Nicholas Meihuizen

Bio: Nicholas Meihuizen is an academic researcher from North-West University. The author has contributed to research in topics: Memorial reconstruction & Telos. The author has an hindex of 3, co-authored 10 publications receiving 21 citations.

Yeats's Manuscripts and Authorial Intention

Abstract: The undermining of authorial intention through intertextuality and its consequent implications can sometimes lead to false assumptions about, not simply the meaning of texts, but the strategies used by authors in conveying meaning This can be particularly perplexing when critics, bolstered (perhaps unwittingly) by the sense of conceptual freedom granted to them by notions such as ‘the death of the author’, use formal elements to impose meaning If poetic meaning is open to interpretation, the critic should use discretion in working with this fact This article touches on the problems surrounding authorial intention and also considers how intertextuality provides valid insights into poetic interpretation; it contends that an investigation of manuscript materials can offer supporting evidence concerning clearly discernible instances of authorial intention Such an investigation might also be of help in rebutting freer interpretations, or interpretations based on formal elements that played no role in the c

Saying and the Interruption of the Said: Ethical Considerations in and on J.M. Coetzee’s The Lives of Animals

Abstract: SummaryUsing J.M. Coetzee's The Lives of Animals (Coetzee 1999) as a basis, our article compares the straightforward ethical reading of literature as an unproblematic means for creating reader symp...

Autobiographical techniques and the problems of memorial reconstruction: Amis, Coetzee, Kermode and Motion

Abstract: This article examines the various ways Martin Amis, J.M. Coetzee, Frank Kermode and Andrew Motion approach the problems associated with memorial reconstruction and veracity in their autobiographical writings. Using as a starting point James Olney's notion of the “free conceptual construction” involved in our general way of making sense of the world, the article goes on to consider the means employed by these writers to negotiate with “the archive of the ‘real’” and the “archive of ‘fiction’”, to draw on Derrida's terms (1992), in their various engagements with the conceptual construction of life stories. A special emphasis is placed on what Derek Attridge (2004) calls the “singularity” of that construction, its truth to itself as writing.

Pauline Smith’s Formalism in The Beadle

Abstract: While critics over the years have paid attention to Smith’s formalism, certain authoritative voices (I think in particular of J. M. Coetzee and Nadine Gordimer) focus on ideological aspects of her writing, which minimise or overlook its quality and its own particular character. If we could appreciate that Smith was writing within a modernist sphere of influence— however much filtered by her own sense of her specific abilities (and her compulsion to express those abilities)—it would be easier to read her as we tend to read other modernists. That is, we might once again read her in terms of writerly techniques used, and an aesthetic approach that absorbs into itself the patterns and tensions of existence, and which cannot simply be judged in terms of its colluding in various degrees with the forces of society. My article argues that ideological readings of Smith do her craftsmanship scant justice. As a corrective, I provide an overview of the formalist techniques she uses and the dense structuration...

Recent Editions of Livingstone's Poetry and the Ethics of Editing in South Africa

Abstract: Is it appropriate to think of editing in ethical terms? It seems to be taken for granted (not only in South Africa) that much depends on the individual judgement or predilections of an editor when it comes to editing a work. Thus the principal issue might be more one of taste than of ethics (Lister 2006). Yet as an editor one surely puts a sense of responsibility before personal idiosyncrasy. Responsibility to what? Many would argue (perhaps even those who feel less responsible to a subjective centre of origin than to the objective historical and sociological forces evident in the various versions and receptions of a work) that one is primarily responsible accurately to present the author's final intentions. This is one's fundamental duty, and a duty is an ethical responsibility; the matter seems cut and dried. Of course, as Paul Eggert, for instance, has long since shown, it is not. Consider the case of Ted Hughes's Collected Poems, edited by Paul Keegan. Keegan has to deal with the fact that Hughes changed poems from earlier volumes for certain later collections and selections but left them in their original guise in reprints of the original volumes which followed those later collections and selections (ix). Hughes felt no obligation to a telos of versions where latest is best, and the editor was in fact duty-bound to represent this confusing vision (confusing, that is, for an editor, who always looks for simplicity and clarity in the presentation of works). At least nothing is lost and everything is gained.

What It Is: Selected Poems

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The Collected Poems

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view from the chair: I go to a friend

Abstract: We all know that doctors make the worst patients because they always laughingly tell us so. But how do we rate at taking our own medicine?