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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Om 'n deeglike "aanmaning van sterflikheid" te kry : katabasis, relasionaliteit en retrovisie in van Ingrid Winterbach : geesteswetenskappe

 

Abstract

Met verwysing na Kaja Silverman se boek (2009), waarin sy insigte oor relasionaliteit, kunstenaarskap en die dood indringend verken en uiteensit aan die hand van die mite van Orfeus en Euridike, betoog ek in hierdie artikel dat binne die teoretiese raamwerk van relasionaliteit en retrovisie gelees kan word. Relasionaliteit manifesteer in die roman eerstens as 'n ontologiese verwantskap op persoonlike vlak tussen mense op grond van sterflikheid. Katabasis maak op verskillende wyses 'n verskyning in die roman, maar die opvallendste verwysings is deurgaans na Stefaans Adendorff wat "die duisternis afgegaan het en lank verlore was". Daar word tweedens aangetoon dat terselfdertyd 'n narratief-filosofiese besinning oor die aard, die waarde en funksie van kuns en die artistieke proses is. Winterbach besin by monde van die sentrale kunstenaarkarakter, Aaron, wie se lewensverhaal ook getuig van ondergang en redding, oor die plek van die Suid-Afrikaanse kunstenaar binne 'n groter wêreldorde en sy verwantskap met voorgangerkunstenaars binne die kunstradisie. Sy onderneem saam met Aaron 'n reis deur die Westerse kunstradisie, en deur middel van retrovisie word talle dooie kunstenaars "lewend" gemaak, van wie Joseph Beuys en Francisco Goya die opvallendste is.


The aim of this article is to indicate that may be read within the theoretical framework of catabasis, relationality and retrovision. My point of departure is that relationality manifests itself in two ways in , namely as an ontological relationship on a personal level between people (whether it be family relations or the bonds of friendship), and also as an ontological relationship between specific artists through the ages. With reference to Kaja Silverman's book (2009), but also referring to Etty Mulder's (1987), a brief summary of the theoretical concepts of relationality, catabasis and retrovision will first be provided. It will be shown, furthermore, that at the same time is a narrative philosophical reflection on the nature, value and function of art and the artistic process. However, since every artist also works within a specific public sphere and tradition this aspect, too, is relationally based.
The title itself, , already establishes a connection with death and the myth of Orpheus and Eurydice that is confirmed throughout the story. Silverman uses this well-known myth, as recorded by Ovid in Book X of , as her starting point from which she develops her theory of relationality. What is not so well known in Western literature is the fact that after the second disappearance of Eurydice into Hades, Ovid adds a redemptive coda to Book XI, which largely invalidates the woman-death link and lays the foundation of relationality. Orpheus is murdered by the vicious Maenaden. This results in his second descent into the underworld. When he arrives in Hades he sees what he had seen before, but he sees it anew and differently. He embraces Eurydice lovingly and in doing so he acknowledges her ontological equality (Silverman 2009:181). In this way, they re-enact what had happened before, cancelling the violence of the events and transforming it into a reversible and ontological equalising analogy (Silverman 2009:181).

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/content/litnet/9/2/EJC125893
2012-08-01
2016-12-06
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