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n Literator : Journal of Literary Criticism, Comparative Linguistics and Literary Studies - Die spel van assosiasies in en om "Die verlossing van die beeld" van Breyten Breytenbach : research article

Volume 26, Issue 3
  • ISSN : 0258-2279
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Abstract


This analysis focuses on the conjunction of memory and imagination, which is an important impulse in, and key to, Breytenbach's work. The play with language and with associations, the foregrounding, in the short story, "Die verlossing van die beeld" (Breytenbach, 1983) with its metafictional title and apparently divergent motifs (rain/water, watch, onion, the death and burial of a grandfather) acts, as it were, as an invitation to the reader to become a co-player. The reader ventures on a search for traces, intertextual links within the Breytenbach oeuvre and for already acknowledged influences such as Surrealism (which in turn casts some light on the strange title of the story) and the Eastern philosophies such as Zen and the even older Taoism. The analysis also takes into account the context in which "Mouroir" was written, namely Breytenbach's term in prison (1975-1982). Seeing that the writer had to hand in his manuscripts to the jail authorities regularly, he might have decided, consciously or by intuition, to hide some thoughts and feelings behind a screen or a mask, in, for example in "Die verlossing van die beeld", a lighter tone and irony.

Die aandag word in hierdie analise weereens daarop gevestig hoe die samehang van herinnering en verbeelding 'n belangrike impuls in, en 'n sleutel tot Breytenbach se werk is. Die spel met taal en assosiasies, die "foregrounding" in die kortverhaal, "Die verlossing van die beeld" (Breytenbach, 1983) met sy meta-fiksionele titel en skynbaar uiteenlopende motiewe (reën/water, horlosie, ui, die dood en begrafnis van 'n grootvader) bied as 't ware 'n uitnodiging aan die leser om medespeler te word. Die leser gaan op soek na spore, na interne intertekstuele verbande binne die Breytenbach-oeuvre en na reeds erkende eksterne invloedsfere soos die Surrealisme (wat lig werp op die vreemde titel van die verhaal) en die Oosterse filosofieë van Zen en die ouer Taoïsme. Die analise word ook gedoen met inagneming van die konteks waarin "Mouroir" ontstaan het, naamlik tydens Breytenbach se gevangeskap (1975-1982). Aangesien die skrywer gereeld sy geskrifte aan die tronkowerheid moes inlewer, kon hy moontlik, bewus of intuïtief, gedagtes en gevoelens agter 'n skerm of masker verskans het, byvoorbeeld in "Die verlossing van die beeld" deur 'n ligter toon en deur ironisering.

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/content/literat/26/3/EJC61877
2005-11-01
2016-12-09

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