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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Spel en die spelende mens in (Marlene van Niekerk), (Etienne van Heerden) en (Eben Venter) : geesteswetenskappe

 

Abstract

Die doel van hierdie artikel is om aspekte van spel as artistieke aktiwiteit in die hede (dit wil sê binne 'n bepaalde periode en sosiale kontekste) te verken, asook die wyse waarop die spelbeginsel en die spelende mens in die literatuur manifesteer. Die fokus is op spesifieke gekose onlangse Afrikaanse literêre tekste, naamlik (2009) van Marlene van Niekerk, asook Etienne van Heerden se (2013) en Eben Venter se (2013), want ten spyte van ooglopende verskille is spel en die spelende mens 'n definitiewe gemene deler. Die artikel bied eerstens 'n oorsig oor enkele opvattings en filosofiese redenasies ten opsigte van die denkbeeld van spel met betrekking tot die kunswerk / literêre teks in die algemeen, en poog terselfdertyd om 'n paar kenmerke van spel toe te lig. Tweedens word die spelbeginsel in die genoemde literêre tekste ondersoek en gekontekstualiseer, terwyl insgelyks aandag geskenk word aan die kunsteoretiese opvattings wat met spel verband hou van die betrokke skrywer. Benewens die poëtikale speletjies word daar in die onderskeie tekste ook sosiale, politieke en psigologiese speletjies gespeel. Daar word voorts aangetoon dat die spelende mens in die tekste wat verken is, telkens verband hou met die idee van relasionaliteit, hetsy in positiewe of negatiewe verband. Die implikasies van die spelbeginsel vir die leser word ook in die ondersoek betrek, want die spelbeginsel het terselfdertyd betrekking op die verhouding teks-leser en dwing vir die leser leserbetrokkenheid af juis vanweë die erns van die spel.


, the playing man and the different facets of play have fascinated artists and writers over the centuries. Bourriaud (2002:11) consequently, states: "Artistic activity is a game, whose forms, patterns and functions develop and evolve according to periods and social contexts; it is not an immutable essence. It is the critic's task to study this activity in the present." Gouws (1988:340) says that man's interaction with and handling of texts can and should occur only in terms of the play principle. Bourriaud's verdict, read with Gouws, serves as the starting point, as does the problem statement of this article: What does play as an artistic activity in the present, and specifically in selected current Afrikaans literary texts, look like? In conjunction with this starting point further questions are also emphasised: What does the "principle of play" imply? How can the principle of play be contextualised within a literary text? How does the playing man manifest itself in literature? And eventually: What are the implications of the principle of play for the reader? The focus is on the following Afrikaans texts: (2009) by Marlene van Niekerk, Etienne van Heerden's (2013) and Eben Venter's (2013). Despite significant differences, play and the playing man are the definitive common denominators in these novels. It seems, therefore, that there is renewed interest in play and the playing man.

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/content/litnet/12/1/EJC172666
2015-04-01
2016-12-09
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