2 2.4.3 2.4.4 2.4.5 Inleiding Karakterisering in Terminologie Karakterisering in Karakterisering in Karakterisering in Samevatting die die die die l i teratuur verhaalkuns drama poesie 1 7 18 18 24 30 32 48
Die individuasieteorie van C.G. Jung 49
Inleiding 49
Die bewuste en die kollektiewe onbewuste 50
Argetipes 51
Samevatting 62
Rooms-Katolieke be1nvloeding by die seleksie van
vrouefigure in die poesie van Sheila Cussons 63
Inleiding 63
Rooms-Katolisisme in vergelyking met Protestantisme 64
Maria-verering 72
Ander heiliges 82
ii
HOOFSTUK 3
KATEGORISERING VAN DIE VROUEPERSON~SIES IN DIE POeSIE VAN SHEILA CUSSONS
3. 1 3.2 3.3 3.3.1 3.3.2 3.4 3.4.1 3.4.2 3.5 3. 5.1 3.5.2 3.6 3.7 3.7.1 3. 7. 2 3.8 Inleiding Kategorisering
Bybelse vrouepersonasies
Ou-Testamentiese vrouegestaltes Nuwe-Testamentiese vrouefigure Mitologiese vrouefigure
Griekse mitologiese vrouepersonasies
Romeinse mitologiese vrouepersonasies
Historiese vrouepersonasies Rooms-Katolisisme Historiese vrouepersonasies Kunstenaarsfigure Kontemporere vrouefigure Jeugdige vrouepersonasies Bejaarde vrouegestaltes Samevatting HOOFSTUK 4 85 86 93 93 96 106 108 11 3 11 5 11 5 122 126 130 1 31 134 1 37
DIE VERWIKKELDE POeTIESE PROSES BY DIE VROUEBEELDING VAN SHEILA CUSSONS
4. 1 4.2 4.3 4.4 4.5 4.6 4.7 4.8 Inleiding Woordgebruik en neologisme Woordorde en sintaksis Tipografie Metaforiese taalgebruik Simboolgebruik
Kohesie en koherensie ten opsigte van versklank Samevatting HOOFSTUK 5 BEVINDINGE BIBLIOGRAFIE 139 1 43 154 162 1 67 174 186 192 194 197
