Posts Tagged ‘Poësie beoordeling’

Louis Esterhuizen. Om ‘n gedig objektief te kan beoordeel

Thursday, June 20th, 2013

 

Ons almal weet watter tameletjie die “objektiewe” beoordeling van ‘n gedig is; veral omrede ‘n gedig op soveel verskillende maniere met haar onderskeie lesers in gesprek tree. Nou het dit gebeur dat – in ‘n poging om die waardebepaling van ‘n gedig op meer vaste grond te plaas – ‘n  groep Australiese rekenaarkundiges onder leiding van Michael Coleman Dalvean ‘n rekenaarprogram ontwikkel het wat ‘n bepaalde gedig gradeer aan die hand van hoe “professioneel” óf “amateuragtig” die gedig is. Dalvean en genote se bevindings is dan nou ook as artikel gepubliseer in die Australian National University se tydskrif vir Literary and Linguistic Computing.

Uit die inleidende paragraaf, die volgende: “The purpose of this paper is to examine what distinguishes a ‘professional’ poem from an ‘amateur’ poem. The central idea here is that professional poets are more likely than amateur poets to have grasped the basic skills associated with writing poetry and have therefore been able to produce poems of lasting quality. Amateurs, on the other hand, are less likely to have mastered the basic required skills and are therefore less likely to have produced work of lasting quality. Intuitively, we know that there are differences between the skills of amateurs and professionals in various fields and we are quick to make aesthetic judgments based on our raw subjective responses. However, the objective quantification of the factors that lead to such responses is rarely considered  By using computational linguistics it is possible to objectively identify the characteristics of professional poems and amateur poems. This way an objective basis for our subjective responses can be identified […] The upshot of identifying the characteristics of high quality poems is that we can then come up with a means of placing poems on a continuum according to how much a poem exemplifies the characteristics of an amateur poem or, at the other extreme, a professional poem. We can then use this continuum to rank professional poems and, in doing so, we can make some objective statements about which poems are ‘better’.”

By hierdie skakel kan jy jou eie (of ‘n ander gunsteling) gedig gaan gradeer: “To score you poem, copy and paste the poem into the text box and click the Calculate button. Positive scores indicate that a poem has characteristics of a professional poem while negative scores indicate that the poem has the characteristics of an amateur poem.”

Volgens die berig by The Poetry Foundation het Sylvia Plath se gedig “Edge” besonder goed presteer met ‘n telling van 1.42. (Haar gedig volg heelonder vir jou leesplesier.) Daarteenoor registreer Elizabeth Bishop se gedig “One Art” byvoorbeeld ‘n betreklik teleurstellende -2.50.

Maar hoe vergelyk ons eie digters? Ek het sommer vinnig-vinnig deur Versindaba se (Engelse) vertaalkamers gesnuffel en die volgende (enkele lukrake voorbeelde) gevind: Elisabeth Eybers se gedig “Maria” behaal ‘n punt van -0.37, met Ingrid Jonker se “Bitter-berry Daybreak” selfs nog slegter daaraan toe met -3.16. Breyten Breytenbach se “reading Li Bai” registreer darem ‘n verdienstelike 0.89, terwyl Charl-Pierre Naudé se “Two Thieves” die klokke lui op ‘n indrukwerkkende 2.03, met Joan Hambidge se “Tokyo” op 2.58 en my eie “that she lies beside you” op ‘n salige 2.72 en ons webmeester, Marlise Joubert se “woman in Kandahar” op ‘n allemintige 3.32 …

Mmmm, dis natuurlik nou met die Amerikaanse (kontemporêre) digkuns as maatstaf.  (Maar hel, wat is volgende? Sogenaamde “perfekte” gedigte wat deur rekenaars geskryf word?! Sug.)

***

 

Edge

 

The woman is perfected.   

Her dead

 

Body wears the smile of accomplishment,   

The illusion of a Greek necessity

 

Flows in the scrolls of her toga,   

Her bare

 

Feet seem to be saying:

We have come so far, it is over.

 

Each dead child coiled, a white serpent,   

One at each little

 

Pitcher of milk, now empty.   

She has folded

 

Them back into her body as petals   

Of a rose close when the garden

 

Stiffens and odors bleed

From the sweet, deep throats of the night flower.

 

The moon has nothing to be sad about,   

Staring from her hood of bone.

 

She is used to this sort of thing.

Her blacks crackle and drag.

 

(c) Sylvia Plath (Uit: Collected Poems, 1992: HarperCollins Publishers.)