Search

In hierdie konseptuele artikel word die waarde van literêre teater in die bewussynsopvoeding van psigoterapiestudente as beginnerterapeute toegelig. 'n Eerste uitgangspunt van die artikel is bewussynsopvoeding om die ontologiese ingesteldheid as singewende intensionaliteit te kultiveer wat gekenmerk word deur synsdenke en sensitiwiteit vir die gelyktydige teenstry-dighede eie aan die menslike bestaansproblematiek. Teen hierdie agtergrond word die betekenisvolheid van bewussynsopvoeding as geestelike ideaal of Bildung-strewe beskryf, eerder as die performatiewe ideaal van nuwe kennis gerig deur 'n gespesifiseerde doel. Twee moontlike eietydse dilemmas wat psigoterapiestudente se ontwikkelende vermoë tot bewus-synsmatige betrokkenheid soms bemoeilik, word terselfdertyd belig. Dit sluit in begin-nerpsigoterapeute se oormatige selfbewustheid en sentimentele emosionaliteit, asook die tegnokratiese aard van massasielkunde. In die daaropvolgende afdelings verduidelik ons aan die hand van enkele eksemplariese onderrigvoorbeelde hoe literêre teater vanweë die inherente beliggaming van die eksistensieel-fenomenologiese karakter daarvan moontlik kan bydra tot die verskerping en inoefening van psigoterapiestudente se vermoë tot groter bewussynsmatig-heid. The capacity to comprehend experiences in a coherent way and attribute meaning to existence is unique to human beings. Through Dasein, being consciously concerned with the onto-phenomenological experience, thus interpreting what it means to exist amid that which is and is still becoming, human beings strive to connect with their Lebenswelt (a lived world). Only when individuals are consciously receptive to and involved in their own ontological being and becoming can they empathise with the very nature of another. Woven into this larger disposition characterised by continuous onto-phenomenological self-making-in-a-situation (Bildung) -the Nietzschean call - is the empathic attitude. In the context of psychology, in particular psychotherapy, the empathic attitude - that is, being sensitively aware of how we understand ourselves, others and the world we share - is undeniably part of the repertoire of qualities that a therapist ought to possess. Often, however, the attitude of novice therapists towards what is happening between them and their clients here and now involves inflated self-awareness that is devoid of ontological considerations. Frequently, this results in a clichéd form of empathy based primarily on sentimental emotionality. It seems to be true that, in a ubiquitous cyberculture characterised by self-absorption and the mere accumulation of simplistic explanations, the ability to be ontologically receptive - as the sine qua non of an empathetic attitude - is gradually becoming undervalued. Art, in particular literary theatre, has the capacity to push psychotherapy students (as spectators) to the edge of what it means to be human beings; by implication, therefore, it constitutes an appeal for existential phenomenological involvement. Suddenly the spectators cannot escape the incantatory circle ofwhat is affectively transcendent and become participants in their own self-developmental needs and psychological yearnings. This article seeks to illustrate how the existential phenomenological elements of literary theatre, including physicality (language, movement, actions and sound), time and spatiality, can be used to comprehend an embodied involvement (being with the client, here, now) and encourage ontological reflection in psychotherapy students. In this regard, literary theatre displays certain existential phenomenological characteristics that can be understood and applied as part of a pedagogical enterprise in psychotherapy teaching and training. Some core characteristics include inner stillness, a sensitive-receptive attitude, and an awareness of Jungian or depth-psychology archetypes. Of importance is therefore the existential phenomenological attitude of the psychotherapy student towards a child's being (onto-involvement) in the therapy room or clinical evaluation situation. By way of a conceptual explication, we attempt to provide an understanding of the relationship between the psychological function of literary theatre and the existential phenomenological attitude of the educational psychology student. This attitude embodies a certain artistry or aesthetic disposition, characterised by qualities such as honed intuition, sensitive awareness and the formation of nuanced connections. Such artistry allows the psychotherapy student to explore the developmentally and contextually layered client, and to articulate den Zachen Zelbst meaningfully by way of contemplative, nuanced thought and language. Den Zachen Zelbst, ingrained in the Husserlian and Heideggerian vernacular of philosophy of phenomenology, refers to existence as intentional; to be consciously concerned with the meaning of being, therefore life-world experience, as opposed to merely registering and measuring impressions from the outside world. An existential phenomenological disposition cannot be assumed, however, nor can it be simply taught as part of a postgraduate module on psychotherapy skills. Instead, the existential phenomenological disposition ought to be fostered and developed through carefully crafted embodiment activities of an intersectional nature (the intersection of philosophy, psychology, literature and drama, for example) as part of the teaching and training of psychotherapy students. This article attempts to cast light on the existential phenomenological disposition as an essential attitude of the psychotherapy student, especially in the context of an often unmindful, mechanistic and utilitarian society. At its core, the existential-phenomenological attitude presupposes a more embodied (as opposed to essentialist) psychotherapy, characterised by ontological awareness, deepening insight and symbolic language. These intellectual qualities need to be protected at all costs from the technocratic materialism of mass psychology.

'n Sewetal vertalings van die Markus-Evangelie (in die teks aangedui deur V en die verskyningsdatum, met verdere inligting in die bibliografie) word vergelyk om na te gaan in watter mate hulle die ontwikkeling van Afrikaans in die afgelope eeu of meer weerspieël. Op die gebied van die adjektiwiese en naamwoordelike morfologie word gekyk na die verlies van die -e-uitgang van attributiewe byvoeglike naamwoorde soos ou(w)e en die toevoeging van 'n meervouds-s by afgeleide selfstandige naamwoorde soos (die) arme. Daar word nagegaan hoe aanspreekvorme soos gy, u, jy, jou en julle in verskillende gespreksituasies gebruik word. Die -f-we-wisseling by werkwoorde soos sterf/sterwe en die -t/-n-wisseling by werk-woorde soos gaat/gaan word ondersoek en die funksionele verspreiding van die vorme as imperatief, persoonsvorm en infinitief nagegaan.NA: 'n Seleksie van werkwoordelike konstruksies word ondersoek, byvoorbeeld die vervanging van hê deur het in (die haan) sal gekraai hê/het, die ontwikkeling van die wenskonstruksie ons wil dat u ... : ons wil hê u moet, die gebruik en verlies van preteritumvorme soos mog, werd, wis en had, die vervanging van die hulpwerkwoord is deur het by onakkusatiewe werkwoorde, soos in hulle is/het gekom, en die vervanging van die historiese presens in verhalende gedeeltes deur die perfektum Niewerkwoordelike konstruksies wat aan bod kom, is onder meer die gebruik van die voorsetsel vir voor 'n direkte voorwerp en die negatiefpartikel of "tweede nie" en reduplikasie. Twee items van leksikale aard wat bespreek word, is die moontlike verwarring tussen die uitdrukking "om iets kwalik te neem" en "om iemand iets kwalik te neem" en die gebruik van modale partikels soos miskien, tog, mos en darem as semantiese aanvulling van sommige gedeeltes. Seven Afrikaans translations of the Gospel according to Mark are compared in order to determine to what extent they reflect the development of Afrikaans during the past century or more. The method employed is to identify sections of the text that seem amenable to comparison in the various translations, with due regard to the fact that the translations are not representations of one another and that there are underlying diverse theoretical approaches and implicit ideals. The following translations are compared: (i) Die Evangelie volgens die beskrywing van Markus (the Gospel according to Mark) (CP Hoogenhout) (V1878); (ii) Di Evangeli follens Markus (the Gospel according to Mark) (SJ du Toit and collaborators) (V1908); (iii) Die Vier Evangelië en die Psalme (The Four Gospels and the Psalms)(V1922); (iv) the 1933 translation of the Bible (the first official translation of the entire Bible) (V1933); (v) the revised edition of the last-mentioned (V1953); (vi) the Nuwe Vertaling (New Translation)(V1983), and (vii) Die Nuwe Testament en Psalms, 'n Direkte Vertaling (The New Testament and Psalms, a Direct Translation) (V2014) The phenomena that are subject to change are discussed under the following headings: (1) Adjectival and nominal morphology, (2) Pronominal forms of address, (3) Verbal morphology, (4) Selected verbal constructions, (5) Selected non-verbal constructions and (6) Selected lexical items. (1) Adjectival and nominal morphology The -e ending of a number of attributive adjectives is dropped from one translation to another, but the change does not occur at the same time in all adjectives nor does the change occur in every adjective. On the one hand, for instance, the -e of ou(w)e "old" is dropped from V1922 onwards, but on the other hand that of dowe "deaf"is maintained in all translations (as it is in present-day language). Derived nominals such as skrifgeleerde "scribe(s)", which also served as plural in the earliest translations, had the plural -s added from V1922 onwards. (2) Pronominal forms of address The old form gy "you" (singular or plural), which was used in the Cape until the late 18th century (Ponelis 1993:207), occurs only in V1878 and V1922. In all translations but V1908 and V1922 both the familiar forms of address, e.g. the 2nd person pronominals jy "you" (subjectform, singular), jou "you/your" (object/possessive form, singular) and julle "you/ your" (personal/possessive form, plural), and formal u "you" (singular, plural and possessive) are used. V1908 uses informal jy/jou in all contexts, and V1922 uses formal u in all contexts. (3) Verbal morphology In verbs such as sterf/sterwe "to die" the -we variant is generally replaced by the -f variant from one translation to another, the latter becoming the dominant form in V2014. V1983, however, shows preference for the -we variant. The early translators seem to have employed the -we forms, such as sterwe, as infinitives, e.g. hy sal sterwe "he will die", and the -fforms as finite forms, e.g. hy sterf "he is dying". It also seems as though Hoogenhout (V1878), in his use of verbs such as gaan "to go", staan "to stand" and doen "to do", reserved the -t ending for finite forms (singular as well as plural) and the imperative (e.g. hy/hulle gaat "he/ they are going"; gaat heen "go forth") and the -n ending for infinitival usage (e.g. kan gaan "can go" and om te gaan "to go"). Het "to have" is used as imperative of the main verb hê "to have" in the oldest translations, but is later on replaced by jy/julle plus the modal verb moet, e.g. Het sout in julle self"("Have salt in yourselves", V1908) is replaced by "Julle moet sout in julle hê" ("You must have salt in you") from V1933 onwards. While in Dutch the negative imperative, which expresses a prohibition, consists of the imperative form and negation, a contracted form moenie (from moet "must" and nie "not") is used in present-day Afrikaans, e.g. "Gaan nie in die dorp nie" ("Go not into the village") in V1922 is replaced by "Moenie in die dorp gaan ... nie" ("Must-not into the village go") in V1933. In the early translations, V1878 in particular, the strong or ablaut forms of the past participle, e.g. bewoge "moved", are used in verbal function before being supplanted by regularised forms such as beweeg. (4) Selected verbal constructions In a constructional change involving inter alia the expression of tense and modality, a structure such as gelaster sal hê "will have slandered" changed to sal gelaster het, with the bare infinitive hê "to have" being replaced by the finite auxiliary het "have". This change is reflected in translations from V1922 onwards. Counter-factuality is expressed in "kon ... aan die armes gegee gewees het" ("could have been given to the poor", V1933). A construction employed to express wishes has evolved from the modal verb wil "to want/ wish to"plus a dat ("that") clause, to wil hê "to want to have" followed by an independent clause. The difference is reflected by "ons wil dat U aan ons sal doen, wat ons ook mag begeer" ("we want that You will do to us whatever we may desire") in V1922 and "ons wil graag hê U moet vir ons doen wat ons U gaan vra" (literally, "we want to have You must do to us what we are going to ask (from) You") in V1983. After far-reaching preterite loss in the course of the 19th century (cf. Conradie 1998), Afrikaans has only retained was "was, were", dag/dog "thought" and a small set of modal auxiliaries in current usage. Werd "became, was", mog "could, might", wis "knew" and had "had" are among the last preterites to fall into disuse. The passive auxiliary and copula werd was only used in V1908. The preterite of weet "to know", viz. wis, was still used in V1933 but was replaced by the perfect het geweet "have known" in the revision, V1953. Mog, last used in V1908 in mog aanraak "could/ would be permitted to touch", was replaced by its present tense form mag aanraak, or by the near synonym kon "could" in V2014: "dat die siekes selfs net die soom ... kon aanraak" ("that the sick could only touch the seam"). Another change that is reflected in the translations since V1922 is the replacement of the "be" auxiliary by "have" with unaccusative verbs, e.g. "Ekis nie gekom om ... " ( "I am not come to ..."), by "Ek het nie gekom om ..." ("I have not come to ..."). Owing to the demise of the auxiliary had, the preterite of het "to have", Afrikaans lost an explicit pluperfect in the active voice. The had construction is replaced by the het perfect from V1922 onwards, occasionally supported by the adverb vroeër "earlier". In earlier texts, as in the spoken language generally, the historical present is often used for narrating a series of events, e.g. '"en die koors verlaat haar en sy bedien hulle" (Mark 1:31) ("the fever left her and she waited upon them", NEB 70). In later translations the historical present is replaced by the perfect to an ever-increasing extent, for example (in V2014): "die koors het haar verlaat en sy het hulle bedien". (5) Selected non-verbal constructions The preposition van "from", which had formed part of the passive agent, was replaced in older Dutch and Cape Dutch documents by deur "by" (literally "through"). Van was already replaced by deur in V1908. A typical characteristic of Afrikaans is the use of the preposition vir "for" before a direct object, as in "Hy roep vir hom", literally "He calls for him". Even though it is present in all the translations it is used excessively in V1908, particularly before personal pronouns, as in "Wi het fer My angeraak?" ("Who touched me?") of V1908. Nominals such as oorkant "the opposite side" and anderkant "the other side" have changed their category to become prepositions. This is already in evidence in V1878, e.g. "van owerkant die Jordaan" ("from the other side of the Jordan"). The clause-final negative particle of Afrikaans, also nie like the negative proper, is not employed in V1878, but is used consistently in all subsequent translations. Reduplication, which reached Afrikaans through the Malay of the slaves (cf. Raidt 1994b), was already gaining a footing in V1908: "begin fer hulle uit te stuur twe twe" ("begins to send them out in groups of two"). The merging of the non-main verb laat "to let" with the complementiser dat "that" is already in evidence in a phrase such as the following: "breng My een penning laat Ik hom sien" of V1878 (literally, "bring me a coin let me see it"). (6) Selected lexical items The expression om iets kwalik te neem "to take something badly " was amended to om iemand iets kwalik te neem, "to hold something against someone " in the revision of V1953, indicating that the two expressions were probably confused. A number of modal particles, such as tog '"surely", miskien "perhaps", mos "as you know" and darem "still", contribute to the pragmatics of the Afrikaans translations. In conclusion, a few types of language change in Afrikaans that are reflected in the translations are singled out, and it is suggested that if language usage in a particular translation is not in line with that in other translations it may be due to faulty observation of general usage, and that in some translations attempts were made at grammar development and even standardisation.

Van Wyk Louw pas op verskillende maniere relativering in sy poësie toe: leksikale relativering, waar hy entiteite as klein, dun, smal, ensovoorts, dikwels met die verkleiningsuitgang -tjie beskryf (bv. klein beiteltjie), modale relativering, waar iets gekwalifiseer word met 'n modale bywoord soos mos, glo, miskien, en illokusionêre relativering deur meermale vrae te stel: retories, aan die hoorder/leser gerig, aan homself gerig. Dit lewer verskillende winste op, byvoorbeeld die voorstelling van weerloosheid teenoor bedreiging (bv. die spelende kinders teenoor Raka), die aanduiding van onsekerheid ten opsigte van groot uitdagings ("Miskien ook sal ons sterwe"), en die inkwisiteur se uitdrukking van vrees ("het hy geskree of ek?"). Relativering stel Louw nie alleen in staat om treffende kontraste te skep nie, maar ook om te kenskets en ironiseer, en op 'n wye verskeidenheid terreine korrektiewe aan te bring en nuwe perspektiewe te bied. Van Wyk Louw's poetry is characterised by relativisation in the conventional sense of qualifying the referent as relative rather than absolute. This implies that a person or other entity is compared to an implicit norm or standard, but one that is not fully met. The use of the adjective klein ("small") serves as an example. Klein can, for instance, describe its referent as not meeting the norm of average size or extent in its particular class. This paper strives not only to identify types and instances of relativisation in Louw's poetry but, in some cases, also to offer suggestions as to what his poetic intentions are. Three types of language-based relativisation are identified in Louw's poetic oeuvre. The use of lexical items such as klein may be described as lexical relativisation. The word klein as such forms part of a semantic field that includes more specific qualifications, such as smal ("narrow"), a description of shape, and min ("few, little"), a measure of quantity. The field also extends to adjectives such as kaal ("bare") and naak ("naked"), and even to nouns such as kind ("child"), which is, after all, a small human being, and kleintjie ("kid", literally "small person or thing") bearing the same meaning. While commonly indicating smallness, the diminutive suffix can also express endearment. A few examples will shed more light on lexical relativisation in Louw's poetry. In the poem "Die beiteltjie" (p. 186)¹the beitel ("chisel") is relativised at the outset as a klein klein beiteltjie ("a small small chisel", with diminutive suffix) to support a contrast of cosmic proportions, as the chisel in the end is instrumental in splitting the entire planet in half. In the epic poem "Raka", diminutives and the word klein hint at the defencelessness of a human settlement and its women and children, and even the animals of the forest, the vissies ("little fish") and jakkalsies ("little jackals"), against the threatening figure of Raka in the background. The kleintjies ("little ones") with their bruin ogies ("little brown eyes") (p. 101) are portrayed as innocently at play in the vicinity of the settlement, but the klein kraal ("small enclosed village") (p. 117) will be left defenceless after the demise of their leader, Koki. Religious overtones are noticeable in the appreciation expressed for small, whitewashed Romanesque kerkies ("little churches") (p. 235), in contrast with a wilde kerk ("wild church") (p. 263), a Gothic cathedral that frightens the poet when the train rushes past it in the night. A second kind of relativisation may be referred to as modal, as Louw often employs modal adverbs or particles to express the contingency of the object described or the uncertainty he experiences in connection with certain issues. These include words such as miskien and dalk, which express mere possibility ("perhaps"); mos, a downtoner in the exchange of information, used by a speaker to allow for the possibility that his/her interlocutor also has some knowledge of the matter; maar, indicating mild dissatisfaction with something or some state of affairs; and the evidential glo, which abounds in the volume Tristia, in particular. The line "Die wêreld is maar soos hy is" ("the world is just the way it is"), from Louw's "Klipwerk" collection (p. 216), for instance, expresses the speaker's resignation to the fact that man is unable to exercise control over the world or life in general or, in this case, a person's ability to curb his own desires. When someone obviates the customary way of performing certain actions by following an unconventional route or short cut, this is often rationalised by the use of sommer (or sommer maar). Thus the young Ottaviano (p. 262) manages to buy artworks "sommer sonder geld" ("without bothering to pay"), and a vagrant sleeps at night "sommer in 'n sloot" ("in any old ditch") (p. 31). Mos ("as everybody knows") is used ironically in "Satang se kinders, diés mos wonderlik geseën" ("Satan's children are of course marvellously blessed") (p .204). As a modal particle, glo has the general sense of "presumably", but also, in its specialised function as an evidential, "allegedly" or "it is said that", by which a speaker indicates that he/she doesn't have first-hand information about a certain matter. The particle glo not only derives from the verb glo "to believe" but is still semantically related to it in that both the verb and the particle suggest entertaining a certain opinion about an issue, but without there being full certainty about it. In his "Ars poetica" (p. 251), Louw expresses the opinion that poetry cannot be made from literature that has already assumed its final form, therefore, in the image he uses, not from the hexagonal cell of the honeycomb, but perhaps from the honey itself: "uit heuning self glo nog" ("from honey itself (it is) perhaps still (possible)"). Light is shed on the possible meaning of the particle by a comment made by Louw himself (quoted in Steyn 1998:1030), in which he explicitly confirms the train of thought in the poem. In this case, however, he employs the verb glo ("to believe"): "Ek glo nog altyd dat ... ("I still believe that ..."), which suggests that when using the particle glo in poetic contexts he may be marking - and thereby relativising - an utterance as the expression of a personal belief or unformed idea rather than an established theoretical concept. Van Wyk Louw also relativises certainty in what might have been declarative sentences by casting them in the form of questions - not only rhetorical ones but also genuine questions. This use of questions may be termed illocutionary relativisation. In "Ballade van die bose" ("Ballad of the evil one") (p. 132) the Classical adage "Know yourself" is for instance cast in the form of a challenging question: "Het jy die spieël gesien / en ken jy jou?" ("Have you seen the mirror, and do you know yourself?"). The use of jou - which can be a reflexive as well as a personal pronoun - instead of the explicitly reflexive jouself, heightens the impact of the question by implying the need for an objective look at oneself. The role and value of human culture is brought home to the hearer/reader in Raka (p. 105) by a set of rhetorical questions, such as "Ken Raka ... ons fyn fyn net / van die woord ...?" ("Does Raka know our finely meshed net of the word?") and "Ken hy die vuurgeheim?" ("Does he know the secret of fire?"). And finally there are also questions about questions. The poet shows his dismay at the fact that no one seems to care about the desperate condition in which the country finds itself, by posing a kind of metaquestion: Is there a "gedoemde waarheid" ("doomed truth") in the air "wat niemand vra?" ("which no one asks?") (p. 168). Does the absence of questioning indicate that nobody cares about the truth any more? In sum, relativisation enables Louw not only to construct impressive contrasts, but also to characterise and ironise persons, situations and schools of thought, and to apply correctives and introduce new perspectives in a wide range of areas.

Die dorpie Genadendal in die Wes-Kaap is in 1837 deur die Morawiese Kerk gestig. Ons het 'n reeks in-diepte kwalitatiewe onderhoude met twaalf afgetrede inwoners van die dorp gevoer en hulle belewenisse en herinneringe geanaliseer om hulle geleenthede, sosiale weerbaarheid en strukturele kwesbaarheid te evalueer. Ons gebruik Amartya Sen se benadering van Instaatstellende Geleenthede ("capability approach"), sowel as Weerbaarheidsteorie (kyk voetnoot 2) as teoretiese raamwerke. Ons het gevind dat daar 'n baie sterk sosiale verbondenheid bestaan het terwyl die deelnemers grootgeword het, wat hulle meer weerbaarheid gegee het gedurende die apartheidsperiode. Na die oorgang na demokrasie het hulle werksgeleenthede en geleenthede vir beter integrasie in die breë samelewing uitgebrei, maar as gevolg van die feit dat Kaapse bendefamilies in Genadendal ingetrek het, het hulle op nuwe maniere struktureel kwesbaar geword. Die analise van geleenthede, sosiale weerbaarheid en strukturele kwes-baarheid in Genadendal tydens en na apartheid illustreer die belewenisse van 'n atipiese, afgesonderde landelike gemeenskap in die Wes-Kaap tydens hierdie twee historiese periodes. The town Genadendal or Genaal as it is called by the residents, is situated in the Western Cape, and was founded by the Moravian Church in 1837. The Faculty of Community and Health Sciences at the University of the Western Cape (UWC) has had a longstanding relationship with the Genadendal community through UWC's community engagement activities. The elderly in Genadendal approached UWC to document some of their memories of the pre- and post 1994periods, and one of the authors conducted a series of qualitative in-depth interviews with twelve purposively selected retired residents of Genadendal to document their experiences and memories of both these periods. In this paper we analysed the data through the lens of Amartya Sen's Capability Approach (CA), as well as Resilience Theory¹ to evaluate the opportunities, resilience and vulnerabilities of the participants. We explain the core concepts of both these theoretical approaches, and the ways in which they can be used in a qualitative study of this nature. We conclude that the two approaches are complementary and that the combined theoretical framework could potentially be used in additional contexts of a similar nature. The results show that when the participants were growing up there were strong social support mechanisms and cohesive relationships in the closed community. These bonds and relationships protected them and provided them with resilience during the apartheid era. After democracy in 1994 their work opportunities improved and possibilities to be better integrated into the broader society opened up, but the protected life in Genadendal changed radically. Social housing was made available by the municipality to farm workers, and to people from Cape Town and the surrounding areas. Due to the influx ofpeople and gangster elements from Cape Town, structural vulnerabilities increasedfor the residents of Genadendal. The analysis of opportunities, resilience and structural vulnerabilities in Genadendal during and after apartheid, illustrates the experiences of an a-typical, isolated rural community in the Western Cape during those two historical periods. The following themes emerged: Before and during the Apartheid era The first theme identified was the sense of security experienced by the participants provided by the strong relationships amongst the people and the value driven guidance and care from the Moravian church and the teachers in the schools. The second theme highlighted the benefit of landownership. Originally most ofthe families owned land on which they could grow their own vegetables and fruit and keep livestock, which protected them from poverty and hunger. The community shared their vegetables and meat to support each other and this provided protection and care which contributed to the well-being of everybody in the community. The third theme the participants identified was that despite apartheid, the good education provided by caring teachers equipped them for life outside Genadendal. Many became teachers themselves. The good values instilled by the church were furthermore identified as a factor that facilitated social integration in the community of Genadendal and which equipped them for life outside the village. The fourth theme dealt with the period after apartheid. The year 2000 was identified as the time when an influx of people from Cape Town in particular, who were accessing social housing provided by the municipality, brought about dramatic changes. With the influx came crime, drugs, gangsterism and the loss of the values and social cohesion which had been cherished by the community of Genadendal. The negative effects of apartheid and colonial policies now reached Genadendal, which had been reasonably protected until this time due to its special position as a Moravian Mission. They now entered a new era of establishing trauma rooms and support systems to deal with the social problems that entered the community. Despite new work opportunities created by the new democracy after 1994, the community felt they had lost their social cohesion and that the values they knew were no longer universally adhered to. Ironically, better political conditions had not necessarily brought about greater personal freedom and security. It was found that combining the Capability Approach and Resilience Theory provides a potential framework for identifying resilience, vulnerability and capabilities in communities, in particular within historically and politically complex contexts.

Die psigoterapeutiese ruimte word gekenmerk deur onder andere invoelende deelname, oftewel ʼn empatiese gevoeligheid vir die problematiek van die bestaan en betekenis van alles. Die estetiese ingesteldheid word as ʼn eis aan die terapeut gestel ten einde op eksistensiële wyse ontvanklik te wees vir la condition humaine. In hierdie artikel voer ek aan dat bogenoemde psigoterapeutiese kwaliteit, soos ook te vinde in die opvoedkundige sielkunde, moontlik in die lig van ʼn ongebreidelde digitalemediakultuur bedreig word. Ek ondersoek die aard van hierdie kwelling aan die hand van verweefde teoretiese en filosofiese benaderings, sowel as van voorbeelde uit die poësie en letterkundige prosa. Daar word aan die hand gedoen dat die opleiding van sielkundestudente in die algemeen, en studente in opvoedkundige sielkunde in die besonder, wat met digitale media grootgeword het, opnuut in oënskou geneem behoort te word. Wanneer aanlyn digitale media die oorwegende gereedskap word waarmee betekenis ontsluit en vertolk word, sê dit moontlik iets van die wyse waarop mense hul wêreld epistemologies en ontologies benader. In hierdie opsig dien die steeds uitdyende digitale verbruiksgeoriënteerde bestaan, gekenmerk deur nut/utiliteit en onmiddellikheid, toenemend as hubris waardeur die mensdom tot ondergang gedoem skyn te wees. Hierdie ondergang het nie noodwendig te make met die uitsterwing van Homo sapiens nie, maar het eerder betrekking op ʼn verarming van die funksie van woord- en taalgebruik en denke in die mens se strewe na betekenisskepping. Onlangse navorsing wil te kenne gee dat die snelle hibridisering (die mens-masjien-versmelting) waaraan die mensdom blootgestel is, ten koste van sekere kennisverwerwings- en betekenisskeppingsfunksies geskied. Een van dié funksies is die soeke na samehang deur middel van diepgaande interpretasieraamwerke ten einde weg te beweeg van chaos en versplintering op sosiale en persoonlik-psigiese vlak. Hiervolgens gaan dit veral om die verarmde rol van denke en taal as noodsaaklike lewensmiddele om die fyn netwerk van skakerings van gebeure en belewenisse te artikuleer. ʼn Oorwegend gedigitaliseerde kultuur wat nouliks staanplek aan die ryk register van persoonlike ervarings gee, kan daartoe lei dat synsbetekenis gereduseer word tot gefilterde kitsklaar belewenis- en kennisbrokke wat van noodsaaklike nuansering ontdaan is. In hierdie artikel poog ek om aan die hand van verskeie teorieë in die filosofie en sielkunde, analitiese letterkundebesprekings, en onlangse inligtingswetenskaplike navorsingsbevindinge helderheid te verkry oor die wyse waarop die digitalemediakultuur verband hou met die behoefte aan ʼn estetiese ingesteldheid, spesifiek as ʼn psigoterapeutiese kwaliteit. Ter verrekening hiervan verduidelik ek die wyse waarop sekere kunsvorme as rigtingwyser vir die estetiese ingesteldheid die denkhandelinge van die psigoterapeut en opvoedkundige sielkundige kan bevorder en verryk. Ons wêreld is betrokke op die middels waardeur ons dit benader. Derhalwe is die geskiedenis gedeeltelik die geskiedenis van gereedskap. Daardie ou houtkapper se byl was die bril waardeur hy die wêreld gesien het, en deur die voel van sy steel het hy alles gevoel. Marthinus Versfeld (2008:46) The psychotherapeutic space is characterised by, inter alia, empathetic participation, that is, sensitivity for the problematic nature of the existence and meaning of everything. The aesthetic disposition is a demand made on the therapist to be receptive to la condition humaine in an existential manner. In this article, I contend that in the face of an unbridled digital culture, the above-mentioned psychotherapeutic quality may be threatened. Furthermore, I scrutinise the nature of this concern in the light of interwoven theoretical and philosophical approaches, and of examples from poetry and literary prose. It is suggested that the training of postgraduate psychology students in general and educational psychology students in particular who have grown up with digital media ought to be reviewed. When online digital media become the predominant tool with which meaning is unlocked and interpreted it probably says something about the way people approach their world epistemologically and ontologically. In this regard, the ever-expanding digital consumerism, characterised by utility and immediacy, increasingly serves as hubris through which humanity appears to be doomed to collapse. This collapse would not necessarily mean the disappearance of Homo sapiens, but rather refers to an impoverishment of the function of language and thought in humankind's pursuit of meaning creation. Recent research contends that the rapid hybridisation (that is, the fusion of human being and android/machine) to which humankind is exposed occurs at the expense of certain knowledge-gaining and meaning-creating functions. One of these functions is the search for coherence by means of in-depth interpretation frameworks in order to steer away from chaos and fragmentation at the social and personal-psychological levels. Specifically, it concerns the impoverished role of language and thought as vital conditions for the articulation of the fine network of nuances of events and experiences. A predominantly digitalised culture in which the rich register of personal experiences is hardly given a place can lead to the ontology of existence being reduced to filtered, instant experiences and knowledge fragments stripped of their essential nuances. Another factor contributing to indifference in the context of the psychotherapist's thinking actions is the inherent fragmentation of the profession of psychology. This often makes it difficult for therapists who pursue the humanistic principles of solicitude and endeavour to fathom the greatest depths of humanity, to position themselves simultaneously within various social systems. Gardner believes "an effective counsellor must radically change his or her perspective on a client throughout the day, viewing the client first through the client's own eyes; then through the eyes of a legal authority or insurance entity; and possibly even through the eyes of a particular agency or school, whose own policies may differ widely from the counsellor, client, or payer" (Gardner 2016:88). According to Gardner, the orientation of metamodernism, characterised by continuous movement and reform, can serve as a conciliatory paradigm to deal with fragmentation and conflicting contexts peculiar to psychotherapeutic practice. She illustrates this fragmentation with reference, in particular, to the one-dimensional reliance on "neo-medical strategies" (Gardner 2016:89), namely rigid treatment plans, diagnostic criteria and DSM¹ codes and categories, as opposed to a humanistic approach characterised by human autonomy and integrity. It is suggested that metamodernism as an attitude becomes a way for the educational psychologist of positioning herself in ambivalent environments by means of a to-and-fro movement between conflicting contexts and metaphysical issues related to psychology, such as good/evil, male/female, conscious/unconscious, psychological distress/prosperity, rather than a total rejection of boundaries as in postmodernism. In this article, with reference to several theories in philosophy and psychology, analytical literary discussions and recent information science research findings, I endeavour to gain clarity about how the culture of digital media relates to the need for an aesthetic disposition, specifically as a psychotherapeutic quality. In considering this, I explain how art as a direction indicator of the aesthetic disposition can be applied to advance and enrich the thinking of the psychotherapist and educational psychologist.

Modale (hulp-)werkwoorde (MW'e) kom algemeen in Germaanse tale en variëteite voor in kombinasies van twee of meer in een proposisie of klous, byvoorbeeld Jy sal vinniger moet kan werk. Die doel van hierdie ondersoek is om die beginsels van of beperkings op sulke opeenvolgings in Afrikaans te bepaal. Die hipotese word gestel dat hoe hegter die MW die sinsonderwerp aan 'n predikaat verbind, hoe nader sal die MW aan die hoofwerkwoord staan. Kan, soos in Sy moet kan orrel speel, dui byvoorbeeld op 'n inherente kenmerk van die onderwerp, naamlik die "vermoë" om orrel te speel, en staan gewoonlik die naaste aan die hoofwerkwoord. In epistemiese gebruik, soos in Sy kan moet orrel speel, lewer kan uitspraak oor die waarskynlikheid van die proposisie (naamlik Sy moet orrel speel) in sy geheel en neem dan gewoonlik die eerste posisie in. Die hipotese is vervolgens empiries getoets met verwysing na die MW'e sal/sou en modaal gebruikte gaan, moet/moes, mag, behoort te, wil/wou en kan/kon. Om die voorkoms as sodanig van kettings van hierdie MW'e te bepaal, is hoofsaaklik gebruik gemaak van Taalkommissie-korpus 1.1, maar ook van ander bronne. Daar is bevind dat 8 uit die 15 voorspelde kettings wel voorkom, terwyl van die volgordes wat nie voorspel word nie, slegs'n enkele voorbeeld gevind is, wat die hipotese oor die algemeen bevestig. Die volgorde van mag en behoort (te) ten opsigte van ander MW'e kon egter slegs ten dele bevestig word; dit is byvoorbeeld duidelik dat mag altyd ná sal/sou georden word en behoort (te) altyd voor kan/kon. Sequences of two or more modal auxiliaries in one clause are found in most Germanic languages and varieties, as in Danish, for instance (example and gloss by Brandt 1999:126): An Afrikaans example would be: Nar jeg kommer i skole vil jeg ikke gide skulle kunne laese latin. When I get to school will I not bother should could read Latin Jy sal vinniger moet kan werk. You. SG will quicker must can work "You will have to be able to work more quickly." The purpose of this paper is to determine whether the ordering of Afrikaans modals adhere to a general principle or is constrained in some way. The sequencing of a modal such as kan "can", on the one hand, and of modals with an epistemic (or evidential) function, on the other, may be indicative of such a principle. So is the fact that the modal sal "will" - and similarly Dutch zullen "will" - conventionally occupies the first position. Cognates of the modal kan "can" typically occupy the last position in the chain in various Germanic languages. This modal ascribes a fixed attribute, expressed by the predicate, to the sentential subject. A modal used in epistemic function, e.g. kan "can" in Ben kan 'n Boeing moet vlieg om die werk te kry. Ben can a Boeing must fly to the work to get "Ben may be required to fly a Boeing if he is to get the job." evaluates the probability of the entire proposition and therefore has no special relationship to the sentential subject. This also goes for certain usages of sal "will" and its preterite sou "would", such as prediction, hypotheticals, future tense, and evidentiality as expressed by sou "would": Ben sou 'n vlieënier wees. Ben would a pilot be "Ben is said to be a pilot." There is a sharp functional contrast between epistemic moet "must, should", where a relationship with the sentential subject is completely lacking, and kan "can" when expressing a subject-internal ability, as in Ben moet Boeings kan vlieg. Ben must Boeings be.able.to fly "Ben is expected to have the ability to fly Boeings." While in the case of kan the modal source derives from the sentential subject itself, the modal source related to moet typically has an external nature. In the course of the utterance, i.e. from a discursive point of view, the role assigned to the subject changes: while Ben at first only has a thematic role in relation to moet, it comes to assume a more agentive role in relation to kan. If wil "want to" + kan "can" were to constitute the chain, the modal source remains internal to the subject: it is not fully implemented in the case of wil (i.e. is inchoative), but forms a fixed attribute in the case of kan (i.e. is perfective). In a moet "must" + kan "can" sequence there is both a progression from external to internal source of modality and from inchoative to perfective aspect. In regard to possible orders of modals in chains, it is hypothesized that the position of a particular modal in a chain is a function of the strength of the link forged between the sentential subject and its predicate by the modal in question, where "strength" is defined by the extent to which the source of modality is identical with or internal to the subject and the extent to which the realisation of the source of modality is in the process of coming into effect (inchoative) or has been realised (perfective). While the default assumption in the case of Ben vlieg "Ben isflying" would be factual, the addition ofkan as in Ben kan vlieg "Ben can fly" renders the act of flying counterfactual, and the further addition of moet, as in Ben moet kan vlieg "Ben should be able tofly" in turn renders the ability expressed by kan counterfactual. The factuality expressed by the rightmost verb is therefore cancelled (relativised) by every modal added to the left. A combination of the functional and aspectual relationship of the subject to the modal verb it controls would give rise to the order in Table 1. The actual occurrence of the predicted chains was empirically checked with reference to the Taalkommissiekorpus 1.1 and other sources. The search was restricted to non-negative sequences with two root³ modals, with no clause boundaries between them. Out of 15predicted orders, such as sal moet, moet wil and behoort te kan, eight were attested. However, only one example was found of non-predicted (or converse) root orders such as kan moet and wil mag. The hypothesis is therefore confirmed in general. However, a number of non-occurrences of predicted orders still require an explanation, e.g. the fact that behoort (te) "ought to" was only followed by kan/kon "can, could", and mag "may" only preceded by sal/sou "will, would".

Die doel van die ondersoek is om te bepaal watter bydrae sprekers of voormalige sprekers van Khoi wat Afrikaans as taal aangeneem het tot die ontwikkeling of gebruik van modale partikels in Afrikaans gelewer het. Bronne wat vir hierdie doel ondersoek is, sluit in aangehaalde uitsprake van Khoi-Khoin uit die laat 17de en vroeg-18de eeu, twee briewe van Khoi-Khoin, ’n onderhoud met ’n Khoi-Khoi soos vryelik weergegee deur C.E. Boniface, koerantbriewe deur persone wat hulle as Khoi-Khoin voorgedoen het, ’n kort drama, die novelle Benigna van Groenekloof of Mamre en ander geskrifte met ’n Genadendal-agtergrond, ’n uittreksel uit die dagboek van Hendrik Witbooi, transkripsies van onderhoude wat in die 1980s met Griekwas gevoer is en enkele onderhoude wat in Namakwaland gevoer is. As kontrolekorpus is transkripsies van spontane gesprekke gebruik wat ook in die 1980s in Johannesburg opgeneem is en die standaardtaal verteenwoordig, asook Adam Small se drama Kanna hy ko’ hystoe om die variëteit Kaapse Afrikaans te verteenwoordig.

Die Afrikaanse modale werkwoord wil (en sy imperfekvorm wou), wat meestal as hulpwerkwoord gebruik word, kan verskillende betekenisskakerings aanneem, onder meer "begeer", "onderneem", "wens", "bereid wees", "neig", "dreig" en "op die punt wees"; dit maak ook deel uit van taalhandelinge, byvoorbeeld om wense uit te druk en is die enigste modale werkwoord wat reduplikasie kan ondergaan (wil-wil, wou-wou). Die meeste van hierdie betekenisse en gebruike word ondervang deur aan te neem dat wil in wese 'n handelingswerkwoord is wat op "voorbereidende aksie" dui en waarop die spreker 'n interne of eksterne perspektief kan hê. Die interne perspektief (wat ons wil¹ kan noem) gaan uit van taalgebruikers se vermeende vertroudheid met wil as psigiese of mentale handeling, wat egter op nie-menslike lewensvorme en selfs nie-lewende entiteite geprojekteer kan word. 'n Tipiese gebruik is byvoorbeeld Ek wil wen, waar die uitspreek van 'n begeerte om te wen (die wilsaksie) deur 'n persoon geïnisieer word, met My kar wil nie vat nie as moontlike projeksie. Die eksterne perspektief (wil²) berus op die waarneming van byvoorbeeld natuurkragte, waar die aksie weens die taalgebruiker se onvermoë om die onderliggende kragte regstreeks waar te neem slegs gekonstateer kan word as dit op die punt is om te gebeur, byvoorbeeld Dit wil reën, as dit "dreig" om te reën. Omdat reduplikasie in Afrikaans onder meer kan dui op herhaalde - maar ongeslaagde - pogings om 'n doel te bereik, kan dit in Dit wil-wil reën aangewend word om die onmiddellike moontlikheid van 'n reënbui te beklemtoon. Sodoende kan die modale hulpwerkwoord wil(-wil) vanuit die eksterne perspektief deur 'n verdere proses van grammatikalisasie die aspektuele funksie van anterioriteit aanneem, wat dan selfs op menslike gemoedsaandoeninge van toepassing gemaak kan word. Omdat die interpretasie van 'n uiting deur 'n perspektiefwisseling verstel kan word van interne wilsaksie na anterioriteit en omgekeerd, kan aangeneem word dat daar 'n kontinuum tussen die twee perspektiefpole bestaan. Grammatikale kenmerke wat met die twee perspektiewe korreleer, is dat die interne wilsaksie ontken kan word (behalwe in taalhandelinge) en reduplikasie uitgesluit is, terwyl die ekstern waargenome aksie vanweë sy onmiddellike konstatering nie ontken kan word nie, maar dan juis deur reduplikasie beklemtoon kan word. The Afrikaans verb wíl, a cognate of English will but closer in meaning to "want to", is usually employed as an auxiliary rather than a main verb and is defined, inter alia, as "to wish, desire, intend, be able, resolve, be prepared, be willing, be on the verge of, and is used to express wishes and as a reduplication form (wil-wil). This paper endeavours to show that most of these nuances of meaning and usages are derivable from a core meaning of "preparatory action" and two perspectives on this. If"wíl is compared to other modal verbs, it appears that though it has certain syntactic and semantic features in common with them, it nevertheless differs greatly from them in many other respects. Historically, wíl differs from most other modal verbs in being semantically stable. Afrikaans wíl differs from other Afrikaans modals in several respects. (a) Wíl is not used epistemically. (b) Wíl can be used as a transitive verb and is the only modal to have a past participle, viz. gewíl. (c) Only wíl has a derivation resembling a present participle, viz. welwíllende "benevolent". (d) In passive sentences, wíl remains subject oriented, i.e. retains the grammatical subject as its agent - for example Sy wíl gesíen word "She wants to be seen". (e) Wees doubles with word as a passive auxiliary in a construction such as Sy wíl gesíen wees deur díe mense "She wants to be seen by the people". (f) Only wíl (and its preterite form wou) reduplicates, as in wíl-wíl and wou-wou. It is argued that wíl primarily expresses preparatory action - "preparatory" to distinguish it from a distinctly different action resulting from wíl or an ensuing state of affairs, as in Hy wíl wen "He wants to win", or Sy wíl ryk wees "She wants to be rich". "Action" is considered a suitable common denominator, as it could refer to anything from mental action to forces of nature. "Action" is taken to contrast with concepts such as "knowledge, attitude, obligation, ability, permission", etc. not expressing an activity as such. Most of the semantic nuances of wíl are derivable from two perspectives on wíl, an internal and external one, to be distinguished as wíl¹and wíl². The action character of wíl is supported by grammatical factors such as the following: (i) In the series Ek kan/moet wen (" can/must win"); ek wil wen ("I want to win"); ek gaan/ sal wen ("I am going to/will win"); ek het gewen ("I won"), where each proposition implies the previous, it seems as though the action culminating in "I won" commences with "I want to win". (ii)The fact that wíl, unlike other modal verbs, retains the sentential subject as agentive even in passive sentences, as in Hy wíl bederf word "He wants to be spoilt", is another indication that that wíl expresses an action. (iii)The sentences Ek wens jy wil weggaan! "I wish you will go away" and Ek wens jy gaan weg! "I wish you go away" are virtually synonymous, whereas substituting moet "must" for wíl, as in Ek wens jy moet weggaan "I wish you have to go away", changes the objective of the wish to a particular state of affairs. If we accept that a wish containing wíl (first sentence) has the same illocutionary force as one not supplemented by a modal verb (second sentence), and both presuppose that a certain action be taken by the addressee, then it follows that wíl is closely associated to action. One way to look at wíl is through an "inner" perspective. It is claimed that one only has access to one's own mental states - which would include the "meaning" of wíl - in a direct and noninferential way. To this may be added the role of language in creating an intersubjective awareness of the meaning of wíl. Though the meaning of wíl may seem absolutely clear to the user of the word and between language users, in reality this may not be the case at all. While a projection of wíl on another person in a request such as Wil jy (nie) asseblief die deur toemaak (nie)? "Will/won't you please close the door?" still remains within the bounds ofwhat is understood under wil, projections on non-humans as in Daardie muskiet wil my byt! "That mosquito wants to bite me!" and even onto a vehicle, as in My kar wil nie vat nie! "My car doesn t want to start!," may be far from intentional wil in the "human" sense of "desiring to" or "intending to". Quite another use of wil is found when wil is reduplicated, as in My kar wil-wil vat "My car is about to start", where anterior aspect is indicated. In sum, the "internal"perspective on what will be referred to as wil¹may be characterised in two ways. Firstly, negation is possible, as in Hy wil nie nog drank hê nie "He doesn t want any more liquor", though generally not in speech acts. A second characteristic is that reduplication is excluded, viz. *Ek wil-wil eendag Everest beklim, to mean "I want to climb Everest one day". Next we may consider an "external" perspective on wil, to be referred to as wil². In a proposition such as Dit wil reën "'Rain is imminent", wil is used in the sense of "to be on the verge/point of or "to be threatening". Wil here refers to a force of nature. An internally motivated action in nature only becomes obvious when some kind of change is observed. Thus we can only say "Rain is imminent" when dark rain clouds and chilly gusts of wind, etc. are in evidence. As the initiator is not observable, it is of necessity identical to that of the force itself. Thus, in Dit wil reën, literally "It wants to rain", the volitive force of wil and the action of raining - though distinct as forces or actions - are assumed to have the same origin or source. In its association with "imminence", the modal auxiliary wil is further grammaticalised to express anterior aspect. The ability of the speaker to handle two perspectives on the same action at the same time by "dividing" him-/herself into two persons, is referred to by Leiss (2012: 45-46) as "double displacement". An action characterised as being "on the verge of" cannot be negated, as it is not possible for an action to be on the verge of taking place and not taking place at the same time. While wil¹, as was noted above, can be projected onto non-humans and even objects, wil², as an auxiliary expressing anterior aspect, can be applied to propositions with human subjects, such as Sy wil huil "She is about to cry, is on the verge of crying". In sum, wil², unlike wil¹, cannot be negated. However, wil²can be reduplicated, e.g. Dit wil-wil reën "It is threatening to rain". This has the effect of emphasizing the imminence of the rain. Reduplication in Afrikaans has the function, inter alia, of highlighting various kinds of repetition, one of which is repetition as part of an effort to achieve a goal, for example Hy hap-hap na sy aanvaller, literally "He snaps-snaps at his attacker", i.e. keeps snapping at his attacker. If we assume a pragmatic link between an effort that is not completely successful and an action that is on the verge of being realised, the previous example may be seen to bear a semantic resemblance to Hy wil-wil sy aanvaller byt, "He is on the verge of biting his attacker". Finally, the difference between wil¹, meaning "to want to, wish, intend, desire", etc., and wil², meaning "being on the point/verge of" and expressing anterior aspect, is related to the difference between an interior ("inner") and exterior ("outer") perspective on "will", conceived of as an action, whether mental or physical in nature. The two perspectives are, however, not in absolute contrast with each other but may merge into each other so that a continuum between the two may be assumed. For example, the following sentence may be taken to describe a man recovering from a coma: Soms lyk dit asof hy sy oë wil-wil oopmaak, sometimes seem it as-if he his eyes want-to REDUP open-make maar of die inspanning te groot is. (I. Winterbach) but if the effort too great is "Sometimes it seems as though he is about to open his eyes, but it is too great an effort." As he is getting closer to regaining consciousness (i.e. from being "on the verge of), the gradual opening of his eyes is transformed to an act of will (cf. inspanning "effort") until he consciously strives to open his eyes.

Geen abstrak beskibaar nie.