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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Die tante uit Nederland as liminale karakter in Etienne van Heerden se (1996) en (2008) : geesteswetenskappe

 

Abstract

In hierdie artikel onderneem ek 'n ondersoek na die rol en funksie van die karakters tant Geertruida in (1996) en Tante Zan in van Etienne van Heerden. Painter (2008) wys daarop dat die karakter van die "eksentrieke tante" meermale in die werk van Van Heerden voorkom. Die tantes staan aan die rand van hulle families en die samelewing en kan daarom as marginale karakters beskou word. Na aanleiding van Foster (2004) se stelling dat marginale karakters in die Afrikaanse letterkunde dikwels ook as liminale karakters funksioneer, ontleed ek die karakters aan die hand van Arnold van Gennep (1960) en Victor Turner (1964, 1974a en 1974b) se teorie rondom liminaliteit. Ek ondersoek of tant Geertruida en Tante Zan wel as liminale karakters beskou kan word en indien wel, of hulle uiteindelik die postliminale fase bereik of in die liminale fase vasgevang bly.


Die tantes se lewens is nou verweef met dié van hulle broerskinders: Fabian in en Henk in . Ek bespreek die invloed wat die tantes het op die keuses wat Fabian en Henk as volwassenes maak, en of hulle ook as marginale en/of liminale karakters beskou kan word.
speel gedeeltelik af op die vooraand van die amptelike oorgang van Suid-Afrika na 'n demokrasie, terwyl in die hedendaagse postapartheid Suid-Afrika (met terugflitse na die apartheidsjare en anti-apartheidstryd) afspeel. In word daar ook oorgegaan na die postkoloniale stedelike ruimte van Amsterdam. Volgens Terblanche (2007) en Wenzel (2007) word die postkoloniale toestand gekenmerk deur liminaliteit en 'n voortdurende soeke na identiteit. My gevolgtrekking is dat dit ook die geval is in Van Heerden se uitbeelding van die Afrikaner in 'n postkoloniale, postapartheid konteks.

The aunt from the Netherlands as a liminal character in Etienne van Heerden's (1996) and (2008) In this article I explore the role and function of the characters Aunt Geertruida in (1996, published in English as Kikuyu in 1998) and Aunt Zan in (2008, published in English as 30 nights in Amsterdam in 2012). Painter (2008:11) indicates the character of the "eccentric aunt" as a recurring element in the work of Van Heerden. Because of their eccentricities, the aunts in the novels are marginalised in their families and the societies they live in. According to Foster (2004:13) marginal characters in the Afrikaans literature are often also liminal characters. In my investigation of the novels I find that this is also the case with Aunt Geertruida and Aunt Zan. I therefore link my discussion to Arnold van Gennep's and Victor Turner's theories on liminality. Van Gennep (1960:11) uses the term liminal in his description of the rites of passage in societies. He identifies three phases in the process of initiation: preliminal rites (rites of separation), liminal or threshold rites (transitional rites) and postliminal rites (rites of incorporation) (Van Gennep 1960:21). I investigate whether Aunt Geertruida and Aunt Zan as liminal characters ever reach the postliminal phase or remain caught in the liminal phase.


The aunts' lives are intertwined with those of their nephews: Fabian Latsky in and Henk de Melker in . The aunts make a big impression on their nephews as children and also influence the decisions they make later in life. I discuss whether Fabian and Henk can also be considered to be marginal and/or liminal characters.

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/content/litnet/13/1/EJC189430
2016-01-01
2016-12-07
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