Abstract The so-called ‘moral reorientation’ (Dutch: ‘morele heroriëntatie’) was a large-scale Dutch project, aimed at an improvement of ethical standards of society in the 18th century. It was also a reaction to the decay of the Dutch Republic reflected in the literature at the end of the 18th century. Using magazines, drama’s and novels, authors provided example of a right behaviour and criticized all those phenomena, which led to a moral malaise in society. One of these phenomena was a boundless love for France, its culture, fashion, literature and philosophy. In literature it was presented as a grave danger for Dutch identity. The term ‘francophilia’ was invented. Also two Dutch female writers, Betje Wolff and Aagje Deken reacted on the dangerous symptoms of the ‘francophilia’ and warned against it in their novel Sara Burgerhart (1782). In my article I discuss some rhetorical devices, used by the authors to warn against the ‘francophilia.’ I analyse how they defined and further criticized this phenomenon.
{"title":"De roman als wapen tegen Frankrijk: Sara Burgerhart van Wolff en Deken en de strijd tegen de ‘gallofilie’ / The Novel as a Weapon against France: Wolff’s and Deken’s Sara Burgerhart and the Struggle Against the ‘Francophilia’","authors":"Jan Urbaniak","doi":"10.1515/werk-2015-0013","DOIUrl":"https://doi.org/10.1515/werk-2015-0013","url":null,"abstract":"Abstract The so-called ‘moral reorientation’ (Dutch: ‘morele heroriëntatie’) was a large-scale Dutch project, aimed at an improvement of ethical standards of society in the 18th century. It was also a reaction to the decay of the Dutch Republic reflected in the literature at the end of the 18th century. Using magazines, drama’s and novels, authors provided example of a right behaviour and criticized all those phenomena, which led to a moral malaise in society. One of these phenomena was a boundless love for France, its culture, fashion, literature and philosophy. In literature it was presented as a grave danger for Dutch identity. The term ‘francophilia’ was invented. Also two Dutch female writers, Betje Wolff and Aagje Deken reacted on the dangerous symptoms of the ‘francophilia’ and warned against it in their novel Sara Burgerhart (1782). In my article I discuss some rhetorical devices, used by the authors to warn against the ‘francophilia.’ I analyse how they defined and further criticized this phenomenon.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"55 1","pages":"101 - 89"},"PeriodicalIF":0.0,"publicationDate":"2015-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73967287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The Cor Iesu amanti sacrum, a series of engravings made by Anton II Wierix around the year 1600, became one of the most important series of religious emblems from the 17th and 18th centuries. The engravings’ printed reception is well known: there are numerous graphical copies, as well as books written on the basis of the emblems, starting with the work by the French Jesuit Étienne Luzvic, entitled Le cœur devot throsne royal de Iesus pacifique Salomon, from 1626. The article discusses the handwritten reception of the series, which until now has remained virtually uninvestigated. The authors analyze five works of literature, preserved in Polish and Netherlandish 17th-century manuscripts and inspired by the engravings from the Cor Iesu amanti sacrum: Het herte Jesu by an anonymous Netherlandish protestant (a manuscript from Tilburg), Opofferingh van het herte aan den Bruijdegom Iesus Christus by the Netherlandish scientist and doctor Jan Swammerdam (a manuscript from Ghent), and three untitled Polish versions: a poetical collection by the Jesuit Mikołaj Mieleszko, dedicated to the Duchess Katarzyna Radziwiłł in 1657 (a manuscript from Saint-Petersburg) and two different works preserved in monastic libraries (manuscripts from Imbramowice and Stary Sącz).
1600年左右，安东二世·维利克斯(Anton II Wierix)制作的一系列雕刻作品《Cor Iesu amanti sacrum》成为17、18世纪最重要的宗教象征之一。这些雕刻的印刷接待是众所周知的:有许多图形副本，以及以这些标志为基础编写的书籍，从法国耶稣会Étienne Luzvic的作品开始，题为Le cœur devot throsne royal de Iesus pacifique Salomon，从1626年开始。文章讨论了该系列的手写接收，直到现在几乎没有调查。作者分析了五部文学作品，保存在波兰和荷兰的17世纪手稿中，并受到Cor Iesu amanti sacrum雕刻的启发:一位匿名的荷兰新教徒的《heet herte jesus》(来自蒂尔堡的手稿)，荷兰科学家和医生Jan Swammerdam的《Opofferingh van heet herte aan den Bruijdegom Iesus Christus》(来自根特的手稿)，以及三个未命名的波兰版本。耶稣会士Mikołaj米列斯科的诗集，于1657年献给卡塔日娜公爵夫人Radziwiłł(一份来自圣彼得堡的手稿)和两份保存在修道院图书馆的不同作品(来自Imbramowice和Stary的手稿Sącz)。
{"title":"Emblems from the Heart: The Reception of the Cor Iesu Amanti Sacrum Engravings Series in Polish and Netherlandish 17th-Century Manuscripts","authors":"Radosław Grześkowiak, Paul Hulsenboom","doi":"10.1515/werk-2015-0016","DOIUrl":"https://doi.org/10.1515/werk-2015-0016","url":null,"abstract":"Abstract The Cor Iesu amanti sacrum, a series of engravings made by Anton II Wierix around the year 1600, became one of the most important series of religious emblems from the 17th and 18th centuries. The engravings’ printed reception is well known: there are numerous graphical copies, as well as books written on the basis of the emblems, starting with the work by the French Jesuit Étienne Luzvic, entitled Le cœur devot throsne royal de Iesus pacifique Salomon, from 1626. The article discusses the handwritten reception of the series, which until now has remained virtually uninvestigated. The authors analyze five works of literature, preserved in Polish and Netherlandish 17th-century manuscripts and inspired by the engravings from the Cor Iesu amanti sacrum: Het herte Jesu by an anonymous Netherlandish protestant (a manuscript from Tilburg), Opofferingh van het herte aan den Bruijdegom Iesus Christus by the Netherlandish scientist and doctor Jan Swammerdam (a manuscript from Ghent), and three untitled Polish versions: a poetical collection by the Jesuit Mikołaj Mieleszko, dedicated to the Duchess Katarzyna Radziwiłł in 1657 (a manuscript from Saint-Petersburg) and two different works preserved in monastic libraries (manuscripts from Imbramowice and Stary Sącz).","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"13 5 1","pages":"131 - 154"},"PeriodicalIF":0.0,"publicationDate":"2015-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82876341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract At the end of the 1960s and in the beginning of the 1970s the South African poet Breyten Breytenbach had poetry and drawings published in the leading literary magazine Raster. The editor in charge at the time, H.C. ten Berge, gave the experimental writer and socially engaged Sestiger (the literary modernizing movement in South Africa in the sixties) pride of place in the line-ups of the Dutch modernist periodical. In the seventies, Ten Berge contributed to Vingermaan (1980), a collection of poems by Dutch writers (Lucebert, Kopland, Kouwenaar, Schierbeek) in support of the anti-apartheid activist. From 1975 Breytenbach was imprisoned in South Africa for political reasons. He served seven years of a nine year sentence. At that time, in the eighties, the Netherlands organized a cultural and economical boycott against the racist regime in Pretoria. Later on, Ten Berge presented his own poems dedicated to Breytenbach in his book of poetry Nieuwe gedichten (1981) and in the collection Materia prima: Gedichten 1963-1993 (1993). Before and during the imprisonment of Breytenbach Ten Berge played an important role in the introduction of the writer in the Low Countries. From a cultural-sociological point of view Breytenbach’s presence in the Dutch language area can be described, in the terminology of Francoise Lionnet and Shu-mei Shih and later on used by Louise Viljoen, as a transnational lateral movement in his writing career. This paper deals with the cultural transmission of an important political and experimental author in the literary system of Afrikaans and English in South Africa into the Dutch system. From a bibliographical viewpoint this paper affords special attention to the publication of Breytenbach’s volume of poetry in Skryt: Om ’n sinkende skip blou te verf ([1972] 1976), Vingermaan (1980) and Nieuwe gedichten ([1981] 1987). Ten Berge played an important role in the introduction of Breytenbach to the Low Countries in the way he presented the author’s political and aesthetic ideas to a Dutch-speaking audience.
20世纪60年代末70年代初，南非诗人布雷滕·布雷滕巴赫(Breyten Breytenbach)在著名文学杂志《Raster》上发表了诗歌和绘画作品。当时的主编H.C. ten Berge在荷兰现代主义期刊中给予了实验作家和社会活动家塞斯蒂格(60年代南非文学现代化运动的代表人物)最重要的地位。在70年代，滕·贝尔热为支持反种族隔离活动家的荷兰作家(Lucebert, Kopland, Kouwenaar, Schierbeek)的诗集《Vingermaan》(1980)做出了贡献。从1975年起，布雷滕巴赫因政治原因被监禁在南非。他被判九年徒刑，服刑七年。当时，在80年代，荷兰对比勒陀利亚的种族主义政权进行了文化和经济抵制。后来，滕·贝尔热在他的诗集《新生命》(1981)和《最初的物质:生命1963-1993》(1993)中发表了自己献给布莱滕巴赫的诗歌。在Breytenbach入狱之前和期间，Ten Berge在将作家介绍给低地国家方面发挥了重要作用。从文化社会学的角度来看，布雷滕巴赫在荷兰语领域的存在可以被描述为他写作生涯中的跨国横向运动，这是弗朗索瓦丝·莱昂内和施淑梅后来被路易斯·维尔约恩所使用的术语。本文探讨了南非荷兰语和英语文学体系中一位重要的政治和实验作家在荷兰语体系中的文化传播。从参考书目的角度，本文特别关注了布雷滕巴赫在Skryt出版的诗集:Om ' n sinkende skip bloute verf ([1972] 1976)， Vingermaan(1980)和Nieuwe gedichten([1981] 1987)。滕·贝尔热在将布雷滕巴赫介绍给低地国家的过程中发挥了重要作用，他向讲荷兰语的读者介绍了作者的政治和美学思想。
{"title":"Breyten Breytenbach in een zijspiegel: Het vizier van H.C. ten Berge Transnationale laterale beweging en particuliere “hetero-images” van een literaire actor/ Breyten Breytenbach Through H.C. ten Berge’s Looking-Glass: Transnational Lateral Movement and Particular “Hetero-Images” of a Writer","authors":"Yves T'Sjoen","doi":"10.1515/werk-2015-0003","DOIUrl":"https://doi.org/10.1515/werk-2015-0003","url":null,"abstract":"Abstract At the end of the 1960s and in the beginning of the 1970s the South African poet Breyten Breytenbach had poetry and drawings published in the leading literary magazine Raster. The editor in charge at the time, H.C. ten Berge, gave the experimental writer and socially engaged Sestiger (the literary modernizing movement in South Africa in the sixties) pride of place in the line-ups of the Dutch modernist periodical. In the seventies, Ten Berge contributed to Vingermaan (1980), a collection of poems by Dutch writers (Lucebert, Kopland, Kouwenaar, Schierbeek) in support of the anti-apartheid activist. From 1975 Breytenbach was imprisoned in South Africa for political reasons. He served seven years of a nine year sentence. At that time, in the eighties, the Netherlands organized a cultural and economical boycott against the racist regime in Pretoria. Later on, Ten Berge presented his own poems dedicated to Breytenbach in his book of poetry Nieuwe gedichten (1981) and in the collection Materia prima: Gedichten 1963-1993 (1993). Before and during the imprisonment of Breytenbach Ten Berge played an important role in the introduction of the writer in the Low Countries. From a cultural-sociological point of view Breytenbach’s presence in the Dutch language area can be described, in the terminology of Francoise Lionnet and Shu-mei Shih and later on used by Louise Viljoen, as a transnational lateral movement in his writing career. This paper deals with the cultural transmission of an important political and experimental author in the literary system of Afrikaans and English in South Africa into the Dutch system. From a bibliographical viewpoint this paper affords special attention to the publication of Breytenbach’s volume of poetry in Skryt: Om ’n sinkende skip blou te verf ([1972] 1976), Vingermaan (1980) and Nieuwe gedichten ([1981] 1987). Ten Berge played an important role in the introduction of Breytenbach to the Low Countries in the way he presented the author’s political and aesthetic ideas to a Dutch-speaking audience.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"19 1","pages":"33 - 50"},"PeriodicalIF":0.0,"publicationDate":"2015-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73628602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The ‘Dutch’ colonisation in Poland, which took place between the 16th and the 19th century, left a clear architectural and spatial mark in the Polish countryside. The newcomers, originally from the Low Countries and later from Germany and other parts of Europe, created independent communities which did not establish strong ties with adjacent villages. Moreover, contrary to autochthonic peasants, the colonists enjoyed freedom and a relatively high social status and were often rather wealthy. Hence their villages and farmsteads differed from local ones being generally speaking more representative. It has often been assumed than the ‘Dutch’ settlements in Poland shared more similarities with the Dutch or Frisian countryside than with the neighbouring villages and that both the settlements as well as the farmhouses differed substantially from local building traditions. This paper explores how much the ‘Dutch’ villages and farms were in fact distinguishable from their local counterparts and to what extent they coincided with building traditions in the Low Countries and in Germany.
{"title":"‘Hollandse’ dorpen in Polen: Hoe anders waren ze eigenlijk?/ ‘Dutch’ Settlements in Poland: How Different Were They Actually?","authors":"Michał Wenderski","doi":"10.1515/werk-2015-0004","DOIUrl":"https://doi.org/10.1515/werk-2015-0004","url":null,"abstract":"Abstract The ‘Dutch’ colonisation in Poland, which took place between the 16th and the 19th century, left a clear architectural and spatial mark in the Polish countryside. The newcomers, originally from the Low Countries and later from Germany and other parts of Europe, created independent communities which did not establish strong ties with adjacent villages. Moreover, contrary to autochthonic peasants, the colonists enjoyed freedom and a relatively high social status and were often rather wealthy. Hence their villages and farmsteads differed from local ones being generally speaking more representative. It has often been assumed than the ‘Dutch’ settlements in Poland shared more similarities with the Dutch or Frisian countryside than with the neighbouring villages and that both the settlements as well as the farmhouses differed substantially from local building traditions. This paper explores how much the ‘Dutch’ villages and farms were in fact distinguishable from their local counterparts and to what extent they coincided with building traditions in the Low Countries and in Germany.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"137 1","pages":"51 - 64"},"PeriodicalIF":0.0,"publicationDate":"2015-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77217544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Despite J.M. Coetzee’s ostensible interest in the issues of - largely speaking - visuality, the links between Coetzee’s oeuvre and ‘images’ have not been sufficiently explored either by art or literary critics. The paper offers a detailed discussion of the cooperation between Coetzee and the Belgian artist Berlinde De Bruyckere which has so far resulted in one installation and two art books co-authored by Coetzee and De Bruyckere. Special attention will be paid to the piece “Cripplewood/Kreupelhout” shown in the Belgian Pavilion of the 2013 Venice Biennial and the catalogue published in its wake. Also, a number of questions related to the nature of Coetzee’s contribution to both projects, the role of a curator and his relationship with the artist, as well as the catalogue’s generic affiliation and its position in Coetzee’s body of works are thoroughly addressed.
尽管J.M.库切表面上对视觉性问题很感兴趣，但无论是艺术评论家还是文学评论家，都没有充分探讨库切作品与“图像”之间的联系。本文详细讨论了库切与比利时艺术家Berlinde De Bruyckere的合作，迄今为止，库切和De Bruyckere共同创作了一件装置和两本艺术书籍。我们将特别关注2013年威尼斯双年展比利时馆展出的“Cripplewood/Kreupelhout”作品，以及随后出版的作品目录。此外，一些与库切对这两个项目的贡献有关的问题，策展人的角色及其与艺术家的关系，以及目录的一般归属及其在库切作品中的地位都得到了彻底的解决。
{"title":"An Unlikely Pair: Berlinde De Bruyckere and J.M. Coetzee","authors":"Robert Kusek, W. Szymański","doi":"10.1515/werk-2015-0002","DOIUrl":"https://doi.org/10.1515/werk-2015-0002","url":null,"abstract":"Abstract Despite J.M. Coetzee’s ostensible interest in the issues of - largely speaking - visuality, the links between Coetzee’s oeuvre and ‘images’ have not been sufficiently explored either by art or literary critics. The paper offers a detailed discussion of the cooperation between Coetzee and the Belgian artist Berlinde De Bruyckere which has so far resulted in one installation and two art books co-authored by Coetzee and De Bruyckere. Special attention will be paid to the piece “Cripplewood/Kreupelhout” shown in the Belgian Pavilion of the 2013 Venice Biennial and the catalogue published in its wake. Also, a number of questions related to the nature of Coetzee’s contribution to both projects, the role of a curator and his relationship with the artist, as well as the catalogue’s generic affiliation and its position in Coetzee’s body of works are thoroughly addressed.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"545 1","pages":"13 - 32"},"PeriodicalIF":0.0,"publicationDate":"2015-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77131695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In memoriam André Philippus Brink (1935-2015)","authors":"Natalia Stachura","doi":"10.1515/WERK-2015-0001","DOIUrl":"https://doi.org/10.1515/WERK-2015-0001","url":null,"abstract":"","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"17 1","pages":"7 - 9"},"PeriodicalIF":0.0,"publicationDate":"2015-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74922682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The contribution of Poles to the colonisation and development of the Dutch Cape Colony is not commonly known. Yet, Poles have been appearing in this colony since its very inception (1652). During the entire period considered here the presence of Poles was the result of the strong economic ties between Poland and the Netherlands. At the end of this period there was an increase in their share, in connection with the presence of numerous alien military units on the territory of the Colony, because of Poles having served in these units. Numerous newcomers from Poland settled in South Africa for good, established families, and their progeny made up part of the local society. The evidence of this phenomenon is provided by the present-day Afrikaner families of, for instance, Drotsky, Kitshoff, Kolesky, Latsky, Masuriek, Troskie, Zowitsky, and others. A quite superficial estimation implies that the settlers coming from Poland could make up a bit over 1% of the ancestors of the present-day Afrikaners. Poles would also participate in the pioneering undertakings within the far-off fringes of the Colony, including the robbery-and-trade expedition of 1702.
{"title":"Poles in the Dutch Cape Colony 1652-1814","authors":"M. Kowalski","doi":"10.1515/werk-2015-0005","DOIUrl":"https://doi.org/10.1515/werk-2015-0005","url":null,"abstract":"Abstract The contribution of Poles to the colonisation and development of the Dutch Cape Colony is not commonly known. Yet, Poles have been appearing in this colony since its very inception (1652). During the entire period considered here the presence of Poles was the result of the strong economic ties between Poland and the Netherlands. At the end of this period there was an increase in their share, in connection with the presence of numerous alien military units on the territory of the Colony, because of Poles having served in these units. Numerous newcomers from Poland settled in South Africa for good, established families, and their progeny made up part of the local society. The evidence of this phenomenon is provided by the present-day Afrikaner families of, for instance, Drotsky, Kitshoff, Kolesky, Latsky, Masuriek, Troskie, Zowitsky, and others. A quite superficial estimation implies that the settlers coming from Poland could make up a bit over 1% of the ancestors of the present-day Afrikaners. Poles would also participate in the pioneering undertakings within the far-off fringes of the Colony, including the robbery-and-trade expedition of 1702.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"6 1","pages":"65 - 96"},"PeriodicalIF":0.0,"publicationDate":"2015-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89055166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In writing my article on the poetry of Olga Kirsch I proceed from each poet’s consciousness of the relationship of tension between his humanity and the art he practises. In the case of Olga Kirsch this inner discord was rendered in her humanity. As second recognised Afrikaans woman poet, after Elisabeth Eybers, she was Jewish by birth and English-speaking, although by her own claim Afrikaans, through her environment and school, was stronger than the English of her parental home. In Olga Kirsch’s debut volume Die soeklig (1944) she professes the youthful heart’s restless longing for romantic love in poems still far too trapped in clichéd language. I linger extensively at these so that the great breakthrough of her talent in her second volume, Mure van die hart (1948), can be clearly evident. In strong, stripped-down poems she expresses the Zionistic longing of the Jew in the diaspora for the lost homeland, intensified by the Jewish suffering in the Second World War, with specific reference to the Holocaust in “Die wandelende Jood” and “Koms van die Messias.” After Kirsch’s emigration to Israel in 1948 a silence of twenty-four years followed which was unexpectedly interrupted with the 1972 publication of a thin volume, Negentien gedigte, which impressed especially with “Vyf sonette aan my vader,” which I discuss in detail. In 1975 she visited her native land again and the direct contact with Afrikaans and with the country acted as stimulus for her volume Geil gebied of 1976. The “geil gebied” (fertile area) is a metaphor for the rich subsoil of the poem and for the poem itself. In my discussion of Negentien gedigte and Geil gebied I concentrate on her inner dividedness as being inherently part of her human nature, enhanced by the knowledge that she remained irrevocably attached to her native land and to her Jewish homeland. I point out that the only way she can be healed of this dividedness is by writing her another self in her poems in which she arrives home in both countries, the omnipresence of God and the presence of the beloved husband. Lastly I indicate Olga Kirsch’s enduring place in the Afrikaans tradition of poetry through her procreative influence on other poets or by the way they relate to her poetry.
在撰写关于奥尔加·基尔希诗歌的文章时，我从每个诗人对他的人性与他所实践的艺术之间的紧张关系的意识出发。在奥尔加·基尔希的情况下，这种内心的不和谐表现在她的人性中。作为继伊丽莎白·艾伯斯之后第二位被认可的南非荷兰语女诗人，她出生时是犹太人，说英语，尽管她自己声称，通过她的环境和学校，南非荷兰语比她父母家庭的英语更强大。在奥尔加·基尔希的处女作《爱的世界》(1944)中，她用依然囿于陈词滥调的语言的诗歌，表达了年轻心灵对浪漫爱情的不安分渴望。我在这些方面花了大量时间，以便在她的第二卷《穆尔·范·迪·哈特》(1948)中可以清楚地看到她才华的巨大突破。她在简洁有力的诗歌中表达了流散的犹太人对失去家园的犹太复国主义渴望，这种渴望因犹太人在第二次世界大战中的苦难而加剧，并在《Die wandelende Jood》和《Koms van Die Messias》中特别提到了大屠杀。基尔希1948年移居以色列后，他沉默了24年，1972年出人意料地出版了一本薄薄的书《内根蒂安的纪事》(Negentien gedigte)，这本书给我留下了特别深刻的印象，其中有一篇名为《Vyf sonette aan my vader》，我将详细讨论。1975年，她再次访问了自己的祖国，与南非荷兰人以及这个国家的直接接触促使她出版了1976年出版的《盖尔·格比德》一书。“肥沃的土地”(geil gebied)是诗的肥沃底土和诗本身的隐喻。在我对Negentien gedigte和Geil gebied的讨论中，我把注意力集中在她内心的分裂上，因为这是她人性固有的一部分，而她对自己的祖国和犹太家园有着不可逆转的依恋，这一点又增强了这种分裂。我指出，唯一能治愈这种分裂的方法就是在她的诗中写下另一个自己，在诗中她回到了两个国家，上帝无处不在，深爱的丈夫也在场。最后，我指出Olga Kirsch在南非荷兰语诗歌传统中的持久地位，通过她对其他诗人的多产影响，或者通过他们与她诗歌的关系。
{"title":"Die poësie van Olga Kirsch: Tuiskoms in vreemdelingskap / The Poetry of Olga Kirsch: Homecoming in Exile","authors":"L. Spies","doi":"10.2478/werk-2014-0013","DOIUrl":"https://doi.org/10.2478/werk-2014-0013","url":null,"abstract":"Abstract In writing my article on the poetry of Olga Kirsch I proceed from each poet’s consciousness of the relationship of tension between his humanity and the art he practises. In the case of Olga Kirsch this inner discord was rendered in her humanity. As second recognised Afrikaans woman poet, after Elisabeth Eybers, she was Jewish by birth and English-speaking, although by her own claim Afrikaans, through her environment and school, was stronger than the English of her parental home. In Olga Kirsch’s debut volume Die soeklig (1944) she professes the youthful heart’s restless longing for romantic love in poems still far too trapped in clichéd language. I linger extensively at these so that the great breakthrough of her talent in her second volume, Mure van die hart (1948), can be clearly evident. In strong, stripped-down poems she expresses the Zionistic longing of the Jew in the diaspora for the lost homeland, intensified by the Jewish suffering in the Second World War, with specific reference to the Holocaust in “Die wandelende Jood” and “Koms van die Messias.” After Kirsch’s emigration to Israel in 1948 a silence of twenty-four years followed which was unexpectedly interrupted with the 1972 publication of a thin volume, Negentien gedigte, which impressed especially with “Vyf sonette aan my vader,” which I discuss in detail. In 1975 she visited her native land again and the direct contact with Afrikaans and with the country acted as stimulus for her volume Geil gebied of 1976. The “geil gebied” (fertile area) is a metaphor for the rich subsoil of the poem and for the poem itself. In my discussion of Negentien gedigte and Geil gebied I concentrate on her inner dividedness as being inherently part of her human nature, enhanced by the knowledge that she remained irrevocably attached to her native land and to her Jewish homeland. I point out that the only way she can be healed of this dividedness is by writing her another self in her poems in which she arrives home in both countries, the omnipresence of God and the presence of the beloved husband. Lastly I indicate Olga Kirsch’s enduring place in the Afrikaans tradition of poetry through her procreative influence on other poets or by the way they relate to her poetry.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"68 1","pages":"73 - 98"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74991749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The poet Olga Kirsch left South Africa permanently for Israel in 1948. It is evident from her poetry that her Zionism, opposition to the racism of the National Party and a failed love played a role in her decision. This article focuses on another reason - a public attack by the Dutch critic Jan Greshoff in an Afrikaans literary magazine in 1946. Using concepts from psychoanalytical theories around borderline and narcissistic personalities, as well as the effect of emigration, Kirsch’s actions are examined as a reaction to narcissistic wounding. Investigating Greshoff’s criticism gives insights into the poet’s actions and explains the hiatus before she started publishing again in Afrikaans from 1971. It is stated that the poet is not considered to be a narcissist as her oeuvre is a testimony to her empathy with others, but the healthy narcissism needed in building one’s self-esteem underwent a severe blow when Kirsch lost the man she loved and was humiliated so devastatingly by the great Dutch critic.
{"title":"Jan Greshoff se ‘aanval’ op Olga Kirsch as een van die hoofredes vir haar emigrasie: ’n Psigoanalitiese beskouing / Jan Greshoff’s ‘Attack’ on Olga Kirsch as One of the Main Causes of Her Emigration: A Psychoanalytical Point of View","authors":"Thomas Minnaar","doi":"10.2478/WERK-2014-0014","DOIUrl":"https://doi.org/10.2478/WERK-2014-0014","url":null,"abstract":"Abstract The poet Olga Kirsch left South Africa permanently for Israel in 1948. It is evident from her poetry that her Zionism, opposition to the racism of the National Party and a failed love played a role in her decision. This article focuses on another reason - a public attack by the Dutch critic Jan Greshoff in an Afrikaans literary magazine in 1946. Using concepts from psychoanalytical theories around borderline and narcissistic personalities, as well as the effect of emigration, Kirsch’s actions are examined as a reaction to narcissistic wounding. Investigating Greshoff’s criticism gives insights into the poet’s actions and explains the hiatus before she started publishing again in Afrikaans from 1971. It is stated that the poet is not considered to be a narcissist as her oeuvre is a testimony to her empathy with others, but the healthy narcissism needed in building one’s self-esteem underwent a severe blow when Kirsch lost the man she loved and was humiliated so devastatingly by the great Dutch critic.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"1 1","pages":"118 - 99"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83973376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Reading Olga Kirsch’s Afrikaans poetry, one is struck by the important role that the experience of loss occupies in her oeuvre. It is evident in the first two volumes of poetry she published while still living in South Africa, as well as in the five volumes she published after emigrating to Israel in 1948. Because her poetry, especially the volumes written in Israel, exudes an air of melancholy, this article uses Freud’s writings on loss, mourning and melancholia, as well as the historical tradition preceding his work, as a guideline in exploring the way in which the experience of loss, mourning and melancholy is portrayed in Kirsch’s oeuvre. The article focusses on the way in which loss is portrayed in her poetry: her sense that the Jewish experience of loss over the centuries forms part of her history and identity, the way in which she experiences the loss of South Africa and the language Afrikaans in which she is best able to express herself poetically when she emigrates to Israel, the way in which the loss of her father and mother at different times in her life affected her, her feeling that her experience of loss and the ensuing melancholy are carried over to her children.
{"title":"“Die hart ’n droë blaar”: Verlies, rou en melancholie in Olga Kirsch se Afrikaanse poësie / “The heart a dry leaf”: Loss, Mourning and Melancholia in Olga Kirsch’s Afrikaans Poetry","authors":"Louise Viljoen","doi":"10.2478/werk-2014-0011","DOIUrl":"https://doi.org/10.2478/werk-2014-0011","url":null,"abstract":"Abstract Reading Olga Kirsch’s Afrikaans poetry, one is struck by the important role that the experience of loss occupies in her oeuvre. It is evident in the first two volumes of poetry she published while still living in South Africa, as well as in the five volumes she published after emigrating to Israel in 1948. Because her poetry, especially the volumes written in Israel, exudes an air of melancholy, this article uses Freud’s writings on loss, mourning and melancholia, as well as the historical tradition preceding his work, as a guideline in exploring the way in which the experience of loss, mourning and melancholy is portrayed in Kirsch’s oeuvre. The article focusses on the way in which loss is portrayed in her poetry: her sense that the Jewish experience of loss over the centuries forms part of her history and identity, the way in which she experiences the loss of South Africa and the language Afrikaans in which she is best able to express herself poetically when she emigrates to Israel, the way in which the loss of her father and mother at different times in her life affected her, her feeling that her experience of loss and the ensuing melancholy are carried over to her children.","PeriodicalId":55904,"journal":{"name":"Werkwinkel-Journal of Low Countries and South African Studies","volume":"42 1","pages":"31 - 58"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86993103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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