Abstract
Developments around the Afrikaans ‘songs for listening’ in the late 1970s and early 1980s, when the term gained prominence in the art of song, initiated a ‘rapprochement’ between the Afrikaans poetry and song systems which put the differentiating characteristics of poems and song lyrics, previously considered to be clearly distinguishable, in question. The consequent need for reflection on the existence, or not, of fundamental differences between the two text types inspired the research for this article (a critical study of relevant local and international sources; an application of findings to examples of Afrikaans songs and poetry). Firstly, emphasis is placed on the shared history and the continued relationship between the two genres. The difference in intended mediums of presentation – oral performance versus print edition – is identified as the most fundamental distinction between song texts and poetry. The prominent utilisation of visual-figurative prosodic elements in poetry, that is, next to the rythmic-sonic elements which it has in common with song texts, was subsequently found to be a decisive distinction, particularly since the era of high modernism with its treasure of free verse. This entails a development corresponding to what mediologist Debray described as a cultural shift from the logospheric to the graphospheric era. Finally, mention is made of how the dynamic growth of the electronic media in the current videospheric era yielded new problematical distinctions between lyrics and poetry. The scope of this article, however, does not allow further investigation regarding the latter.
Highlights
Read online: Scan this QR code with your smart phone or mobile device to read online
Die Suid-Afrikaanse Uitsaaikorporasie (SAUK) het simposiums gehou, koerantredakteurs het hoofberigte geskryf, radio, televisie- en verhoogprogramme is uitgesaai en konserte het oral plaasgevind.’
Word, of dat prestigieuse literêre pryse aan hulle toegeken is of dat hulle daarvoor genomineer word10, is aanduidings dat die skeidslyne tussen poësie en liedtekskuns internasionaal nie meer so streng getrek word as in miskien die grootste deel van die twintigste eeu nie
Summary
Affiliation: 1School of Languages, North-West University, Potchefstroom Campus, South Africa. Brink se samestelling van Groot versboek 2000 daarvan wou getuig dat daar in onlangse tye met ander oë na die plek van die tekste van ligte liedjies in die Afrikaanse poësiekanon gekyk word – maar klaarblyklik nie tot die bevrediging van iemand soos Afrikaanse digter en rock-joernalis Marais (2008) nie, wat in ’n artikel in BoekeInsig ’n saak daarvoor wou uitmaak dat meer as net enkele liedjietekste in toekomstige uitgawes van Groot verseboek opgeneem behoort te word. Dit is ook duidelik dat dit juis sulke gebundelde lirieke is wat deur Brink in oorweging geneem is vir opname in Groot verseboek – anders sou hy die ‘teenwoordigheid’ van iemand soos Stephan Bouwer, wie se lirieke nié gebundel is nie, daarin sterker kon maak. Word (kyk Bezuidenhout 2012:200; Marais 2008:29), of dat prestigieuse literêre pryse aan hulle toegeken is of dat hulle daarvoor genomineer word, is aanduidings dat die skeidslyne tussen poësie en liedtekskuns internasionaal nie meer so streng getrek word as in miskien die grootste deel van die twintigste eeu nie
Sign-in/Register to view highlights & summary Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
