1887

n Acta Academica - After universalisms : music as a medium for intercultural translation

Supplement 1
  • ISSN : 0587-2405

Abstract

Postmodernity is characterised by the fundamentalisation of plurality. As Aleida Assmann (1996: 99) finds, difference is affirmed in the form of deviance, gaps, and radical alterity. Within this intellectual milieu, the acknowledgment of alterity and the acceptance of difference have become foremost ethical claims (Assmann 1996: 99). Appropriating the thought of Goethe, she finds that the emphasis shifts from the embrace of the One to an encounter with the mode of the Two (Assmann 1996: 100). This encounter is marked by awe and surprise, but also by the shrouding of each of the Two as if cloaked in eternal solitude. The question posed in this article is whether Assmann's viewpoints may enhance a reading of a work from the South African art music repertoire, Hans Huyssen's (2007). Engaging with a broader selection of viewpoints on cultural translation, it is asked whether Assmann's (1996: 99) notion of otherness is a productive context for mediating a meaningful encounter between cultures and whether, as such, it is relevant to an interpretation of Huyssen's work. A speculative interpretation of Huyssen's reveals that the work is suggestive of a complex heredity being translated into an 'impure' new South African contextuality.


Postmoderniteit word deur die fundamentalisering van pluraliteit gekenmerk. Soos wat Aleida Assmann (1996: 99) bevind, word andersheid deur middel van afwyking, gapings, asook radikale veranderlikheid bevestig. Binne hierdie intellektuele milieu is die erkenning van veranderlikheid en die aanvaarding van verskil 'n primêre etiese aanspraak (Assmann 1996: 99). Deur middel van 'n toe-eiening van Goethe se denke, bevind sy dat die klem gevolglik vanaf 'n omarming van die Een na 'n ontmoeting met die modus van die Twee verskuif (Assmann 1996: 100). Hierdie ontmoeting word deur verwondering en verrassing gekenmerk, maar ook deur 'n omhulling van elk van die Twee asof deur 'n mantel van ewigdurende afsondering. Die vraag wat in hierdie artikel gestel word, is of Assmann se gesigspunte 'n lesing van 'n werk vanuit die Suid-Afrikaanse kunsmusiek-repertorium, naamlik Hans Huyssen se (2007), mag verryk. Met inagname van 'n breër seleksie van gesigspunte rondom kulturele vertaling, word daar gevra of Assmann (1996: 99) se idee van andersheid 'n produktiewe postmoderne konteks vir die mediëring van 'n betekenisvolle ontmoeting tussen kulture bied en of dit, as sulks, relevant is vir 'n interpretasie van Huyssen se werk. 'n Spekulatiewe interpretasie van Huyssen se bring aan die lig dat dit 'n vertaling van 'n komplekse erfenis na 'n 'onsuiwere' nuwe Suid-Afrikaanse kontekstualiteit suggereer.

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/content/academ/2012/sup-1/EJC144309
2012-01-01
2019-08-17

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