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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Die hadeda as liminale dier in van Marlene van Niekerk : geesteswetenskappe

Volume 13, Issue 1
  • ISSN : 1995-5928

 

Abstract

In Marlene van Niekerk se digbundel speel die natuur 'n belangrike rol en etlike gedigte word gewy aan die noukeurige waarneming van sekere diere, asook die interaksie tussen die waarnemende digter as spreker en die dier as waargenome Ander en objek, soos blyk uit die perspektiewe van die onderskeie kritici op die bundel. Hierdie ondersoek geskied vanuit die invalshoek van dierestudies, 'n onderafdeling van die ekokritiek, en dui aan in watter mate Van Niekerk in hierdie bundel die mens desentraliseer. In aansluiting by Braidotti (2013) word ook aangedui in welke mate daar by Van Niekerk sprake is van 'n posthumane perspektief op die mens se geplaastheid op die aarde.


Van Niekerk se perspektief op diere is nie-antropomorfies en is eerder, in aansluiting by onder meer Spinoza en Deleuze en Guattari, monisties en nie-Cartesiaans. verwys na die vooropstelling van die mens, terwyl verwys na die gewoonte om menslike emosies aan niemenslike diere toe te skryf. In hierdie artikel word slegs een klas dier, naamlik die liminale dier, binne die stadsentriese konteks bespreek.
As teoretiese vertrekpunt vir hierdie artikel word Donaldson en Kymlicka (2014) se konsep van as vertrekpunt geneem om die sewedelige gedig van Van Niekerk, "Postmoderne hadeda", te bespreek. Die postmodernistiese inslag van dié gedig (soos reeds in die titel aangedui), asook die kunsteoretiese besinning oor waarneming van die Ander as objek, word belig. In die bespreking van die gedig word aangesluit by die visie van die "allochtone trut" wat besonder ingestel is op die omgewing en gekonfronteer word met die Euroburger se materialistiese ingesteldheid en gebrek aan empatie met die Ander. Die manifestasies van die hadeda soos waargeneem op verskillende tye van die dag en die tekenwaarde wat aan hom toegeken word deur die waarnemer, word ook belig. Daar is selfs sprake van 'n tipe mistieke tussen waarnemer en waargenome objek. Ten slotte word ook, in aansluiting by Deleuze en Guattari, aangedui in watter mate daar in hierdie gedig sprake van dierwording ("becoming animal") is.


The aim of this article is to analyse one of the longer poems in Marlene van Niekerk's latest collection of poetry, namely (Cirque and/or Creel). In this collection the interaction between humans and nature plays an important role, in that several poems deal with the intricate relationship between the poet as observer and a particular animal as the observed.
I shall focus on one poem, "Postmoderne hadeda" (Postmodern hadeda), within the context of the collection at large, and analyse it as part of the discourse on animal studies. The hadeda as a peripheral or liminal animal enters the vision of the poetic subject. As the observed the animal serves as a metaphor for the creative act and in particular postmodernist writing. Following Braidotti (2013) I will argue that Van Niekerk's perspective on animals is posthuman and nonantropocentric, and in line with Spinoza, Deleuze and Guattari depicted as monist and non-Cartesian with the human animal not taking centre stage.
As theoretical point of departure I will use Donaldson and Kymlicka's (2014) views on liminal animals. Donaldson and Kymlicka distinguish between wild animals, suburban animals and the so-called liminal animals. The latter term refers to that group of animals that are neither domesticated nor living in the wild. Liminal animals are often stigmatised and seen as intruders on the terrain inhabited by humans. Donaldson and Kymlicka are of the view that liminal animals know no other habitat and regard urban areas as their habitat.

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2016-01-01
2016-12-10

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