Sabinet | "ek het &apos;n liggaam, daarom is ek" : outobiografiese elemente in Antjie Krog se Verweerskrif : geesteswetenskappe
oa Litnet Akademies : &apos;n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - "ek het &apos;n liggaam, daarom is ek" : outobiografiese elemente in Antjie Krog se Verweerskrif : geesteswetenskappe
Article Title "ek het &apos;n liggaam, daarom is ek" : outobiografiese elemente in Antjie Krog se Verweerskrif : geesteswetenskappe © Publisher: Litnet Journal Litnet Akademies : &apos;n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe Author Marisa Botha1
Pages 354 - 391
Antjie Krog, Autobiography, Body bereft, Breaching taboos, Female body, Outobiografie, South African poetry, Suid-Afrikaanse digkuns, Taboedeurbrekings, Verweerskrif and Vroueliggaam
Abstract Metrics Related Content Abstract Antjie Krog is bekend as grensverskuiwende digter, maar met die publikasie van Verweerskrif (2006) ontlok sy moontlik die hewigste kritiek ooit in haar poëtiese loopbaan. Die kritiek sentreer op die uitdagende omslag, asook op onontginde temas in die Afrikaanse digkuns: menopouse en die ouer vrou se seksualiteit. Uit talle kritici en lesers se menings in die media blyk dat hierdie taboe-deurbrekings nie slegs as digkuns gelees word nie, maar direk met die digter verbind word. Die talle ooreenkomste tussen die liriese "ek" in die gedigte en die outobiografiese "ek" van die digter dra by tot die interpretasie van Krog se verse as outobiografies en is dus meer ontstellend vir diegene wat die temas onder bespreking as taboe beskou. In hierdie artikel word die outobiografiese elemente, soos verstaan deur die "outobiografiese pakt", in Krog se verse ondersoek en word verskeie taboe-deurbrekings op taal- en tematiese vlak uitgelig. Philippe Lejeune (1995) se term outobiografiese pakt dui op die ingebedde outobiografiese kode, oftewel outobiografiese elemente in &apos;n teks, wat ooreenstem met die skrywer of digter. Wanneer digters sulke elemente inbed in hul werk, is dit &apos;n uitnodiging aan die leser om hul werk op meer as net &apos;n kunsvlak te interpreteer - dit is &apos;n uitnodiging tot &apos;n outobiografiese lesing. Aangesien gedigte nie ewe veel outobiografiese kenmerke weerspieël nie, en sommige outobiografiese merkers meer verhuld as ander is, onderskei ek tussen vier kategorieë: direk outobiografiese, indirek outobiografiese, universele en algemene gedigte. Vir die doel van hierdie artikel fokus ek op direk en indirek outobiografiese gedigte. Die direkte variant bevat name of plekname wat met die digter skakel; gedigte wat deur agtergrondskennis van die digter se lewe &apos;n outobiografiese dimensie verkry, heet indirek outobiografiese gedigte. Daar is egter talle nuanses in hierdie kategorieë, weens digterlike vryheid en die onbepaalbaarheid van feite.
"I have a body, therefore I am" : autobiographical elements in Antjie Krog&apos;s Body bereft
Antjie Krog is known as a groundbreaking poet, but with the publication of Body bereft (2006) she elicited possibly the most severe criticism in her poetic career. The criticism seems to be centred on the provocative cover as well as on unexplored themes in South African (especially Afrikaans) poetry: menopause and the older woman&apos;s sexuality. From various critics&apos; and readers&apos; opinions in the media it appears that this taboo-breaching is not merely read as poetry, but is linked directly with the poet. The countless similarities between the lyrical "I" in the poems and the autobiographical "I" of the poet add to the interpretation of Krog&apos;s poems as autobiographical and thus more distressing for readers who consider such themes taboo. In this article the autobiographical elements, as understood by the "autobiographical pact", in Krog&apos;s poetry are investigated, as well as various language and thematic taboos. Philippe Lejeune&apos;s (1995) term autobiographical pact indicates the (mostly) implicit autobiographically embedded code, or autobiographical elements in a text, that correspond to the poet or author. When poets embed such elements in their work it is an invitation to the reader to interpret their work on more than just an artistic level - it is an invitation to an autobiographical reading. Since poems do not reflect autobiographical features equally, and in some instances autobiographical markers are more disguised than in others, I distinguish between four categories: direct, indirect, general and universal. For the purpose of this article I focus only on directly and indirectly autobiographical poems. The direct variant contains names or place names that link to the poet; while poems which gain an autobiographical dimension when background knowledge of the poet&apos;s life is taken into account are referred to as indirectly autobiographical poems. There are many nuances in this category, because of poetic licence and the indeterminacy of facts.