402:'. Brolloks lives as a human being would. Miruka emphasises that ogres are but masks of humanity; they are no different from those in society 'who specialise in ugly deeds but who can appear very mild and sociable to gain access to the victims'. Brolloks ultimately corresponds to Miruka's interpretation of the ogre who stands "for evil and death. He symbolises the ominous flail of vice looming over humanity and threatening to reduce it to nothingness. He is a replica of those of us who are dehumanised, alienated, immoral and egotistically ready to achieve their goals ... regardless of the repercussions on the larger society".
240:. In both Postma's and Jacottet's representation of this myth, the woman's identity is established in terms of masculine criteria. However, Postma adds a new dimension. Her narration depicts a woman as an intelligent, creative and innovative being, even if she is the servant of the man. The dialogue in the story is typical of the oral narrative in that dramatic development, rather than description, is preferred. The relationship between male and female is exceptionally harmonious, unlike in most other Southern Sotho
24:
321:. These expressions can be regarded as a reflection of the values of the source culture in the classroom for Afrikaans as an additional language. This study by Nolte can serve an important function in helping to overcome the previously mentioned problems that learners of Afrikaans as an additional language often experience.
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of South Africa's leading experts on Cape Malay stories). Following
Bettelheim, Steenberg would probably regard the story as a fairy tale. It is a story of magic that reflects some aspects of the inner world of human beings. According to Miruka's classification of folktale content, it can be called an
288:
Language plays an important role in any culture. Hyde observes that people are not necessarily prisoners of their language, but that the way a culture sees the world is nevertheless reflected in its language. In the same vein, Trivedi emphasises the importance of the transmission of values as well as
357:
According to Mihálik this folktale by Marais, although it was considered to be an indigenous fairy tale, is an example of an
African praise song that can be compared with Sotho and Zulu praise songs dedicated to nature. Mihálik refers to Finnegan's view that there is a similarity between African and
161:
and comics like these are not regarded by all folklore specialists as belonging to folklore, because they do not explicitly include oral traditions. However, since they are based on the "Jakkals en Wolf" intertextual tradition of oral folktales that have been handed down for generations, it could be
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context and entails the transmission of cultural values, traditions and views, is Postma's story "In die begin". This story explains how things were between woman and man in the beginning. Miller gives a similar account of the same phenomenon in a discussion of a Sotho-Tswana myth called "The First
194:
tale in that it portrays the role of magic and the repetition of the number three, is "Die
Wolfkoningin" by I.D. du Plessis. Though this story is called a Cape story, since it reflects the culture of people of Malay origin, who are concentrated in the Western Cape (Du Plessis can be regarded as one
272:
stories - she seems unfailingly to appear in times of crisis and she acts as a messenger bearing urgent and important messages, more specifically information about the magic formula that can transform and enrich the protagonist. She (the bird) is invincible, being up in the air and out of reach of
202:
This imaginary tale has a typically
Eastern setting, with a rural atmosphere. There are hunters, a wood, rich landowners ("wazirs") and beautiful ladies ("poeteri"). There is a definite movement from an earthly space (the house of a wood cutter) to a magical space (a dance party and a wolf's den),
264:
and beauty, and the weaker character's victory over physical strength and mockery. According to
Kannemeyer, this story - with its use of the apostrophe, paradox, inversion and cumulative and progressive parallelism - follows to a great extent the traditional line of fairy-tale literature. A young
207:
in order to release the magical power (where she changes from a wolf into a beautiful lady) also centres on this number. In this context, the symbolism of these objects can stretch "the capacity of both expression and comprehension, and becomes the medium through which some of the most universal,
146:
can contribute to amusement and mental stimulation. Examples are the actions of the "Jakkals en Wolf" characters of
Afrikaans folktales which Honiball portrayed in comic strips and cartoons. Lategan refers to how Honiball used the Jakkals and Wolf stories that he had heard as a child. His stories
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should be part of any learning programme that includes perception and that it can contribute to the understanding of social and intercultural relationships, because those who have "learned" a language without the nonverbal component are seriously handicapped if they intend to interact with living
293:
problems that the learner might experience (like culture shock and feelings of helplessness), language anxiety and fear of failure, in being unable to understand or interpret the cultural message. The (learned) behaviour and values of learners of an additional language will be challenged through
216:
Some of the best examples of
Afrikaans folklore are stories recorded and written by Minnie Postma, who grew up with and heard these tales told by Sotho people. Using these stories can give effect to a recommendation made by Robinson, namely that the integration of culture in a language programme
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awareness, analysis and synthesis, as well as affective development can be specifically emphasised in this regard. The development of all mental and other capacities can be enhanced by the use of an
Afrikaans folktale full of idiomatic expressions: "Klein Riet-alleen-in-die-roerkuil" by Eugène
181:
by
Honiball provide interesting teaching possibilities in the additional language classroom, especially because of the elements of humour in the animal tricksters, comical situations, body language and language usage (e.g. the nicknames of some of the characters). This argument is in line with
344:
that could contribute to the integration of cultural aspects of previously marginalised groups in the curriculum to achieve sensitivity. Coming from an
African culture, Kamwangamalu is of the opinion that almost every element in a language programme is capable of conveying a
332:. However, because of urbanisation, many idiomatic expressions have been lost in African languages. These learners have a rich instinct for idioms and have often even created new expressions themselves in the additional language context (e.g. 'Matriek is nie matras nie').
217:
should be a synthesis between the learner's home culture, the target language's cultural input and the learner as an individual. According to Robinson, intercultural understanding develops from cultural adaptability, that is, 'modifying one's own cultural repertoire'.
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and ultimately a return to an earthly reality (the house of the wazir). The number three reoccurs in different spatial settings and with respect to different objects, and symbolises the character's search for freedom, identity and fellowship. The main character's
256:
are typical examples of African ecological narratives concerning the relationship between things and people. Marais follows the tradition of San stories, more specifically those that are known as wandering stories, in that songs and poems are included.
385:
The main character, Brolloks, is a grotesque and monsterlike individual, scheming and decidedly untrustworthy. He is like Miruka's description of Luo ogres: neither human nor animal but displaying characteristics of both; and the
155:- and Honiball became the Walt Disney of Afrikaans. He used satire to gently ridicule people and to unmask human frailty among the Afrikaans-speaking society of the day, mocking the eccentric habits and customs of a community.
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Jansen, who is of the opinion that comics and television series should receive the interest of folklorists and should incite them to pursue further the application and significance of the esoteric-exoteric factor in folklore.
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comprises understanding and interpreting body language to provide a creative means of communication across borders and add another dimension to the appreciation and expression of humour in the additional language classroom.
115:
Bosch points out that there are different aspects of humour which can add to the enjoyment of studying folktales and Afrikaans as an additional language. Experience has shown that the humour expressed and understood by
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European folklore and that there is supposedly some primordial source for both. The impression is that Marais got these stories from a certain "old Hendrik" (probably Tswana or Sotho) during his visits to the
353:
Culture is the socially learned, shared assemblage of practices, perceptions, attitudes, world views, value systems and beliefs that determine the texture of our lives as members of a given community."
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and myths in that the San hero (Klein Riet) is given an important task to carry out within a specific time frame. Nolte indicates that the whole story might have developed around a range of Afrikaans
174:
necessarily implies the end of a specific folk culture, but rather we attempt to trace the modifications and mutations undergone by folk culture in the industrialized and urbanized world."
170:(1978) can indeed be regarded as part of mass-cultural folklore where city life is portrayed by the mass media. Dorson cites Bausinger (1961) who maintains that "we no longer believe that
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situations, tone of voice, facial expressions and body language. Additional language learners struggle to appreciate humour that involves the implicit subtlety of word games.
228:
Hattingh discusses the validity of Postma's oral transmission in detail and notes that Postma understands and applies the different characteristics of
382:
by C.J. Langenhoven. It was first published in 1925, and has kept Afrikaans-speaking listeners spellbound from one generation to the next ever since.
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Idiomatic expressions and the like are very well received and appreciated by additional language learners from African cultures (as experience with
265:
Koisan girl, Nampti, has a very special relationship with a little bird, which she calls 'her little grey sister' because they are both pipits.
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exposure to the culture of the target language. Their critical appreciation will be intensified by listening to Afrikaans folklore.
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Crosscultural understanding: Processes and approaches for foreign language, English as a second language and bilingual educators
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Kruger, E. 2002. Folklore as a multi-cultural component in the literature curriculum for Afrikaans as additional language.
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the antagonists, in this case the other young women. She counsels the protagonist and is her life guardian.
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that states a Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
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Kamwangamalu, N. 1997. English and transformation to multicultural education in the new South Africa.
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culture, because the men in the story use bows and arrows, weapons which were never used by the
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One of the functions of folklore is to entertain the audience. Humorous events set in motion by
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narratives. Jacottet (1908. in Hatthingh 1994) postulates that this story has its origin in
328:-speaking learners has shown, perhaps because they often have so many of these in their
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A story like "Lied van die reën" by Eugène Marais is an ideal example of an Afrikaans
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voices, choices, and values like patience and tolerance, even fatalistic benevolence.
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Some of the Afrikaans folklore subjects being taught can be categorized as follows:
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Like other folktales, this story can be used in the language classroom to discuss
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This character fits in very well with Miruka's general description of birds in
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Bosch, B. 1997. Humor in die task lawmakerLKHOIHOITUJYHI]EIYTUJH WTHI8JWHUJ .
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Jansen, W.H. 1965. The esoteric-exoteric factor in folklore. In: Dundes, A.
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Utley, F.L. 1965. Folk literature: an operational definition. In: Dundes, A.
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on the one hand, yet fits Miruka's description of a tale involving African
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learners in the additional language classroom consists mostly of imitating
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An interesting example of an Afrikaans folktale that is situated in an
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This story by Marais follows the basic pattern of Western European
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Miruka mentions an important function of folklore, namely that of
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In "Die Vaal Koestertjie" we find well-known themes of threatened
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642:. Johannesburg: Afrikaanse Pers-Boekhandel. (b) Postma, M. 1986.
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Culture bound - bridging the cultural gap in language teaching.
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Mihálik, A. 1988. Die lied van die reën - 'n Afrika-pryslied.
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Bascom, W.R. 1965. Folklore and Anthropology. In: DUNDES, A.
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The transmission of social and cultural values and traditions
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stimulation. Developmental aspects such as memory training,
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elemental - and intangible - concepts of man are conveyed".
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personal reflection, personal essay, or argumentative essay
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Nolte, E. 1999. Terug na die teks of om stroomop te swem.
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Hattingh, M. 1994. Die baie stemme van Minnie Postma se
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members of the culture instead of with paper and print.
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Standard dictionary of folklore, mythology and legend.
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A folktale that calls to mind the European fairy tale
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as well as an eater of its own kind ... quality of
512:Lategan, F.V. 1985. T.O. Honiball - 'n waardering.
748:Trivedi, H.C. 1978. Culture in language learning.
190:An Afrikaans story that could be classified as a
629:Toronto: Funk & Wagnalls Publishing Company.
559:Fantasie en die kinderboek - 'n kernhandleiding
779:Southern African Journal for Folklore Studies,
528:DĂ©gh, L. 1965. Folk narrative. In: Dundes, A.
644:As die maan oor die lug loop (Sotho-verhale).
490:Nairobi: East African Educational Publishers.
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721:Geskiedenis van die Afrikaanse literatuur I.
499:Honiball, T.O. 1942. Jakkals en Wolf-reeks.
659:. New York: Pergamon Institute of English.
64:Learn how and when to remove this message
603:. Englewood Cliffs, N.J.: Prentice-Hall.
545:. Englewood Cliffs, N.J.: Prentice-Hall.
532:. Englewood Cliffs, N.J.: Prentice-Hall.
460:. Englewood Cliffs, N.J.: Prentice-Hall.
306:Marais, which is included in the volume
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168:Wolf en Jakkals van Uilekraal
147:followed an old tradition of
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834:Afrikaans-language culture
590:. Oxford: Clarendon Press.
588:Oral Literature in Africa
561:. Pretoria: HAUM-LiterĂŞr.
803:Langenhoven, C.J. 1977.
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372:The Beauty and the Beast
151:- that of the satirical
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719:Kannemeyer, J.C. 1978.
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625:Leach, M. (ed). 1972.
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162:argued that Honiball's
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805:Brolloks en Bittergal.
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44:by rewriting it in an
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601:The study of folklore
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458:The study of folklore
380:Brolloks en Bittergal
319:idiomatic expressions
284:Idiomatic expressions
153:Van den Vos Reynaerde
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557:Steenberg, E. 1987.
349:message of some sort
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289:the recognition of
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33:is written like a
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166:(1977) and
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418:References
360:Waterberge
270:ecological
242:narratives
144:tricksters
81:literature
794:26:84-91.
392:man-eater
390:ogre: 'a
291:emotional
262:innocence
197:imaginary
97:Afrikaans
54:July 2016
765:11:9-22.
689:6:39-56.
406:See also
400:hedonism
347:cultural
310:(1927).
159:Cartoons
136:Kinesics
129:kinesics
683:Litsomo
640:Litsomo
514:Lantern
303:sensory
238:Basotho
222:African
122:comical
93:customs
40:Please
763:Stilet
687:Stilet
388:Maasai
299:mental
199:tale.
177:These
111:Humour
278:moral
192:magic
186:Magic
89:dance
85:music
398:and
376:ogre
326:Zulu
118:Zulu
91:and
351:: "
234:San
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