Showing papers in "Literator: Journal of literary criticism, comparative linguistics and literary studies in 2009"

Practice-based research : tracking creative creatures in a research context

Abstract: This article explores the concept of practice-based research as a viable research avenue for academics in creative disciplines with a view to contextualise the importance of research for all academics, including those in creative disciplines; investigate a framework for defining practice-based research; extrapolate existing models and methods of practice-based research from the literature; develop a plausible working strategy for practicebased research; and finally determine the extent to which the “Tracking creative creatures” project complies with the requirements of practice-based research. While practice-based research is fairly well represented in the literature, the peculiar characteristics of creative work require a reconceptualisation of how research imperatives are satisfied in practice-based research. Practical outputs as embodied research, the importance of the creative process and its reflective documentation and collaborative strategies in creative projects emerged as salient issues. The “Creative creatures” project was found to have complied with most of the requirements of practice-based research and certain proposed amendments to the approach followed with this project will assist future projects in attaining viable research status, but these need to be framed within an institutional and funding environment that fosters creative work as research.

Some aspects of gender inequality in selected African literary texts : research article

Abstract: This article focuses on gender inequalities in selected African literary texts. I explore the way in which some African writers view gender inequalities and stereotypes in their characters. We will also be able to see who is involved and affected by these gender inequalities and how. Gender theory will be used as a framework. The aspects of gender that are discussed, include gender stereotypes, gender roles, gender identity, the superiority of men, inequality in polygamous marriages, sex roles, the sexual division of labour and arranged marriage. This study will also include the views of writers from other part of Africa. These views have a lot in common but sometimes they vary because of the influence and different ideologies of the society concerned. Aspekte van geslagsongelykheid in geselekteerde literere werke uit Afrika Hierdie artikel fokus op geslagsongelykhede in geselekteerde literere werke uit Afrika. Ek ondersoek die wyse waarop sommige skrywers van Afrika geslagsongelykhede en stereotipes in hulle karakters sien. Ook sal gesien kan word wie betrokke is en wie deur hierdie ongelykhede geraak word en hoedanig. Geslagsteorie sal as 'n raamwerk gebruik word. Die aspekte van geslagrolle wat bespreek word, sluit in geslagstereotipes, geslagsrolle, -identiteit, die superioriteit van mans, ongelykheid in poligame huwelike, die verdeling van arbeid gebaseer op geslag en gereelde huwelike. Die artikel sluit ook die menings van skrywers van ander dele van Afrika in. Dit is opmerklik dat hulle sienings sterk ooreenkom, maar soms verskil as gevolg van die invloed en die verskillende ideologiee van die betrokke gemeenskap.

Metaphors of Pain: The Use of Metaphors in Trauma Narrative with Reference to Fugitive pieces/Metafore Van Pyn: Die Gebruik Van Metafore in Die Narratief Van Trauma Met Verwysing Na Fugitive Pieces

Abstract: Metaphors of pain: the use of metaphors in trauma narrative with reference to Fugitive pieces This article is a contribution to the recent interdisciplinary discourse between psychoanalysis, trauma theory and narrative by discussing the traumatic experiences of characters in the novel "Fugitive pieces" by Anne Michaels, with a specific focus on the metaphorical style of this novel. The article addresses the role of metaphor in the memory of trauma while comparing the relation between trauma, narrative and memory with reference to the work of Cathy Caruth, Van der Kolk and Margaret Wilkinson. Recent neurobiological research in the working of the brain during trauma and the insights of Borbelly in the role of metaphor during therapy are discussed. Insights of Lacan, Modell and Laplanche are integrated with those of psychologists like Knox, Borbelly and Van der Hart to counter arguments against the criticism brought against some of the metaphorical themes in "Fugitive pieces". Metaphor is seen as one possible way of saying the inexpressible and the progression in the use of metaphor by patient and character alike is seen as one of the signs of healing from trauma. Opsomming Hierdie artikel is 'n bydrae tot die resente interdissiplinere diskoers tussen die sielkunde, traumateorie en die letterkunde. Die roman, "Fugitive pieces" deur Anne Michaels, word bespreek met spesifieke verwysing na die gebruik van metafore om onder andere die belewing van trauma uit te beeld. Die roi van die metafoor in die traumatiese geheue en die verband tussen trauma, die narratief en die herinnerings van die persoon betrokke word bespreek met verwysing na die teorie daaroor deur Cathy Caruth, Van der Kolk, Margaret Wilkinson en andere. Resente insigte van neurobiologiese navorsing oor die werking van die brein gedurende trauma en die insigte van Borbelly oor die roi van die metafoor in die traumatiese geheue word betrek. Die metafoor word gesien as een van die wyses waarop die aanvanklik onverwoordbare traumatiese ervaring wel oorgedra kan word in die narratief van trauma. 1. Introduction Reviews of Fugitive pieces (Michaels, 1996) repeatedly refer to the traumatic experiences of the main character, Jakob Beer, his references to these experiences in his autobiographical narration (part of his notes) and the metaphorical, even poetic, language of the text. The author, Ann Michaels, is a well-known Canadian poet. The primal scene in Fugitive pieces that results in the trauma of Jakob Beer, a seven year-old child of Jewish parents, is the killing of his parents and the abduction of his sister, Bella, by the Nazis while he was hiding in the kitchen cupboard. The notes of his life thereafter form the basis of this novel. In this article the belated description of Jacob Beer's traumatic experiences, the functions of the metaphorical style of this novel within trauma theory, and the role of metaphor in the memory of trauma is discussed. The article argues that the extensive use of metaphorical language in Fugitive pieces asks for another way of looking at it rather than only from the angle of literary interpretation. It is suggested that the reader could also interpret the use of metaphors from the perspective of the process of trauma, the narrative of trauma and the mind of the traumatised speaker, Jakob Beer, as narrator in this novel. As Cook (2000) and other reviewers of Fugitive pieces have given ample attention to the literary use of metaphors in this novel, I will emphasise the use of metaphor within the context of the traumatic experience in Fugitive pieces. Kathryn Robson (2001:115-116) and Gerhard Werner's (2004:246) warning must be heeded that the interdisciplinary response that trauma has provoked in the last two decades, and the breaking-down of disciplinary boundaries, may result in an uncritical adoption of clinical models of trauma, assuming that these models are universally applicable and emphasise the so-called "narrative cure". …

Class Politics in Mda's Ways of dying/Klassepolitlek in Mda Se Ways of Dying

Abstract: Zakes Mda's analysis and expose of nationalist politics in "Ways of dying" reveal that the unitary vision that characterised the national liberation discourse suppressed some dissonances, contradictions and disunity around the question of class. Mda probes the ironies and contradictions of the liberation struggle and by so doing questions the meaning of freedom for the ordinary South Africans. He then scrutinises the role of the colonised and oppressed in delaying their own total liberation due to the camouflaged interests and motives of the nationalists that were not in the nation's interest. His analysis of the class silences in his critique of the liberation struggle brings to attention concerns of the masses that had been marginalised in the liberation struggle. To their disappointment, after sacrificing and fighting for national liberation, the masses now realise that the postapartheid state is far from being what they hoped for. Their plight is exacerbated by the fact that they are still as oppressed as they had been prior to independence but now the oppressors are also some of their former comrades in the struggle. Opsomming Zakes Mda se ontleding van nasionale politiek in "Ways of dying" toon dat die eenheidsvisie wat die nasionale vryheidsgesprek gekenmerk het, bepaalde dissonansies, teenstrydighede en onenigheid rondom die kwessie van klasseverskille verbloem het. Mda ondersoek die ironiee en weersprekings in die vryheidstryd en bevraagteken sodoende die betekenis van vryheid vir die gewone Suid-Afrikaner. Hy kyk indringend na die rol van die gekoloniseerdes en onderdruktes in die vertraging van hulle eie totale bevryding weens die verskuilde belange en motiewe van die nasionaliste wat nie in volksbelang was nie. Sy ontleding van die klasseswye in sy kritiek op die vryheidstryd vestig die aandag op die meerderheid wat in die proses gemarginaliseer is. Hulle vind nou uit, tot hulle ontnugtering, dat nadat hulle geveg en opofferings vir nasionale vryheid gemaak het, die postapartheidstaat ver te kort skiet van dit waarop hulle gehoop het. Hulle lot word vererger deur die felt dat hulle steeds soos voor bevryding onderdruk word, maar die onderdrukkers sluit nou van hulle eertydse strydmakkers in. 1. Introduction The reality of the current state of affairs in South Africa challenges Kwame Nkrumah's conviction that once political power is in African hands all else would follow. To date, millions of South Africans live in abject poverty, without adequate shelter, security and food. If that is the case, Mda believes that something must have definitely gone wrong for freedom in poverty is not what South Africans had hoped and fought for. This article seeks to explore what Mda perceives to be the perpetuation of poverty in spite of the myriad of promises by the nationalists to end it. It explores the dynamics of the liberation struggle, and the double standards implicit in nationalist literature. The double standards often manifest themselves in the suppression of critical discussions on class dynamics and politics. Being conscious of this malpractice by the nationalists, Mda's Ways of dying (1995) reveals scepticism with regard to the assumption of political power by the African petit bourgeoisie. This is because the socioeconomic framework in South Africa is essentially unaltered. Mda, accordingly, probes the consequences that this would have for the struggle of African peasants and workers for a better life and consequently "confront[s] the burdens of expectation" (Austen, 2005:85). 2. The primary causes of class politics: colonialism and land dispossession Mda identifies colonialism, particularly land dispossession, as the primary cause for the suffering of the black people in South Africa. The double standards of the nationalists is revealed in their opposition to colonialism and apartheid theoretically for the liberation of all the oppressed but practically for the benefit of the elite. …

Op die spoor van kreatiewe kreature : 'n interdissiplinêre ondersoek na die kreatiewe proses - projekbeskrywing

Abstract: Tracking creative creatures : an interdisciplinary investigation into the creative process – project description “Tracking creative creatures” is an interdisciplinary exploration which originated out of a need for research possibilities within the creative disciplines, specifically visual arts and creative writing. The graphic works which formed the core of the project, and which served as creative stimuli for the various artists, originated in the imagination of a five year-old boy and were subsequently illustrated by his artist father. The project entails various components, including a flagship project with invited artists, a teaching subproject and a community sub-project, which were showcased at the Aardklop National Arts Festival, 2007. This article provides an overview of the project as a whole and the organic nature in which it evolved. The discussion includes the following aspects: context, conceptualisation, approach, methods, documentation, support structures, description of the various sub-projects, and preliminary results and appraisal. The complex nature of the projects is further communicated by means of illustrations.

Living with grace on the earth : the poetic voice in Antjie Krog's A change of tongue : research article

Abstract: "A change of tongue", Antjie Krog's second creative non-fiction, articulates experiences of the postapartheid quotidian in two tongues : that of the journalist and that of the poet. This article examines Krog's various instantiations of the poetic voice, and argues that the site of the body is crucial to Krog's understanding of how languages and landscapes are translated into human experiences of belonging, alienation and self-expression. The voice that is inspired by, and best conjures these acts of somatic translation is the poetic voice, Krog suggests. The article argues that Krog endows the poetic tongue with particular capacities for synaesthetic perception and for modes of imagining that surrender many of the limitations we ascribe to other registers and grammars. Despite the profusion of challenges and setbacks expressed by the evidence-oriented journalist, the three poetic strands in the text, which are identified and explored in this article, provide a space of meditation and of refreshed language in which processes of hopeful revivification can occur. Om die aarde met welwillendheid te bewoon : die digterstem in Antjie Krog se A change of tongue "A change of tongue", Antjie Krog se tweede nie-fiksiewerk in Engels, verwoord alledaagse postapartheidservarings in twee perspektiewe, naamlik die van die joernalis en die van die digter. Hierdie artikel ondersoek gebruiksvoorbeelde van die digterstem in hierdie teks en voer aan dat die terrein van die liggaam bepalend is vir Krog se begrip van die wyse waarop tale en landskappe in menslike ervarings van geborgenheid, vervreemding en selfuitdrukking vertaal word. In die teks suggereer Krog dat dit die digterstem is wat sulke dade van somatiese vertaling ten beste inspireer, en wederkerig hierdeur geinspireer word. In hierdie artikel word betoog dat Krog aan die digterlike tongval bepaalde vermoens vir sinestetiese waarneming sowel as verbeeldingsvorme toeskryf wat baie van die beperkings wat ons met ander registers assosieer, oorkom. Ten spyte van die talle uitdagings en terugslae wat die bewys-gedrewe joernalis voorhou, skep die drie digterlike lyne in die teks 'n ruimte vir meditasie en verkwikte taalgebruik waarin bemoedigende hergeboorteprosesse voltrek kan word.

The grotesque as it appears in Western art history and in Ian Marley's creative creatures

Abstract: This article presents a theoretical exploration and reading of the notion of the grotesque in Western history of art to serve as background to the reading of the original creatures in the “Tracking creative creatures” project.1 These creatures were drawn by Marley, based on imaginary creatures narrated by his five year-old son, Joshua. The focus in this article is on the occurrence of the grotesque in paintings and drawings. Three techniques associated with the grotesque are identified: the presence of imagined fusion figures or composite creatures, the violation and exaggeration of standing categories or concepts, and the juxtaposition of the ridiculous and the horrible. The use of these techniques is illustrated in selected artworks and Marley’s creatures are then read from the angle of these strategies.

G.H. Franz's Modjadji: archetypes of time and the transcendence of history

Abstract: This article examines the Northern Sotho play, “Modjadji”, written by G.H. Franz. The text, about which there is little significant critical literature, presents in mythological terms the quest of the Lobedu rain queen, Modjadji, for secure governance and release from the exigencies of history, both for herself and her people. Through staged ritual, the play evokes archetypes of time to raise a mythic consciousness. This ontology employs a notion of circular time to transcend linearity and its inexorable teleology. Ultimately, the text attempts to extract viable elements of traditional epistemology in order to accommodate its addressees to modernity.

Eyeing the creatures : an exploration of mirth as a personal function of art

Abstract: This article investigates the contribution by artist Jan van der Merwe to the project known as the “Creative creatures”. The project, initiated by Franci Greyling and Ian Marley, was based on the descriptions of a collection of fantastic creatures as relayed by Marley’s five year-old son, Joshua. Van der Merwe opted to design a special set of glasses for each of the creatures, and these works are discussed within the broader context of mirth in art. In order to explicate the term “mirth”, a brief art-historical survey is done with reference to key figures such as Bosch, Bruegel and others. The role of scary creatures in art is contextualised by comparing the work done by the stonemasons of the Gothic period with those of Van der Merwe done for the “Creative creatures” project. Throughout the article mirth as a personal function of art is discussed by interpreting the creative role of selected artists and their works. In conclusion it is suggested that the engagement with (scary) visual art should be enjoyed as a reciprocal event akin to a game – a game in which the mirthful characteristics of the work of art should be seen as a function to be savoured.

Possible worlds: a reading of three artworks from the Creative creatures exhibition

Abstract: The basic concern of this article is to offer an interpretation of artworks by a selected group of artists who contributed to the “Creative creatures” project. The original creatures created by the artist, Ian Marley, based on narration by his son, Joshua, seem at first glance to suggest an underlying theme of fantasy. However, certain interpretative artworks by artists such as those by Diane Victor, Flip Hattingh and Angus Taylor seem to display a shift from the originally perceived element of fantasy. The artworks rather each represents their own fictional worlds, far removed from the original composite creatures created by Marley who each seems to function in its own fictional world. The superimposition of the incongruous worlds suggests a measure of tension that hinges on progressive notions of archaeology, history and possible worlds.

Class politics in Mda’s Ways of dying

Abstract: Zakes Mda’s analysis and expose of nationalist politics in “Ways of dying” reveal that the unitary vision that characterised the national liberation discourse suppressed some dissonances, contradictions and disunity around the question of class. Mda probes the ironies and contradictions of the liberation struggle and by so doing questions the meaning of freedom for the ordinary South Africans. He then scrutinises the role of the colonised and oppressed in delaying their own total liberation due to the camouflaged interests and motives of the nationalists that were not in the nation’s interest. His analysis of the class silences in his critique of the liberation struggle brings to attention concerns of the masses that had been marginalised in the liberation struggle. To their disappointment, after sacrificing and fighting for national liberation, the masses now realise that the postapartheid state is far from being what they hoped for. Their plight is exacerbated by the fact that they are still as oppressed as they had been prior to independence but now the oppressors are also some of their former comrades in the struggle.

The role of the nameless in isiXhosa ntsomi : research article

Abstract: This article looks into the custom of not giving names to pivotal characters in some selected Xhosa tales. Given that the word "tales" means different things to different people, it is used in this article to refer to both fables (stories which deal with animals only) and folktales (stories dealing with both animals and humans). The unnaming practice is not uncommon in all types of tales and is applied to both males and females, young and old, as well as to strange mysterious beings. The motive for unnaming is analysed and its functions are alluded to. References to popular generic names of animals found in Xhosa tales are made for the sake of clarifying the need for naming, though these are not the subject of discussion here. It is therefore most fitting to use onomastics as the theoretical framework of this article in order to capture convincing patterns of the unnaming system and the creation of faceless characters in indigenous Xhosa tales. Die rol van die naamlose in isiXhosa-ntsomi's Hierdie artikel ondersoek die gebruik om sentrale karakters in bepaalde Xhosa-verhale naamloos te laat bly. Aangesien die woord "verhale" verskillende interpretasies kan he, word dit in hierdie artikel gedefinieer as 'n term wat verwys na fabels (stories wat slegs op diere betrekking het) sowel as volksverhale (stories wat op diere en mense betrekking het). Die praktyk van nie-naamgewing is nie ongewoon by enige tipe verhaal nie en is van toepassing op manlike en vroulike karakters, jonk en oud, sowel as op vreemde, misterieuse wesens. Die motivering vir nie-naamgewing word ondersoek en die funksies daarvan geidentifiseer. Verwysings na algemene generiese benamings vir diere wat in Xhosaverhale aangetref word, dien hier slegs om die behoefte aan benoeming te verduidelik, hoewel dit nie die fokus van hierdie artikel is nie. Dit is dus heel gepas om die onomastiek as teoretiese raamwerk vir hierdie artikel te gebruik ten einde oortuigende patrone in die sisteem van nie-naamgewing en die skep van gesiglose karakters in inheemse Xhosaverhale vas te vang.

Germany: facing the Nazi past today

Abstract: This article gives an overview of the changing debate on National Socialism and the question of guilt in German society. Memory had a different meaning in different generations, shaping distinct phases of dealing with the past, from silence and avoidance to sceptical debate, from painful “Vergangenheitsbewaltigung” to a general memory of suffering. In present-day Germany, memory as collective personal memory has faded away. At the same time, literature has lost its role as a main medium to mass media like cinema and television. Furthermore, memory has become fragmented. Large groups of members of the German society, like immigrants, see the past from a different perspective altogether. Although the remembrance of the time of National Socialism is still a distinctive part of Germany’s political culture, it has become more generalised, with “Holocaust memory” as a globalised symbol for a fundamental “break” in Western culture.

Diaspora en aktualiteit in dramaKaburu, Deon Opperman : resensie

Abstract: Die handelinge in Opperman se drama en die emosies wat daarmee gepaard gaan, sal aan minstens 'n paar persone in die gehoor, of 'n paar lesers, bekend wees. Naas die voorstelling van die wel en wee van 'n wit Afrikaanse gesin, is die drama 'n kommentaar op die identiteits-, arbeids-, sosiale en ander ruimtes wat die gesin in hedendaagse Suid-Afrika beset.

Daring to disturb the universe : Heidegger's authenticity and The love song of J. Alfred Prufrock : research article

Abstract: In Heidegger's "Being and time" certain concepts are discussed which are central to the ontological constitution of "Dasein". This article demonstrates the interesting way in which some of these concepts can be used in a reading of T.S. Eliot's "The love song of J. Alfred Prufrock". A comparative analysis is performed, explicating the relevant Heideggerian terms and then relating them to Eliot's poem. In this way strong parallels are revealed between the two men's respective thoughts and distinct modernist sensibilities. Prufrock, the protagonist of the poem, and the world he inhabits illustrate poetically concepts such as authenticity, inauthenticity, the "they", idle talk and angst, which Heidegger develops in "Being and time". Die heelal durf versteur : outentisiteit by Heidegger en in The love song of J. Alfred Prufrock In "Being and time" bespreek Heidegger sekere konsepte wat sentraal staan tot die ontwikkeling van sy idees rondom "Dasein". Hierdie artikel ontleed die ontheemde manier waarop sommige van hierdie konsepte gebruik kan word in 'n interpretasie van T.S. Eliot se werk "The love song of J. Alfred Prufrock". In 'n vergelykende studie word die betrokke Heideggeriaanse terme eers uiteengesit en daarna in verband gebring met Eliot se gedig. Op hierdie wyse word sterk parallelle getrek tussen Heidegger en Eliot se denke en bepaalde modernistiese kwessies. Prufrock, die protagonis van die gedig, en die wereld wat hy bewoon bied 'n illustrasie van konsepte soos outentisiteit, inoutentisiteit, die "hulle" ("they" of "das Man"), ydele geklets en angs, wat Heidegger in "Being and time" ontwikkel.

Deculturation: an Afrocentric critique of B.M. Khaketla’s Mosali a nkhola

Abstract: B.M. Khaketla claims, in the preface of his novel, “Mosali a nkhola”, that his motivation to write the story was an increase in the incidents of ritual murder among the Basotho in the early years of the British colonial occupation of Lesotho. However, Khaketla’s novel focuses more on other effects of colonialism on the Basotho social fabric than on “diretlo” (ritual murder). The only incident of ritual murder in the novel comes quite late in the story. Therefore, by employing an Afrocentric critical tool, the article argues that current perspectives promote skewed critical methods and that Khaketla’s novel is more about deculturation, i.e. the annihilation of the Basotho cultural identity, than it is about “diretlo”. To that effect the article will embark on a substantive analysis of Khaketla’s novel in order to clear misperceptions that have consigned African languages and literatures to the intellectual periphery and to re-locate them to the centre of academic discourse by advocating Afrocentricity as one of the primary African oriented methods of analysis.

Metaphors of pain : the use of metaphors in trauma narrative with reference to Fugitive pieces : research article

Abstract: This article is a contribution to the recent interdisciplinary discourse between psychoanalysis, trauma theory and narrative by discussing the traumatic experiences of characters in the novel "Fugitive pieces" by Anne Michaels, with a specific focus on the metaphorical style of this novel. The article addresses the role of metaphor in the memory of trauma while comparing the relation between trauma, narrative and memory with reference to the work of Cathy Caruth, Van der Kolk and Margaret Wilkinson. Recent neurobiological research in the working of the brain during trauma and the insights of Borbelly in the role of metaphor during therapy are discussed. Insights of Lacan, Modell and Laplanche are integrated with those of psychologists like Knox, Borbelly and Van der Hart to counter arguments against the criticism brought against some of the metaphorical themes in "Fugitive pieces". Metaphor is seen as one possible way of saying the inexpressible and the progression in the use of metaphor by patient and character alike is seen as one of the signs of healing from trauma. Metafore van pyn : die gebruik van metafore in die narratief van trauma met verwysing na Fugitive pieces Hierdie artikel is 'n bydrae tot die resente interdissiplinere diskoers tussen die sielkunde, traumateorie en die letterkunde. Die roman, "Fugitive pieces" deur Anne Michaels, word bespreek met spesifieke verwysing na die gebruik van metafore om onder andere die belewing van trauma uit te beeld. Die rol van die metafoor in die traumatiese geheue en die verband tussen trauma, die narratief en die herinnerings van die persoon betrokke word bespreek met verwysing na die teorie daaroor deur Cathy Caruth, Van der Kolk, Margaret Wilkinson en andere. Resente insigte van neurobiologiese navorsing oor die werking van die brein gedurende trauma en die insigte van Borbelly oor die rol van die metafoor in die traumatiese geheue word betrek. Die metafoor word gesien as een van die wyses waarop die aanvanklik onverwoordbare traumatiese ervaring wel oorgedra kan word in die narratief van trauma.

A Report on the Translation of Thirteen Jacques Brel Chansons into Afrikaans/'n Verslag Oor Die Vertaling Van Dertien Jacques Brel-Chansons in Afrikaans

Abstract: The authors of this article also translated the thirteen Jacques Brel chansons in question into Afrikaans. A brief explanation of the generic nature of the French chanson and an evaluation of Brel's stature as a twentieth-century chanson writer are followed by background details and a description of the translation process involved. Since literary quality is a particular characteristic of chanson lyrics, several paragraphs are dedicated to a discussion of the poetic nature of Brel's songs. Opsomming Die skrywers van hierdie artikel is ook die Afrikaans-vertalers van die dertien Jacques Brel-chansons wat ter sprake kom. 'n Bondige omskrywing van die genre van die Franse chanson en 'n aanstipping van Brel se statuur as twintigste-eeuse chansonnier word gevolg deur agtergrondinligting oor en 'n beskrywing van die gevolgde vertaalproses. Omdat literere gehalte 'n besondere kenmerk van chansonlirieke blyk te wees, word 'n aantal paragrawe gewy aan 'n bespreking van die digterlike aard van die betrokke liedere. 1. Vooraf Die outeurs van hierdie artikel is ook die vertalers van die dertien Jacques Brel-chansons wat ter sprake kom. Ter motivering van die vertaalpoging word eers iets gese oor die aard van die chanson as liedgenre, asook oor die aansien wat Brel as twintigste-eeuse chansonnier geniet het, en steeds geniet. Daarna word die agtergrond en proses van die vertaalpoging kortliks beskryf. Aangesien die literere gehalte van chansonlirieke 'n uitstaande kenmerk daarvan is, word ten slotte 'n aantal paragrawe gewy aan die poetiese kwaliteite van die betrokke Brel-chansons. 2. Jacques Brel (08/04/1929-09/10/1978): "Keiser van die chanson" In talle lande van die wereld klink die liedkuns van Jacques Brel, selfs byna dertig jaar na sy dood en reeds veertig jaar na sy allerlaaste verhoogoptrede as chansonnier in Mei 1967 (Van Altena, 2005:7), nog gereeld op in vertonings en opnames. (1) Afrikaanse musiekkunstenaars het hulle eweneens daaraan gewaag om sy werk te sing en op laserskyf vas te Ie: Laurika Rauch, Jannie du Toit, Andre Schwartz, Kevin Leo, Karin Hougaard, Coenie de Villiers, ensovoorts. Gewoonlik geskied dit in Engels of Nederlands, maar in enkele gevalle ook in Afrikaanse vertaling. (2) Hoewel die byna ekstatiese Brel-bewondering van veral die sestigeren sewentigerjare intussen ietwat afgeneem het, (3) is bogenoemde tog 'n aanduiding dat die trefkrag van Brel se liedkuns nie afgeslyt het nie. (4) Die Amsterdamse digter Ernst van Altena, wat sowat 70 van Brel se liedere in Nederlands vertaal het en wat deur Brel self tot die bewaker van sy liedereskat in die Nederlandstalige wereld benoem is (Haveman, 2005:275), bestempel Brel as "de keizer van het chanson" (Van Altena, 2005:7). Hy gaan voort: Waarschijnlijk ook realiseren we ons in retrospectief beter dat Brels dood het einde van een cultureel tijdperk inluidde en wel dat van het lied als groot theatraal expressiemiddel waarin persoonlijke poezie, inventieve, niet uit de computer gehaalde muziek en dramatische uitdrukkingskracht nog konden samengaan om een breed, niet door generatiekloven gescheiden publiek te veroveren. Die chanson van die Franstalige wereld, soos dit oor baie eeue maar veral oor die afgelope sowat 100 jaar sy beslag gekry het as "chanson artistique", "chanson litteraire" of "chanson poetique" (Stemmet, 1992:52, 54), word gekenmerk deur die feit dat woord en musiek met ewe veel respek gehanteer word. Dikwels neem die digterlike woord 'n sentrale plek daarin in; daar is 'n duidelike oogmerk om "'poetisch' te functioneren" (Van Gorp et al., 1993:67). Van die belangrikste Franse digters se werk is byvoorbeeld op hierdie wyse getoonset en populer gemaak: Verlaine, Rimbaud, Baudelaire, Hugo, Apollinaire, Ronsard, De Musset, Villon en andere. Uit wat onder meer Van Altena (2005:9-11), Dupre (2006:1-3) en 'n onbekende outeur van Wikipedia (2007:3) skryf, kan 'n mens die volgende as opvallende kenmerke van spesifiek Brel se chansonoeuvre uitsonder: * Die prominensie van temas soos die liefde(-sleed)--tendresse, dit wil se "teerheid", is by hom die sleutelwoord in hierdie verband, eerder as amour--maar ook vriendskap of kameraderie, verknogtheid aan die Vlaamse landskap (5) en 'n byna obsessiewe bemoeienis met die dood. …

Skryfkunsstudente se ervaring van hulle eie kreatiewe proses binne die konteks van die Op die spoor van kreatiewe kreature -projek: ’n narratiewe ontleding

Abstract: Creative writing students’ experience of their own creative process within the context of the Tracking creative creatures project: a narrative analysis First-year students in Creative Writing at the North-West University took part in an interdisciplinary investigation into the creative process, which posed certain creative challenges to them. The students’ reaction to the project indicated that they experienced the assignment as challenging and enriching. This article investigates the question whether the narrative analysis of students’ personal reports on the creative process can contribute to a better understanding of the individual experience, the project, and the creative process as such. A framework for analysis was developed against the theoretical background of contextual approaches to creativity, practice-based research and the method of narrative analysis. Amabile’s componential framework of creativity served as a basis for the framework to investigate the three levels of the narrative (form, content and context). The article discusses the project, collection of data, theoretical framework and research procedures, and illustrates and discusses the application and value of narrative analysis of students’ reports with reference to identified themes and selected examples.

"Le Plat Pays" (Jacques Brel) Poetically Praised in Afrikaans-Notes on Iconicity in the Original and Translated Chanson Texts/ "Le Plat Pays" (Jacques Brel) Poeties Besing in Afrikaans-Aantekeninge Oor Ikonisiteit in Die Oorspronklike En Vertaalde Chansontekste

Abstract: The authors of this article translated the well-known chanson about Flanders, "Le plat pays", into Afrikaans as part of an extensive and ongoing Jacques Brel translation project initiated in 2005. In this analysis of both the original and translated "Le plat pays" lyrics, the marked poetic qualifies of Brers chanson are laid bare, as are some semantic differences--and the implications for the analysis thereof--between source (original) and target (translated) texts. Opsomming Die outeurs van hierdie artikel het die bekende chanson oor Vlaandere, "Le plat pays", in Afrikaans vertaal as onderdeel van 'n uitgebreide en voortgaande Jacques Brel-vertaalprojek, wat in 2005 van stapel gestuur is. In hierdie ontleding van sowel die oorspronklike as die vertaalde "Le plat pays"-Iirieke word die opmerklike poetiese kwaliteite van Brel se chanson blootgele, asook bepaalde semantiese verskille--en die implikasies vir die interpretasie daarvan--tussen crie bron- en doeltekste (oorspronklike en vertaalde tekste). 1. Vooraf Die outeurs van hierdie artikel het in 'n vorige bespreking (Odendaal & Morgan, 2009) aandag gegee aan die kenmerkend literere kwaliteite van die chanson as liedgenre, asook aan Jacques Brel as toonaangewende chansonnier van die twintigste eeu. Daarna is die literere aard van dertien van Brel se chansons, wat as eerste fase van 'n voortgesette Jacques Brel-projek in 2005 deur die artikelouteurs in Afrikaans vertaal is, uiteengesit, terwyl die aandag hier en daar ook gevestig is op vertaalstrategiee wat in die proses gevolg is. In hierdie opvolgartikel word een van die dertien vertaalde chansons, naamlik die bekende "Le plat pays", in meer besonderhede as digterlike teks ontleed. Die fokus vai veral op die verikoniserende kenmerke daarvan en word gedoen na aanleiding van 'n kernagtige uiteensetting van die begrip ikonisiteit. Eers kom die oorspronklike Franse liriek (bronteks) onder die Ioep, en daarna die Afrikaanse omsetting (doelteks). Laasgenoemde bied ook die geleentheid om, deur middel van 'n vergelyking met die bronteks, meer uitgebreide kommentaar te lewer op die vertaalstrategiee wat gevolg is, en wel deur benutting van vertaalwetenskaplike terminologie soos onder meer uiteengesit deur Naude (2001). 2. Enkele opmerkings oor ikonisitelt 'n Nuttige begrip om die digterlike gehalte van "Le plat pays" te help beskryf, is ikonisiteit. Hoewel teoretici beklemtoon dat ikoniese tekens (as form miming meaning, of as the motivated sign) (1) omnipresent in Ianguage and verbal communication is (Noth, 2001:18; vgl. ook Fonagy, 1999:4), word dit tog gereeld uitgesonder (bv. deur Van Zoest, 1978:104-105) as 'n besondere eienskap van die literere en veral die poetiese werk. (2) Of soos Bronzwaer (1990:97), in aansluiting by Lotman (1977), dit stel: "Poetisch taalgebruik, actief of passief, is dat taalgebruik waarin wij streven naar maximale iconiciteit van de boodschap[.]" Dit behels taalgebruik "waarmee wij aan de opzegbaarheid van de tekens proberen te ontsnappen" (Bronzwaer, 1993:31), naamlik deur die toevoeging van 'n "Distorter or Modifier, i.e. a system of complementary iconic encoding" (Fonagy, 1999:25). Ikone is een van die drie basiese tekensoorte wat deur die Amerikaanse filosoof en Iogikus Charles Peirce op grond van die verhouding tussen tekens en objekte onderskei is (vgl. Odendaal, 1997:39-40; ook bv. Johansen, 2003:379). Ikone staan volgens hom in 'n relasie van gelykenis (3) met die objekte waarna hulle refereer en is derhalwe die mees fundamentele tekentipe; dit het "een soort directe overtuigingskracht, een onmiddelijke, 'verleidende' werking" (Van Zoest, 1978:106). (4) Klanknabootsende woorde is maklik herkenbare en begryplike voorbeelde van ikoniese tekens, maar byvoorbeeld in die poesie kan feitlik enige talige, stilistiese, verstegniese, vormlike en tipografiese elemente ikonies benut word (Bronzwaer, 1993:27-28). …

Tracking Creative Creatures: An Interdisciplinary Investigation into the Creative Process-Project description/Op Die Spoor Van Kreatiewe Kreature: 'N Interdissiplinere Ondersoek Na Die Kreatiewe Proses-Projekbeskrywing

Abstract: "Tracking creative creatures" is an interdisciplinary exploration which originated out of a need for research possibilities within the creative disciplines, specifically visual arts and creative writing. The graphic works which formed the core of the project, and which served as creative stimuli for the various artists, originated in the imagination of a rive year-old boy and were subsequently illustrated by his artist father. The project entails various components, including a flagship project with invited artists, a teaching subproject and a community sub-project, which were showcased at the Aardklop National Arts Festival, 2007. This article provides an overview of the project as a whole and the organic nature in which it evolved. The discussion includes the following aspects: context, conceptualisation, approach, methods, documentation, support structures, description of the vadous sub-projects, and preliminary results and appraisal The complex nature of the projects is further communicated by means of illustrations. Opsomming Die interdissiplinere ondersoek, "Op die spoor van kreatiewe kreature", het ontstaan uit die Behoefle om navorsingsmoontlikhede binne die kreatiewe dissiplines, spesifiek visuele kuns en skryfkuns, te ondersoek. Die grafiese werk wat die kem van die projek uitmaak, en as kreatiewe stimulus vir al die kunstenaars gedien het, het ontstaan in die verbeelding van 'n vyfjarige seun en is deur sy kunstenaarspa geillustreer. Die projek bestaan uit verskeie komponente, waaronder 'n vlagskipprojek met genooide kunstenaars, 'n onderdgsubprojek en gemeenskapsprojekte. Dit is ten toon gestel by die Aardklop Nasionale Kunstefees, 2007. Hierdie artikel gee 'n oorsig oor die projek as geheel en die organiese proses waardeur dit tot stand gekom het. Die bespreking behels die beskrywing van die konteks, konseptualisedng, benadedng, metodes, dokumentering, ondersteuningstrukture, die beskrywing van die verskeie subprojekte, en voorlopige resultate en bestekopname. Die gebruikmaking van illustrasies dien as wyse waarop navorsing weergegee kan word en waardeur "n komplekse kreatiewe projek soos hierdie gekommunikeer en verstaan kan word. [ILLUSTRATION OMITTED] I. Inleiding Sometimes through the process of making the artwork I stumble on an understanding that I would never have had about the interest before. It is this discovery through process that keeps me doing it ... (McMahon, 2007). Die doel van hierdie artikel is om 'n bree oorsig te gee oor die interdissiplinere projek, Op die spoor van kreatiewe kreature: 'n interdissiplinere ondersoek na die kreatiewe proses, asook om die kompleksiteit en die ontwikkeling daarvan te verduidelik, en van die belangrikste navorsingresultate aan te stip. Hierdie projek het behels dat 'n verskeidenheid kunstenaars aan die hand van dieselfde visuele prikkel kreatiewe uitsette geskep het. In die artikel word die konseptualisering en benadering van die projek, die organiese proses waardeur dit tot stand gekom het en die gerealiseerde projek beskryf. Die formaat van die artikel dien verder as ondersoek na alternatiewe maniere waarop kreatiewe navorsing weergegee en waardeur 'n komplekse kreatiewe projek soos hierdie gekommunikeer en verstaan kan word. Deur die beskrywing van die projek word die behoefte aan deursigtigheid wat aan kwalitatiewe navorsing gestel word, aangesny (vgl. Holliday, 2002:8, 52, 119). Daar word ook geillustreer dat skryf as sodanig deel van die proses van kwalitatiewe ondersoek is (Holliday, 2002:130). Kreatiwiteit en die kreatiewe proses word toenemend erken as 'n belangrike navorsingsterrein. Desnieteenstaande is dit moeilik om bestaande en erkende navorsingsmetodologiee en -metodes met die kreatiewe proses te vereenselwig. Runco (1997:xi) en Mayer (1999:459) wys daarop dat die navorsing oor kreatiwiteit met die aard van die onderwerp moet rekening hou en dat navorsingsmetodes daarby moet aanpas. …

Uitbeelding van skuld en boetedoening deur die gebruik van terugkerende kodes in Die buiteveld (John Miles)

Abstract: Expressions of guilt and remorse through the use of recurring codes in Die buiteveld by John Miles The novel “Die Buiteveld” by John Miles is an unusual novel. The main character is an enigma as from the start the reader has doubts about him and is in doubt of the truth. The aim of this article is to determine how recurring codes are used to express guilt and remorse. The analysis shows how suspense gradually increases through the repetitive use of certain codes. Through most of the story the reader is in doubt about the true identity of the main character and in this way further suspense is created. Guilt and admission of guilt are suggested by the repetion of different codes. The reader remains ignorant of the true identity of the main character until the end of the story. This causes suspense. Guilt and reconciliation are intensified by recurring codes. These codes are pillories, paintings by Goya, references to different wars, photos, physical scars and a knife. Through the woman Isabel the main character is guided to disclose his past gradually. As the case in the layers of the Goya portrait more and more of his past is gradually disclosed. His admission of guilt leads to the possibility of returning to his home country and of living a new life there with his beloved Isabel. The reader becomes not only a consumer but also a producer of the text.

Enriched and empowered : nature's influence on the psyche in two Afrikaans youth novels : research article

Abstract: In this article two Afrikaans youth novels are analysed in order to determine to what extent nature and elements of the natural environment can influence a child's experience and view of life. In "Gamkab" (Betsie van Niekerk) and "Om 'n kierie te keer" (Pieter Pieterse) their natural surroundings expose the characters to challenges and adventures which form a context in which their ways of thinking are challenged and stimulated. This develops their ability to make decisions and solve problems, thereby broadening their life experience and developing their life skills. Theories on reader identification are used to argue that stories like these have the potential to expand and develop reader consciousness. These novels are of importance to the South African child of today, because they introduce various contemporary issues, such as entrepreneurship, social responsibility and multicultural interaction. In identifying with the characters, the reader is confronted with pertinent topics such as peer pressure, teenage insecurities and fears, and problematic family relationships. From the analysis of the novels, which focuses on the enriching and reinforcing contribution of nature, it is apparent that through nature's challenges the characters are empowered to overcome their problems and improve their personal circumstances. This foreshadows the potential empowerment of the reader. Verryk en bemagtig : die invloed van die natuur op die gees en denke in twee Afrikaanse jeugromans Hierdie artikel ondersoek twee Afrikaanse jeugromans met die doel om vas te stel watter rol die natuur en elemente van die natuurlike omgewing kan speel in die verruiming van die kind se lewenservaring en -uitkyk. In "Gamkab" (Betsie van Niekerk) en "Om 'n kierie te keer" (Pieter Pieterse) bied die natuurlike omgewing uitdaging en avontuur aan die karakters, maar ook 'n uitdagende en stimulerende konteks vir ontwikkeling op die vlakke van denke, besluitneming en probleemoplossing, vir die wysiging en verbreding van karakters se denkwyse en lewensinsig, en vir die inskerp van praktiese lewensbeginsels en -vaardighede. Teorie oor leseridentifisering word betrek om te argumenteer dat verhale soos hierdie die potensiaal het om ook die lesersbewussyn te verruim. Hierdie verhale is van aktuele belang vir die Suid-Afrikaanse kind van vandag, aangesien die jong leser bekendgestel word aan beginsels soos entrepeneurskap, sosiale verantwoordelikheid en multikulturele interaksie. Die leser word, via die proses van identifisering met die verhaalkarakters, gekonfronteer met algemeen relevante kwessies soos groepsdruk, tienervrese en problematiese gesinsverhoudings. Uit die verhaalanalise, met die fokus op die invloed van die natuur op 'n verrykte denk- en ervaringswereld, blyk ook die bemagtiging van die karakters om probleme te oorkom en hulle lewensomstandighede te verbeter. Die potensiele bemagtiging van die leser word hiermee geimpliseer.

"Accused by the Place and Face of the Other": Negotiations with Complicity in the Work of Antjie Kog and Yvonne Vera/"Beskuldig Deur Die Plek En Aangesig Van Die Ander': Onderhandelings Met Medepligtigheid in Die Work Van Antjie Krog En Yvonne Vera

Abstract: This article examines how Antjie Krog and Yvonne Vera use literature to explore the issue of complicity in South Africa and Zimbabwe. Both societies have histories that are characterised by violence and trauma and neither society has engaged with these past abuses in a comprehensive way. Krog and Vera's work reveal their awareness that a failure to deal with the pain of others in a responsible manner renders societies vulnerable to a repetition of past abuses. Any responsible engagement with the pain of others must involve acknowledging one's own complicity in those abuses, regardless of how indirect one's involvement may have been. By reading selected extracts of Krog and Vera's work in terms of Mark Sanders' theory of complicity, I illustrate how these authors facilitate a responsible engagement with the pain of their characters. The article will pay particular attention to how these authors expose broad complicity in the pain of individuals--individuals who are located at the intersections between racial and gender oppression. Opsomming Hierdie artikel ondersoek die wyse waarop Antjie Krog en Yvonne Vera literatuur gebruik vir 'n verkenning van die kwessie van medepligtigheid in Suid-Afrika en Zimbabwe. Die geskiedenis van albei samelewings word gekenmerk deur geweld en trauma en nie een van hierdie samelewings het op 'n omvattende wyse met historiese misbruike gehandel nie. Die werk van sowel Krog as Vera bewys dat hulle daarvan bewus is dat die versuim om die pyn van ander te hanteer samelewings kwesbaar kan maak vir 'n herhaling van die misbruike van die verlede. Enige verantwoordelike omgaan met die pyn van ander behoort ook 'n erkenning in te sluit dat 'n mens self medepligtig aan daardie misbruike was, ongeag hoe indirek sulke betrokkenheid ook al was. Deur geselekteerde uittreksels van Krog en Vera se werk te lees in die lig van Mark Sanders se teorie van medepligtigheid, demonstreer ek hoe hierdie skrywers 'n verantwoordelike omgaan met die pyn van hulle karakters moontlik maak. Die artikel sal in besonder aandag skenk aan die wyse waarop hierdie outeurs medepligtigheid aan die pyn van individue blootle--individue wat hulself by die snypunte van ras--en genderonderdrukking bevind. As a generator of otherness in language and of the self, the literary work, understood broadly, emerged as the place where intellectuals grappled imaginatively with complicity. Autobiographical and testimonial narrative of various kinds formed a hinge between history and fiction as its authors figured the greater complicity or foldedness in human being that stands as the condition of possibility for any opposition to a system that constantly denies it. (Sanders, 2002:x.) I. Introduction In this article I explore how Antjie Krog and Yvonne Vera engage with the issue of complicity in traumatic abuses that were perpetrated in South Africa and Zimbabwe. Both authors deal with responsibility and complicity and the rhetorical strategies they use in their literary engagement with these issues are shaped by the specificities of their South African and Zimbabwean socio-political contexts as well as by their racial, cultural, gender and linguistic identity. Krog (2005:103) has stated that the "whole point of writing is to interact with the 'you'" and that she regards it as "imperative that we imagine ourselves the other" (Krog, 2005:104). Though both authors create work that "calls upon a reader to assume responsibility for an other in the name of a generalized foldedness in human-being" (Sanders, 2002:17), they do so from very different positions. This article will show how, in an apparently paradoxical manoeuvre, Krog and Vera go about interrogating or unfolding rigidly constructed notions of racial, cultural and gender identity in their attempt to assert the broader foldedness that complicity implies. Sanders (2002:215) conceptualises complicity as more than a mere "acting together" in that he extends the term to include that which "establishes the horizon of judgment for that acting". …

The Trace of Jewish Suffering in Johannes Bobrowski's poetry/Spore Van Joodse Lyding in Johannes Bobrowski Se Gedigte

Abstract: Johannes Bobrowski (1917-1965) is a significant German modernist poet and novelist whose work directly engages the problematic question of German "Schuld" (guilt) in respect of the Holocaust. Although Bobrowski's poetry not only deals with the German-Jewish question, but with universal themes of history, memory and trauma, he is largely unknown in the Anglophone world, partly because of his isolation in communist East Germany at the time. This article seeks to trace Bobrowski's nuanced and complex engagement with German history and his own personal implication in the genocide through a detailed analysis of his most significant "Jewish" poems. A key idea for Bobrowski was the need for memory and direct engagement with the traumatic past, as this offered the only hope for redemption. The article presents a number of original English translations of these symbolist and hermetic poems, and thereby makes Bobrowski's writing available to a wider range of readers. Opsomming Johannes Bobrowski (1917-1965) is 'n belangrike modernistiese Duitse digter en romanskrywer wie se werk direk handel oor die problematiek van Duitse "Schuld" (skuld) oor die Jodevervolging. Hoewel Bobrowski se poesie nie beperk is tot die Duits-Joodse vraagstuk nie, maar oor universele temas rondom geskiedenis, herinnering en trauma handel, is hy grootliks onbekend in die Engelstalige wereld, deels weens sy naoorlogse isolasie in Oos-Duitsland. Hierdie artikel ondersoek Bobrowski se genuanseerde en komplekse omgang met die Duitse geskiedenis en sy persoonlike medepligtigheid aan die menseslagting deur middel van 'n indringende analise van sy belangrikste "Joodse" gedigte. 'n Kemgedagte by Bobrowski was die noodsaaklikheid van herinnering en direkte betrokkenheid by die traumafiese verlede, omdat dit die enigste hoop op bevryding daarvan bied. 'n Aantal oorspronklike Engelse vertalings van hierdie simbolistiese en hermetiese gedigte word ingesluit om die skrywer se werk vir 'n wyer leserspubliek toeganklik te maak. People, you talk oblivion-- ... remember the trail of blood. I. Introduction: "Two sentences for a book on Germany" In the winter of 1964, in the cold month of January, the East German poet Johannes Bobrowski (1917-1965) wrote a short prose piece and a poem on the subject of the Holocaust. The prose text he called Zwei Satze fur ein Deutschlandbuch ("Two sentences for a book on Germany"), and the poem was titled Wiedererweckung ("Resuscitation"). This article will look at the Jewish theme in these two texts and other selected lyric writings in order to gain an understanding of Bobrowski's complex response to the Holocaust, and the larger question of guilt, atonement and redemption in German history. Although Bobrowski's often hermetic and symbolist poems form the main subject of this article, his prose passage is such an important literary response to the Holocaust that by way of introduction it is analysed shortly. The short prose passage reads as follows: The first two sentences for a book on Germany (2) When the first news of the mass murders of Jews reached the town and everybody was of the opinion that this was exaggerated, since it could never have been as bad as that, and yet everybody knew quite well that all of this was real, that none of those immense figures, none of those gruesome methods and refined techniques which one had heard about were exaggerated, that all of this had really taken place, since it could on no account have been otherwise, and that it was therefore no longer possible to discuss whether there might not have been milder, more humane ways, perhaps no longer banishment, now during the war, but rather guaranteed reserves with self-rule and so forth, when the time had come for utter silence, when one had already withdrawn into silence, away from who knows who and who knows what, feeling no longer a resentment rising up against anything, taking part only in superficial small talk, alternating between a casual stereotyped joke and an emotional-solemn feeling of being involved in an existential struggle of mythical proportions, against one's own free will, this granted, when this stage had been reached by all those who were running around free in Germany and continuing with their free life, under the more difficult circumstances of war, this granted, when they had managed to come thus far--which does not say very much, because so far they had always managed to cope seeing that they had things pretty well under control by now, when thus everything was as it had always been, when this was the case, bells were ringing--for nothing out of the ordinary: for the wedding of a brain damaged man, who on account of his military decorations as chief lieutenant of the pioneer troops could not be denied this wish, having been declared fit for garrison duty but provisionally placed on leave for the next few years, and his bride, the nurse Erika, who with her own hands, had cut him loose when he tried to hang himself from a window frame in the Sanatorium, and whom he on the eve of his wedding day then strangled, apparently in a bout of mental disturbance, which also does not say much about his condition, because being mentally disturbed had been his official status in any case, that is for the past two years, after his injury. …

Vyf digters in gesprek met Joshua en Ian Marley se kreatiewe kreature

Abstract: Five poets in conversation with Joshua and Ian Marley’s creative creatures This article analyses the reactions of five poets to Joshua and Ian Marley’s creative creatures. Similarities and differences in the stimuli the poets react to, the ways in which they imitate the creatures morphologically, the patterns, names, Gestalts, scripts and archives they use to understand the creatures as well as their unique reactions are analysed. The poets are creative in the patterns they recognise and the ways in which they try to fit the creatures into known frames, wholes, names and scripts. The poems, however, also demonstrate strong techniques for containing these creatures and making them less threatening. In the end a few conclusions on creativity in these cases are formulated, namely that creativity is a mixture of iconising, pattern recognition (recalling familiar frames, scripts and archives) and naming and unnaming (efforts to describe the creatures wittily). A tension between creativity and making comes to light when one reads the poems against the background of Horatius’ norm of decorum.

The trace of Jewish suffering in Johannes Bobrowski's poetry

Abstract: Johannes Bobrowski (1917-1965) is a significant German modernist poet and novelist whose work directly engages the problematic question of German “Schuld” (guilt) in respect of the Holocaust. Although Bobrowski’s poetry not only deals with the German-Jewish question, but with universal themes of history, memory and trauma, he is largely unknown in the Anglophone world, partly because of his isolation in communist East Germany at the time. This article seeks to trace Bobrowski’s nuanced and complex engagement with German history and his own personal implication in the genocide through a detailed analysis of his most significant “Jewish” poems. A key idea for Bobrowski was the need for memory and direct engagement with the traumatic past, as this offered the only hope for redemption. The article presents a number of original English translations of these symbolist and hermetic poems, and thereby makes Bobrowski’s writing available to a wider range of readers.