Kwessies van mite en moraliteit by G. R. Vanaf 1. 91. 7 tot 1. Boesman- Stories en vier dele Diere Stories. Elk van die agt dele is voorsien van ’n inleiding, aangedui met “’n Paar woorde vooraf”. Die Boesmanstories spruit voort uit optekeninge wat in die tydperk 1. Von Wielligh as landmeter in die Calvinia- distrik gewerk het. In 1. 91. 7 verskyn sy roman Jakob Platjie, wat reeds baie gewild was toe dit vroe. Tans is daar hernude belangstelling in die Boesmanstories, waaronder heruitgawes van dele een en twee in 2. Hennie Aucamp) en dele drie en vier in 2. Helize van Vuuren). Die vraag ontstaan: Hoe kom dit nou dat die Boesmanoptekeninge die toets van die tyd deurstaan het, terwyl Jakob Platjie bykans vergete geraak het? ![]() In hierdie artikel word die vraag beantwoord aan die hand van Von Wielligh se evaluering van die Boesmans se godsdiensbelewing. Daar word gefokus op die groot Waterslang as een van die belangrikste figure in die Boesmanmitologie. Von Wielligh noem uitdruklik dat die “onbeskaafde” Boesman oor nie veel meer as bygeloof beskik nie. Uit ’n noukeurige lees van die inleidings word dit egter duidelik dat hy veel meer waardering vir die Boesmans se godsdiensbelewing het as wat hy bewustelik toegee. Die waardering blyk uit, onder meer, sy deeglike besef van die morele kompleksiteite wat met die optekening van die vertellings gepaard gegaan het. Trefwoorde: Boesmanstories; Boesmanmitologie; mitisiteit; moraliteit; numineuse; Von Wielligh, G. R. Abstract Issues of myth and morality with regard to G. R. In doing so he tried, as far as possible, to write popular and accessible literature. During his lifetime he indeed succeeded in being a popular writer. His novel Jakob Platjie appeared twice as a series in literary magazines before it was published as a book in 1. Between 1. 91. 7 and 1. ![]() Von Wielligh also published eight volumes of Bushman stories: four volumes of Boesman- Stories and four volumes of Diere Stories (animal stories). The bulk of these were collected while Von Wielligh was a land surveyor in the district of Calvinia in the Northern Cape from 1. Onze opinie: betalen zullen we. Het Grondwettelijk Hof is op dreef. Vorige week schoot het de Arco-waarborg af. Die was bedoeld als compensatie voor de brave. Use the power of ReadSpeaker text to speech to give a voice to your websites, mobile apps, digital books, e-learning materials, documents, and more! Afrika agenda. Met aankondigingen van, en informatie over, Afrikaanse concerten, dansworkshops, dansvoorstellingen, exposities en goede doelen in Afrika. De lente golft over de Westhoek, waar Willem Vermandere in alle stilte aan zijn beelden, liedjes, litho’s, tekeningen en brieven werkt. He was disappointed, however, that these stories were regarded merely as children’s literature, and hoped that in future they would find a broader readership. These were predictive words, since in 2. Boesman- Stories were reissued: volumes 1 and 2 with a foreword by Hennie Aucamp (in 2. Helize van Vuuren (in 2. In 2. 00. 5 a German translation of volume 1 of the Boesman- Stories (“Mitologie en legendes”) had already appeared, namely Die Sterne sind gl. The answer is found mainly in the introductions (“’n Paar woorde vooraf”) which Von Wielligh wrote to each of the eight volumes of the Bushman stories. I will focus on his views regarding the Bushmen’s religious beliefs and what he saw as their superstition. ![]() Although Von Wielligh highly appreciated the Bushmen’s narrative abilities, he had contradictory views as far as their religion was concerned. This results in a moral complexity, which I directly connect with the renewed interest in his Bushman stories. When one compares the dates of the first publication of Jakob Platjie with the gathering and publication of the Bushman stories, it becomes clear that Von Wielligh worked on these publications simultaneously. It is therefore not surprising that similar viewpoints with regard to, specifically, religious matters, are expressed. ![]() For instance, in both the stories and the novel Von Wielligh regards the water snake, one of the main supernatural animals in Bushman mythology, as merely superstition. The views of the narrator in the novel coincides with Von Wielligh’s personal views as he sets them out in the introductions and essays of the Bushman stories. The novel ends in a rather simplistic way – morally speaking – when Jakob, at the end of all his wanderings, is converted to Christianity. Hello Bob, To download voices check these site for a big list http:// check out these sites for more info http://windows.microsoft.com/en. Het Grote Verhaal van Winnie de Poeh: Regie: John Lounsbery Wolfgang Reitherman: Producent: Wolfgang Reitherman: Scenario: A.A. Milne (boek) Hoofdrollen: Sterling. This happy ending is not motivated by either the events or developments within the character. Von Wielligh’s preference for organised religious belief systems is stated in the Boesman- Stories (the essays and the introductions) and in Jakob Platjie. According to Von Wielligh the Bushmen have no civilised religious expression, since they do not practise any form of institutionalised religion comprising churches and pastors, for example. A closer reading of the introductions to the Bushman stories do, however, reveal a morally much more complex view of Bushman religion. In his introduction to volume 2 of the Bushman stories Von Wielligh reveals a certain degree of appreciation for the animistic tradition which stresses the unity between humankind and nature. Belonging to this tradition results in the Bushman’s having a unique way of storytelling. Von Wielligh also discusses different compromises he had to make with regard to the choice of variants of the different stories, the use of language, style and revealing the true character (the “volkskarakter”) of the Bushman. It is specifically in an essay entitled “Religious concepts” (“Godsdienstige begrippe”) that Von Wielligh reveals a far more complex view of Bushman religion than the superficial judgment of superstition which he stated elsewhere. ![]()
He comes to the conclusion that the Bushman feels dependent on supernatural help; he feels dependent on something otherworldly. In this article the Bushman’s endeavour to find supernatural help is interpreted specifically as a search for numinousness. In his book Das Heilige (1. Rudolf Otto describes numinous as the opposite of ominous. ![]() Otto reacted against tendencies within his culture according to which concepts like holy and sacred were superficially seen as equal to moral goodness. Numinousness deals with the mysterious, unfathomable aspects of human existence, without referring to a specific religion. ![]() Doornroosje (originele titel Sleeping Beauty) is een Amerikaanse animatiefilm uit 1959, van Walt Disney Feature Animation. De film was gebaseerd op het sprookje van. Numinous narrations – often in the form of myth – are attempts to come closer to an explanation of issues that cannot be rationally explained. Mythical beings, like water snakes and mermaids, enhance human awareness of the realms of the supernatural. Even as a young child Von Wielligh had developed a sense of the numinous as he listened to the narrations of the Khoisan workers he grew up with. When Von Wielligh names volume 1 of his Bushman stories “Mythology and legends” (“Mitologie en legendes”). He ascribes a definite status to these stories, especially as far as the term mythology is concerned. Definitions of myth, especially within literary context, usually stress two prominent aspects, namely narrative dimensions and numinous or religious dimensions. Without the numinous dimension a myth becomes nothing more than “merely a story”. Quite a few of the Bushman stories in volume 1 are creation stories, in other words, narratological efforts to explain the origins of humanity and the universe. These stories, by means of personification and symbolism, portray the moral complexities of human existence. In the creation story “The animals ask for food and water” (“Die diere vra om kos en water”), for instance, it is shown how reciprocal violence, as a means of solving survival problems, only escalates into more violence: one species living off another. Truth is an important theme in the story “The big Water Snake” (“Die groot Waterslang”). The truth here, however, is a complex truth. The main antagonist, a young male who steals the Water Snake’s wonderful stone, lies to her and to his people. In the end he manages to return the stone without admitting that he had stolen it. Despite his dishonesty he remains a rich and happy man, fortunate in all his ways. Most probably without consciously realising it, Von Wielligh must have had a very strong feeling for the moral and spiritual complexities of the mythological stories of the Bushmen. His endeavour to conserve them for future generations was certainly not motivated solely by the nationalistic consideration of establishing a new language. The survival of these stories most probably has to do with Von Wielligh’s subtle appreciation for the universally numinous aspects reflected in these texts. Whenever a writer reworks a mythological motif in such a way that it gains new meaning and relevance within a contemporary context, the process of mythicity is at work. Von Wielligh’s reworking of the Bushman stories he recorded are pertinent examples. They form an intertextual basis for the further exploration of relationships between European and Bushman culture, as is proven in the oeuvres of, inter alia, Thomas Deacon and Andr. In order to utilise Von Wielligh’s work to the full it will furthermore be necessary to translate the Bushman stories into English – a request Hennie Aucamp emphatically puts forward in his introduction to the 2. Versamelde Boesmanstories 1. Keywords: Bushman stories; Bushman mythology; mythicity; morality; numinousness; Von Wielligh, G. R. 1. Inleiding. Die omvattende oeuvre van Gideon Retief von Wielligh (1. Afrikaanse literatuurgeskiedenis by uitstek gesien as verteenwoordigend van die nasionalistiese strewes wat die letterkunde van die Eerste Taalbeweging gekenmerk het. Wat hiertoe bydra, is dat Von Wielligh self een van die voorste verdedigers van die Genootskap vir Regte Afrikaners (GRA) was en hom sy hele lewe lank beywer het vir die vestiging van Afrikaans as selfstandige skryftaal teenoor Nederlands. Hoewel hy as landmeter opgelei was en reeds op 1. Naas die ontwikkeling van Afrikaans as skryftaal was dit vir Von Wielligh belangrik om popul. Von Wielligh se bekendste voorbeeld van skeppende werk, die roman Jakob Platjie, het twee keer in reeksvorm verskyn voordat dit in 1. Aanvanklik het die aflewerings in die tydskrif Ons Klijntji (1. Die Brandwag (1. 91. Kannemeyer 1. 97. Schoonees (1. 93. Hoewel Von Wielligh groot waarde geheg het aan begrippe soos beskawing en opvoeding, het hy nie veel erg aan “ho.
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