Maart 2013: jaargang 10, nommer 1 - LitNet

Cooperrider e.a. (2008:9) brei verder uit:
LitNet Akademies Jaargang 10 (1), Maart 2013
Moreover, pasts, presents, and futures are endless sources of learning, inspiration,
or interpretation (as in the endless interpretive possibilities in a good work of
poetry or a biblical text). The important implication is that one can study virtually
any topic related to human experience in any human system or organization. The
choice of inquiry can focus on the nature of alienation or joy in any human
organization or community. One can study moments of creativity and innovation
or moments of debilitating bureaucratic stress. One has a choice.
Hierdie argumente bied aan my die ruimte om sowel ’n persoon soos Caravaggio se verlede
as sy skilderye op indringende wyse te bestudeer. Dit maak dit ook vir my moontlik om
persoonlike voorkeure uit te oefen tydens die keuse van aspekte van sy lewe en werk wat my
interesseer. Dit versterk die moontlike effek wat die studie op persoonlike vlak kan
bewerkstellig. Kelm (2005:34–5) argumenteer in dieselfde trant:
If we operate from the assumptions of the Poetic Principle, that life is open to
infinite interpretations and that what we focus on creates our reality, then it makes
sense to focus on the most life-affirming aspects of a situation: This brings us to
look for things we like in an experience or person: what has worked in the past,
what we want in the future, and what strengths and assets are available to us. It is
to assume that each situation contains tremendous positive potential if we choose
to find it.
Sou die keuse dus uitgeoefen word om op die suksesvolle of positiewe aspekte van
Caravaggio se lewe en werk te fokus, sou sodanige aspekte potensieel verdere sukses kon
genereer: “What we choose to pay attention to becomes a greater part of our experience”
(Kelm 2005:37). Sy meen dat die implikasie hiervan verrykend is: “We are creating our
experience in each moment by virtue of what we choose to pay attention to.”
Kelm (2005:48) se beskrywing van die prosesse waardeur ’n skildery waardeer kan word,
verleen verdere ondersteuning vir die besluit om die positiewe elemente van Caravaggio se
lewe en skilderye as platforms vir ’n PW te benut:
In the painting example, we might begin by affirming that it is well-composed,
and then become curious about that and inquire more deeply into it. We might
ponder the artist's use of contrast, and the way it seems to make the light “dance”
off the canvas. This might lead us to new thoughts about the use of contrast and
movement in art, any host of other creative thoughts about technique, style, or
talent. [...] As we discover new and more wonderful ways of knowing, we create
more wonderful ways of being. [My kursivering]
Die poëtiese beginsel stel ons ook in staat om ons ervarings op kreatiewe wyse te verwoord:
“We have creative license to poetically describe and construct each experience with others
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