Sabinet | Traumaverwerking in Krog se Kleur kom nooit alleen nie
n Tydskrif vir Geesteswetenskappe - Traumaverwerking in Krog se Kleur kom nooit alleen nie - : navorsings- en oorsigartikel
Author Marisa Botha1
Source : Tydskrif vir Geesteswetenskappe, Volume 54, Issue 3, Sep 2014, p. 524 - 541
Keyword(s) : Africa, Afrika, Antjie Krog, Gedigte, Kleur kom nooit alleen nie, Kleur kom nooit alleen nie [Colour Never Comes Alone], Poems, Secondary witness, Sekondere getuie, Trauma processing, Traumatic memory, Traumatiese geheue and Traumaverwerking
Hierdie artikel ondersoek die terapeutiese waarde van poësie skryf in die verwerking van trauma. Daar word gefokus op Antjie Krog se digbundel Kleur kom nooit alleen nie (2000), veral die afdelings "Wondweefsel" en "Bindweefsel" met verse oor die Anglo-Boereoorlog, apartheid en die Rwandese volksmoord. Krog se rol as sekondêre getuie tydens die Waarheids- en Versoeningskommissie kom onder die loep en daar word gekyk na hoe sy haar eie trauma van die WVK-verhore verwerk, asook wat die nagevolge is van haar deelname daaraan (wat Laub noem "hazards of listening"). Daar word ook verwys na die geskenk van stories (getuienis) en die verantwoordelikheid van die sekondêre getuie om hulle etiese plig te vervul en daardie stories ook aan ander mee te deel, sodat diegene wat gesterf het, kan voortleef in herinneringe.
Trauma processing in Krog's Kleur kom nooit alleen nie [Colour Never Comes Alone]
Although Antjie Krog established her South African literary reputation as a poet who writes in her mother tongue Afrikaans, she gained world recognition for her English autobiographical text, Country of My Skull (1998), in which she wrote about her experiences as a radio journalist reporting on South Africa's Truth and Reconciliation Commission. Subsequently she continued publishing in English, but only after writing an Afrikaans volume of poetry in 2000, Kleur kom nooit alleen nie [Colour Never Comes Alone], in which she attempts to reconnect with her mother tongue and in doing so, initiates the healing process of a fractured psyche. Throughout Krog's oeuvre she has struggled with her identity as a white Afrikaans speaker with liberal beliefs during the era of apartheid. Her complicated relationship with her privileged, Afrikaner past and the role her race and even her language, Afrikaans, played during the apartheid era exacerbates her guilt and complicity in past atrocities.
Persistent Link : https://hdl.handle.net/10520/EJC157887