1887

n Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies - Politieke herskrywings van die -gebed in vier Afrikaanse gedigte

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Abstract

Die benutting van religieuse elemente is 'n besonder opvallende tendens in die Afrikaanse poësie - dikwels in diens van politieke verset, soos tydens die apartheidsjare. In hierdie artikel word vier herskrywings van die "Ons(e) Vader"-gebed ondersoek, met behulp van Linda Hutcheon se teoretisering, soos onder meer uiteengesit in haar baanbrekende "A theory of parody" (2000). Vir Hutcheon is parodie nie noodwendig 'n bespotting nie, maar 'n herhaling met 'n verskil, waarby daar 'n kritiese afstand is tussen die agtergrondteks, wat geparodieer word, en die nuwe teks. Hierdie afstand blyk dikwels uit die ironiserende aard van laasgenoemde teks. In Jan Blom (Breyten Breytenbach) se "Onse milde god van alles wat soet en mooi is", Ronnie Belcher se "Atta unsar pu in himinam" en André Letoit (Koos Kombuis) se "gonse vader" geskied die herhaling met 'n sterk kritiese ingesteldheid - hierdie gedigte is voorbeelde van nabootsing met ironiese inversie. Hierteenoor is die ironie minder opvallend in Hans du Plessis se herskrywing (in Griekwa-Afrikaans), en die kritiek (indien enige) is meer getemper. Soos Hutcheon verduidelik en motiveer, geskied parodiëring nie altyd ten koste van die geparodieerde teks nie. Die parodiëring van die "Ons(e) Vader" kan daarom nie bloot as destruktief of verkleinerend ten opsigte van die gebed self beskou word nie, maar dit lewer wel kritiese, konstruktiewe kommentaar ten opsigte van die Christelike samelewing.


The utilisation of religious elements is a prominent trend in Afrikaans poetry - often in service of the political struggle, for example during the apartheid years. In this article four rewritings of the "Our Father" prayer are examined, using Linda Hutcheon's theory of parody, as discussed in (among others), her pioneering work, "A theory of parody" (2000). For Hutcheon, parody does not necessarily imply ridiculing a previous text. According to her well-known definition, parody is "ironic transcontextualization, is repetition with difference. A critical distance is implied between the backgrounded text being parodied and the new incorporating work, a distance usually signaled by irony." The rewritings of the "Our Father" by Jan Blom (Breyten Breytenbach), Ronnie Belcher and André Letoit (Koos Kombuis) are distinct examples of ironic inversion, while in Hans du Plessis's poem (in Griqua Afrikaans) the irony is less obvious and the critique (if any) more subdued. As Hutcheon explains and motivates, parody does not always take place at the expense of the parodied text. Thus the parodical rewritings of the "Our Father" need not necessarily be seen as destructive and belittling of the prayer itself, but as critically constructive vis-à-vis the Christian community.

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/content/literat/32/2/EJC119284
2011-08-01
2016-12-04
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