1887

oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Postapartheid as wondkultuur binne 'n patologiese openbare ruimte : Mark Gevisser se : geesteswetenskappe

Volume 13, Issue 1
  • ISSN : 1995-5928

 

Abstract

Hierdie artikel stel voor dat 'n "wondkultuur" binne 'n "patologiese openbare ruimte" heelwat aspekte van die postapartheid bestel verklaar. Vir Seltzer (1997) is verslawende geweld (my vertaling, ook elders) 'n verskynsel wat nie net 'n "gesamentlike skouspel" is nie, maar ook 'n kernruimte waar "private begeerte en openbare ruimte mekaar kruis" in laat moderniteit. 'n Wondkultuur () is volgens Seltzer "die openbare betowering met geskeurde en oopgekloofde mense, 'n kollektiewe samekoms te midde van trauma en wonde". In hierdie opsig staan die mediabemiddelde ongelukstoneel () sentraal in die media-era se openbare ruimte, in teenstelling met Habermas (1989) se en dié se rasionele redevoering oor gemeenskaplike sake. Die ongelukstoneel word gekenmerk deur "verwysde pyn" () wat deur die massamedia bemiddel word; volgens Seltzer funksioneer dit as "psigotegnologie" van die alledaagse lewe in die huidige tydvak. In hierdie beskouing is "ware misdaad" () as't ware die doek waarop laat moderniteit se realiteitsdrama hom afspeel. Die artikel stel voor dat die postapartheid, mediabemiddelde openbare ruimte soortgelyke tendense toon in gevalle waar "ongelukke" voorkom - nie alleen die blote ongeluksgebeurtenis nie, maar ook die "ongelukke" van politieke wanpraktyke wat gewelddadig met die strewe na demokrasie bots, en letterlik op oopgekloofde liggame uitloop. Sulke mediabemiddelde gebeure wek afsku en spanning as oorheersende reaksies in die postapartheid gevoelsruimte. Die artikel neem dan Mark Gevisser se niefiksiewerk (2014) in oënskou as 'n geval waar bellettristiese letterkunde deur "ware misdaad" binnegeval word, so amper teen Gevisser se wil.


In his work on "wound culture" and the "pathological public sphere" Mark Seltzer (1997) identifies "addictive violence" as "not merely a collective spectacle but one of the crucial sites where private desire and public space cross" in late modernity (1997:3). For Seltzer the convening of the public "around scenes of violence" (such as rushing to the scene of an accident, either an on-the-scene event or a voyeuristically experienced multimedia happening) is constitutive of so-called wound culture. The latter is the "public fascination with torn and opened persons, a collective gathering around shock, trauma, and the wound" (1997:3). Likewise, it is noteworthy the "wounded attachments" that Wendy Brown describes (1993) have saturated identity politics over the past few decades. In post-apartheid South Africa the saw a different manifestation of wound culture in the Truth and Reconciliation Commission (TRC), during which the public witnessing of private wounding constituted a convening of the public around what were sometimes even rehearsed "scenes of violence". In the process the pathological public sphere of apartheid was laid bare. The trends set in train in the wake of the TRC remain robust in post-apartheid writing, particularly autobiographical forms of witnessing and testifying, both in reconstituting the past (such as Antjie Krog's ) and in coming to terms with a wayward present (Mzilikazi wa Afrika's ). Seltzer seeks to explore the processes by which the public sphere is "pathologised" in late modernity, as well as the conditions that underpin this process. For him, the scene of private wounding is taken up in communicative relays via a "media a priori" such that it gathers a mass of public spectators. At such mediated events, witnessing is at once voyeuristic and deferred. Critically, though, such witnessing enters into s part of it, as the live radio traffic report contains both the event and its doubling in the act of mediated observation.

Loading full text...

Full text loading...

Loading

Article metrics loading...

/content/litnet/13/1/EJC189428
2016-01-01
2016-12-10

This is a required field
Please enter a valid email address
Approval was a Success
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error