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• W2276101099 abstract "In 1972, when Arnold van Wyk chose the title, Tristia, for a set he had compiled from three of his earlier piano pieces, which he planned to augment with three new ones, this title carried two significant prior layers of meaning : Ovid's set of elegiac poems written in exile from Rome to Tomis from AD 8 to 12, and the Afrikaans poet, NP van Wyk Louw's 1962 volume, Tristia, en ander verse, voorspele en vlugte, written while he was professor at the Gemeentelijke Universiteit van Amsterdam.In this article, I explore the way in which the discourse of exile in the two poetic precursors can be used as a hermeneutic tool for this specific Arnold van Wyk work. In particular, I interpret Van Wyk Louw's Tristia as a pivot between the works of Ovid and Arnold van Wyk, since Van Wyk Louw problematises the concept of exile by his post-colonial awareness. On the one hand, Van Wyk Louw turns the idea of exile on its head by identifying with Europe as being 'home', and seeing Africa as the 'place of barbarism'. However, on the other hand, he maintains a strong, albeit problematic identification with South Africa, implying that the post-colonial Western artist could actually never be at home anywhere.Except in art, that is. In this article I offer the hypothesis that for the post-colonial Western artist, the European art tradition becomes a kind of substitute for home; a locus of identity, safety and belonging.Toe Arnold van Wyk in 1972 die titel, Tristia, gekies het vir 'n groep klavierstukke saamgestel uit drie van sy vroeere komposisies, wat hy wou uitbrei met drie nuwe komposisies, het hierdie titel die betekeniskonnotasies van twee belangrike voorlopers gedra : Ovidius se stel elegiese gedigte, geskryf tussen 8 en 12 nC in Tomis, waarheen hy verban is uit Rome, en die Afrikaanse digter, NP van Wyk Louw se bundel, Tristia, en ander verse, voorspele en vlugte (1962), geskryf terwyl hy professor was by die Gemeentelijke Universiteit van Amsterdam.In hierdie artikel ondersoek ek hoe die diskoers van ontheemding in die twee digkuns-voorlopers gebruik kan word as 'n hermeneutiese instrument vir hierdie spesifieke Arnold van Wyk-werk. In die besonder interpreteer ek Van Wyk Louw se Tristia as 'n spil tussen die werke van Ovidius en Arnold van Wyk omdat Van Wyk Louw die konsep van ontheemding met sy koloniale bewussyn problematiseer. Aan die een kant keer Van Wyk Louw die idee van ontheemding op sy kop deurdat hy met Europa as 'die huis' identifiseer en Afrika sien as die 'plek van barbarisme'. Aan die ander kant behou hy egter 'n sterk, hoewel problematiese identifisering met Suid-Afrika en sodoende impliseer hy dat die post-koloniale Westerse kunstenaar nooit op enige plek werklik tuis kan wees nie.Behalwe in kuns. In hierdie artikel stel ek voor dat die Europese kunstradisie vir die post-koloniale Westerse kunstenaar 'n soort plaasvervangende tuiste kan word; 'n lokus van identiteit, veiligheid en behorendheid." @default.
• W2276101099 created "2016-06-24" @default.
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• W2276101099 date "2010-01-01" @default.
• W2276101099 modified "2023-09-23" @default.
• W2276101099 title "'My country, my dry, forsaken country' : on exile in Arnold van Wyk's, NP van Wyk Louw's and Ovid's Tristia : accredited articles" @default.
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