Groot eend in ‘n klein dammetjie
Aspekte van die parodie en postmodernisme in Charles F. Fourie se drama Die eend (1994)
Bibliographic Data
| ID | 20156255 |
|---|---|
| Authors | Philip C van der Westhuizen (0000-0002-4795-9492, corresponding author) |
| Year | 1996 |
| Volume | 12 |
| Issue | 4 |
| Pages | 384-407 |
| Publication date | 1996-12-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Journal of Literary Studies (JOURNAL) |
| Journal identifiers | ISSN: 0256-4718 • E-ISSN: 1753-5387 |
| Publisher | Unisa Press (PUBLISHER • ZA) |
| DOI | 10.1080/02564719608530149 |
| OpenAlex | W2105177712 |
| Language | EN |
| References cited | 5 |
The parody strives, among other things, to deconstruct the sublime work of art to something ludicrous, thus indicating that nothing about art is sacrosanct. At the same time the parody also illustrates the transposability of art. For instance, in Charles Fourie's Die eend (1994) ‐ a parody based on The Seagull (1896) by Anton Chekhov ‐the character Anton Tsjechof finds himself on African soil. The aesthetic reincarnation of Anton Chekhov creates an interesting meta‐textual device through which the parodic text can be looked at self‐reflexively from the inside. This already implies that the secondary text is aware of its own as well as the primary text's status and limitations. Consequently, this article is mainly interested in the specific way in which Die eend comes into being as the new or secondary text, based on the famous original text. The Seagull
Art · Art history · Drama · Literature · Theology · Engineering · Hermeneutics and Narrative Identity · Language, Metaphor, and Cognition · Philosophy · South African History and Culture
| Citation velocity | historical |
|---|---|
| Highly cited | No |