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Eindnotas 1 Die betrokke skakel blyk intussen gedeaktiveer te wees. LitNet Akademies Jaargang 9(2), Augustus 2012 2 Die relevante skakel, “South African Languages Bill”, op die Departement Kuns en Kultuur se webwerf, Legislation: Bills (DAC 2010) het tot op 27 Oktober 2011 die besoeker by ’n ander wetsontwerp, die South African Community Library and Information Services Act, 2010, uitgebring. 3 ’n Eerste weergawe het in 1969 verskyn. 4 Tans word nuwe wetgewing wel oorweeg wat Russies herveramptelik in die Oekraïne en wat amptelike tweetaligheid wil vestig. Daar is heelwat opposisie teen die taalwetsontwerp, soos blyk uit beriggewing hieromtrent (Demotix 2010). 5 ’n Walliese taalkommissaris is ondertussen bykomend aangestel (Jones 2011). Volgens die Walliese taalraad se webwerf volg hierdie stap ingevolge ’n voorsiening in die sogenaamde Welsh Language Measure wat gedurende 2011 aanvaar is (Welsh Language Board 2011). 6 Die persoon se identiteit word verswyg omdat die opmerking in vertroulike omstandighede gemaak is. 353
LitNet Akademies Jaargang 9(2), Augustus 2012 "ek het ’n liggaam, daarom is ek" 1 : Outobiografiese elemente in Antjie Krog se Verweerskrif 2 Opsomming Marisa Botha Marisa Botha, postdoktorale navorsingsgenoot, Departement Tale en Letterkunde, Nelson Mandela Metropolitaanse Universiteit 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 ’n teks, wat ooreenstem met die skrywer of digter. Wanneer digters sulke elemente inbed in hul werk, is dit ’n uitnodiging aan die leser om hul werk op meer as net ’n kunsvlak te interpreteer – dit is ’n uitnodiging tot ’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 ’n outobiografiese dimensie verkry, heet indirek outobiografiese gedigte. Daar is egter talle nuanses in hierdie kategorieë, weens digterlike vryheid en die onbepaalbaarheid van feite. 3 Trefwoorde: Antjie Krog; outobiografie; Suid-Afrikaanse digkuns; vroueliggaam; taboedeurbrekings; Verweerskrif Abstract “I have a body, therefore I am”: Autobiographical elements in Antjie Krog’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's sexuality. From various critics’ and readers' 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 354
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