Ingeboek (Karen Kuhn)

Karen Kuhn. Kaapstad: Griffel, 2012. 53pp. ISBN: 978-1-920424-44-2

Ek sal Coetzee net wil observeer om hom (dalk) beter te begryp

No abstract available

Adriaan Van Zyl: Memorandum: Marlene Van Niekerk

This article examines the textual relationship between the paintings of Adriaan van Zyl and the novel Memorandum: a story with paintings (2006) by Marlene van Niekerk. The traditional assumptions about what constitutes the narrative as genre are subverted by the inclusion of the so-called Hospital Series 2004-2006 by Van Zyl. The novel should not be read as a commentary on the paintings as such but rather as an accompaniment to the paintings – as suggested by the author herself. From the interaction between painting and novel the reader/viewer has to rely on certain codes and conventions to analyse the text under discussion. Genette’s notion of transtextuality and in particular his notion of the architext assists the reader in deconstructing the meaning of this collaborative project on human suffering.In hierdie artikel word die tekstuele wisselwerking tussen die skilderye van Adriaan van Zyl en die roman van Marlene van Niekerk, Memorandum: `n verhaal met prente (2006) ondersoek. Wat ons tradisioneel bestempel as kenmerkend van die narratief as genre word gesuspendeer deur die insluiting van `n reeks skilderye, die sg Hospitaalreeks van Adriaan van Zyl. Die roman moet nie gelees word as synde kommentaar op die skilderye nie – soos wat die outeur self aangedui het. Uit hierdie interaksie tussen skildery en roman word die leser/kyker gedwing om sekere kodes en konvensies te gebruik om die teks te analiseer, maar wat noodwendig afwyk van sy bestaande opvattinge. Genette se konsepte soos transtekstualiteit en argiteks word ingespan om hierdie gesamentlike projek oor menslike lyding te dekonstrueerai201

Marlene Dumas and the painting of (the) flesh

Central to Marlene Dumas’s oeuvre is the depiction of human flesh in all its manifestations. By playing on the word “flesh” I will look at how she depicts children and nude adults in her work and to what extent the paintings are underpinned by expressions such as “to make one’s flesh crawl” or “the sins of the flesh”. Very few commentators have focused on Dumas’s representation of the male nude body and that will form a major part of this analysis. My reading is loosely based on Kristeva’s theory of abjection (1982).Sentraal in Marlene Dumas se oeuvre is die uitbeelding van die menslike vlees in sy vele manifesterings. Deur te fokus op die woord “vlees” word Dumas se voorstellings van kinders en naakte volwassenes in haar skilderye bekyk en aangedui in watter mate hierdie skilderye gerugsteun word deur uitdrukkings soos “die sondes van die vlees” en “om jou vel te laat kriewel”. Min kommentaar bestaan op Dumas se voorstelling van die manlike naaktheid en dit vorm die grootste gedeelte van hierdie artikel. My analise is losweg gebaseer op Kristeva se teorie van abjeksie.http://www.journals.co.za/ej/ejour_sajah.htm

Nie uit my duim gesuig nie, op my erewoord

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Skulp (Hennie Aucamp)

SkulpHennie Aucamp. Pretoria: Protea Boekhuis,2014. 70 pp. ISBN: 978-1-4853-0069-4.DOI: http://dx.doi.org/10.4314/tvl.v52i1.2

‘ons sien die Dat en die Wat’: Huldiging van T.T. Cloete

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Donkerkamer.

Donkerkamer.Fourie Botha. Kaapstad: Queillerie. 2011.80 pp. ISBN: 978-0-7958-0022-1