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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Die narratief van verlies : die Bloubaardnarratief as interteks in deur H.J. Pieterse : geesteswetenskappe

Volume 10, Issue 2
  • ISSN : 1995-5928

 

Abstract

Die Bloubaardnarratief - veral die Bloubaard-opera van Béla Bartók, - dien as prominente interteks van H.J. Pieterse se bundel (2000). In hierdie artikel word daar in die lig hiervan betoog dat dié interteks die verwerking van (outobiografiese) verlies heterologies en semanties blootlê, soos wat dit geïllustreer word deur die ontleding van uitgesoekte gedigte wat met die Bloubaardnarratief verband hou. Die argument word gevoer dat daar deurgaans in die bundel 'n parallel getrek word tussen die stemme van die skrywer en dié van veral die Bloubaardkarakter. Laasgenoemde word aangewend om te spreek van die psigiese ruimte van die digter. Op hierdie wyse word die narratiewe van dié twee stemme oormekaar geskuif, met die doel om onder meer die verlies- en verganklikheidsbesef te verwoord, te illustreer en vanuit verskeie hoeke te belig. Verder word Bloubaard en ook ander karakters uit die intertekstuele Bloubaardlegende en -opera aangewend en só getransformeer dat hulle, as sprekers, fokalisators en karakters, verteenwoordigend kan wees van die narratief van verlies wat daar tussen die geliefdes in die bundel bestaan, maar ook universele en outobiografiese dimensies inhou. Daar word aangevoer dat die verwerking van verlies 'n inkeer tot die innerlike inhou, en daarmee saam 'n poging tot die verwoording daarvan, tot die skep van 'n nuwe narratief in poëtiese vorm. Dit blyk egter dat hierdie verwoording slegs tydelike troos en geborgenheid kan bied en dat die gedigte spreek van die onvermoë om werklike trauma en verlies finaal te kan transendeer.

The Bluebeard narrative, especially the narrative of Béla Bartók's opera, - serves as a prominent intertext of H.J. Pieterse's (The castle of Duke Bluebeard) (2000). The aim of this article is to examine the way in which this intertext exposes and emphasises the processing of (autobiographical) loss: intertextually, poetically, semantically and through a heterology of voices. This examination entails a close reading and analysis of selected poems from and argues that, in these poems, a parallel can be drawn between the voice of the author and the voice of the Bluebeard character. The semantic implication of this parallel is the expression, illustration and emphasis of one of the main themes of , namely the realisation and processing of loss and the transitory nature of life.


The theme of loss in calls to mind the same prominent theme as in Pieterse's collection of short stories (Because we are everything) (1998). Autobiographical loss is especially emphasised as an important theme on the back cover of the latter: "In die hart van hierdie bundel lê die trauma van 'n geliefde wat haar lewe beëindig het" ("In the heart of this collection lies the trauma of a loved one who ended her life"). According to Du Plooy (2006:417) the complex and painful aftermath of the experience of loss is illustrated in the collection of short stories, but each time in a different form and by different fictionalised characters and plots.
This autobiographical element in is also present in , although it is more subtly suggested in the latter. The same theme of loss has a fundamental influence on the selected poems, due to the known autobiographical background of the author and the resemblances that exist within this context to the Bluebeard character's experience of loss. Direct references can be found in the subtitle of the poem "IV Liturgie van kristal", which reads "Elegie vir Marlene". In this poem, the subject matter of loss and death are highlighted - particularly through the autobiographical knowledge of the suicide committed by the author's wife, Marlene. One of the two mottos, a quotation taken from a Ted Hughes poem, programmatically indicates that the theme of a loved one taking her/his life must be kept in mind when reading the poems.
The theoretical framework of this article is based on . It is not an easy task to define such a complex and multidimensional term. Allen (2000:2) stresses that is one of the most commonly used and misused terms in contemporary critical vocabulary. Intertextuality is not a transparent term and so, despite its confident utilisation by many theorists and critics, cannot be evoked in an uncomplicated manner. has been defined and approached in different ways by diverse theorists like Mikhail Bakhtin, Julia Kristeva, Harold Bloom, Roland Barthes, Jacques Derrida, Michael Riffaterre en Gérard Genette.
In this article the theoretical focus is on Genette's approach to intertextuality, where intertextuality is considered in the sense of defining the relationship between texts. In aiming to define this relationship, Genette uses the term - the textual transcendence of the text - which he describes as "all that sets the text in a relationship, whether obvious or concealed, with other texts" (Genette 1997:1). He subdivides the term into five more specific categories: and (Genette 1997:1-7).

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/content/litnet/10/2/EJC141456
2013-08-01
2016-12-11

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