Laatvat

Abstract

Die “photopoem”, with specific reference to the collection Notas uit die empire In order to define the phenomenon of photopoetry, the practical experiences of the author in the production of the collection Notas uit die Empire (Notes from the empire) have been exploited. Further research has produced incontrovertible material to support the statement that photopoetry is greatly viable and could be practiced as an independent genre with its own particular dynamic. Certain aspects of photography as an art form correlate with aspects of poetry, such as affinities for certain circumstances, a possible optical subconscious, hidden information and ways to expose it, and the rhetoric of images. Aspects of poetry can augment the reading of photo’s in the same manner as the close reading and scanning of poems. Self-referenciality, polysemic potential and movement in poetry are key concepts. The tradition of ekphrasis provides certain possibilities, but has its own uniqie problems. Through the usage of photography and poetry on the same plane, the unique features of each art form are able to support and reinforce one another, to create new levels of meaning. A similar comparison exposes the limitations and weaknesses of both poetry and photography. The following conclusions are reached: ♦ Photopoems can provide solutions to the unique problems created by the practice of ekphrasis. ♦ Photography and poetry can supplement one another as each has unique features that correlate, even though both may be found at different extremes of a spectrum of art forms. ♦ The presentation of photography on the same physical plane as poetry creates a unique dynamic that differs fundamentally from that of ekphrastic poetry, or photo’s supplemented with descriptive or prosaic text. ♦ A process of scrutinising and rescrutinising of the photoand poem segments is essential for the maximal enjoyment of the photopoem. ♦ The fully integrated experience or reception delivers new levels and dimensions of meaning that are not possible by reading or looking at the photo- and poem segments in isolation. ♦ For the best functioning of the dynamic of photopoetry, care should be taken that the photo- and poem segments do not overwhelm or dominate one another. ♦ An introduction or supplementary notes are necessary to illuminate and support the dynamic of photopoetry. ♦ Critical work on photopoetry is still very rare in most literatures. Care should be taken that such criticism develop its own principles and do not fall back on the reception of, for example, visual poetry or the considerable critical corpus around ekphrasis. ♦ It can be argued that photopoetry does not fall within the parameters of ekphrasis at all, since the “work of art” involved is fully present on the same level as the text.

Die “fotogedig”, met spesifieke verwysing na die bundel Notas uit die empire Ten einde die verskynsel van fotogedigte te omskryf en eienskappe daarvan vas te stel, word geput uit die praktiese ervaringe van die skrywer in die produksie van die bundel Notas uit die Empire. Bykomende navorsing verskaf onteenseglike materiaal ter ondersteuning van die stelling dat die fotodigkuns groot lewensvatbaarheid het en as ‘n selfstandige genre met ‘n eiesoortige dinamika bedryf kan word. Aspekte van die fotografie toon bepaalde korrelasies met aspekte van die digkuns, onder andere affiniteite vir sekere omstandighede, ‘n moontlike optiese onderbewuste, verskuilde inligting en gewaarwordings en maniere om hulle te onthul, en die retoriek van beelde. Aspekte van die poësie kan ‘n proses van die lesing van foto’s aanvul op dieselfde wyse as wat gedigte ontleed en geskandeer word. Self-referensialiteit, polisemiese potensiaal, en beweging in die proses van lesing is sleutelkonsepte. Die gesamentlike gebruik van fotografie en poësie kan so beoefen word dat die unieke eienskappe van beide kunsvorme mekaar kan versterk. Op dieselfde wyse kan die beperkinge en swakhede van beide die fotografie en die poësie blootgestel word. Die volgende spesifieke gevolgtrekkings is gemaak: ♦ Fotogedigte kan oplossings verskaf vir die unieke probleme wat ontstaan in die beoefening van die tradisie van ekphrasis. ♦ Fotografie en poësie kan mekaar aanvul deurdat daar unieke eienskappe van beide is wat met mekaar kan korreleer, al sou beide aan teenoorgestelde uiterstes van die spektrum van kunsvorme geplaas word. ♦ Die aanbod van fotografie op dieselfde fisiese vlak as die digkuns skep ‘n eiesoortige dinamika wat fundamentele verskille toon met ekphrastiese gedigte, of foto’s met beskrywende of prosaïese teks daarby. ♦ ‘n Proses van wedersydse fynkamming en herfynkamming van die foto- en diggedeeltes vanuit mekaar is noodsaaklik vir die maksimale genieting van die fotogedig. ♦ Die gehele geïntegreerde belewenis of ontvangs lewer nuwe vlakke en dimensies van betekenis op wat nie moontlik is deur die foto- en diggedeeltes in afsondering te lees of te bekyk nie. ♦ Ten einde die dinamika van die fotogedig die beste te laat werk, moet sorg gedra word dat die foto- en diggedeeltes mekaar nie oorstem, of domineer nie. ♦ ‘n Inleiding of begeleidende notas is nodig om die dinamika van die fotogedig toe te lig en te ondersteun ten einde die maksimale genieting van die fotogedig moontlik te maak. ♦ Kritiese werk oor fotogedigte is nog baie skraps in die meeste literature. Sorg sal gedra moet word dat sulke kritiek sy eie beginsels ontwikkel en nie terugval op die ontvangs van byvoorbeeld die visuele gedig of die aansienlike kritiese korpus rondom ekphrasis nie. ♦ Die moontlikheid moet verder ondersoek word dat fotogedigte glad nie deel is van die tradisie van ekphrasis nie, omdat, anders as by ekphrastiese vorme, die betrokke “kunswerk” saam met en op ‘n gelyke vlak as die teksgedeelte aangebied word.