Abstract
Ph.D.
A central tradition within the art of novel-writing is that of realism. Reality cannot be duplicated, and the illusion of reality in literature depends on narrative conventions. Within the perspective of the age-old tradition of realism one would have to view the bent and the emphasis of modern prose in the light of what has been described as "realism with documentary woof", "faction" , and "the new realism". The link with the reality of the day is often such that one cannot merely talk about "illusion of reality" - it pertinently becomes "illusion of actuality". The "political" noveI that wants to play in upon an actual situation, brings about an important change in the character of the literary work: the fictional is subdued, so to speak. In this study the question concerning the relation between work of art and actuality strikingly comes to the fore
as a problem. The author increasingly addresses himself to the portrayal of the actual. Two methods of portrayal are identified:
i) the actuality situation is fictionalised and ii ) a semblance of authenticity is given to the fictitious situation. In this thesis the different strategies employed in each
of the two methods of portrayal of actuality are examined. The concepts "actuality", "illusion", and "involvement" are demarcated. Then note is taken of portrayal of actuality
in older Afrikaans prose, before proceeding to an analysis of the different strategies employed in three "exemplary" works: Die swerfjare van Poppie Nongena (Elsa Joubert), 'n Droë wit seisoen (André P. Brink), and Dagboek van 'n verraaier (J.C. Steyn).
The conclusion eventually drawn, is that novels with a fictitious world as a point of departure, have potentially richer literary posibilities than novels in which the actual
situation serves as a point of departure. However, notwithstanding the fact that Dagboek van 'n verraaier has the fictional situation as point of departure, it does
not succeed novel-wise. Despite the relatively weaker technique being used in Die swerfjare van Poppie Nongena, the novel is a success. The respective success or failure of these works is determined by the extent to which the concrete author manages to make full-fledged, blood-warm human beings of his characters. 'n Droë wit seisoen serves as an illustration of what· can be achieved when the fictitious world is used as point of departure and the characters are rendered true to life. The latter is, novelwise, the greatest success of the three. Contributing to this, in particular, are narrator's perspective, colloquial usage and tonality, the convincing manipulation
of documentation, period location and characterization.