DOCSLIB.ORG

Literary Expression in Post-Apartheid South Africa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Literary Expression in Post-Apartheid South Africa LITERARY EXPRESSION IN POST-APARTHEID SOUTH AFRICA BY ADETUNJI KAZEEM ADEBIYI MATRIC NO.: 108685 SUPERVISOR PROF. E.B. OMOBOWALE Submitted in Partial Fulfilment of the Requirements for the Award of Doctor of Philosophy (PhD) in the Department of English, Faculty of Arts, University of Ibadan February, 2014 CERTIFICATION I certify that this work was researched and written by Adetunji Kazeem Adebiyi under my supervision. --------------------------------------------------------------------------- Professor Emmanuel Babatunde Omobowale B. A. (Hons), M. A., PhD (Ibadan) ii DEDICATION This work is dedicated to my maternal uncle, Late Chief Popoola Balogun, without whose support, at a most critical time, my dream of tertiary education could have turned a stillbirth. iii ACKNOWLEDGEMENTS I acknowledge the grace of God in the fruition of this project. I also thank Him for it. Indeed, the harvest is to His glory. Several people have contributed to the harvest. I guess the only way by which I can make them savour the taste of the fruit, if only vicariously, is to appreciate their gestures. For sowing the seed, I thank my parents, Late Chief and Alhaja Sadiq Adebiyi Adelabu. For watering it, I thank my late uncle, Chief Popoola Balogun; and my brother, Mr Wasiu Adebayo Adelabu. Acknowledging the contribution of the supervisor in a study like this is customary. For me, the question is, what do I acknowledge? Is it the proper guidance or intellectual enrichment I got? Is it the moral or spiritual supports, which were beyond the call of duty? Is it the teachings about bringing humanity into all we do? Is it the interest in my personal well-being? Is it his liberal disposition? I can‟t continue. These dispositions enriched or stabilised me at critical times in the course of my study. All I want to say is that I couldn‟t have had a better supervisor than Professor E. B. Omobowale. All my lecturers in the Department of English, University of Ibadan, are hereby gratefully acknowledged for intellectually enriching my life. I would like to specifically appreciate the supports and encouragements I received from Prof. Ayo Kehinde; Drs. R. O. Oriaku, O. B. Jegede, M. T. Lamidi, S. A. Odebunmi, A. B. Sunday; and Mr Bassey. Also deserving of appreciation in this light are my friends, Dr. O. O. Familusi and Dr. Babajide Ololajulo, also lecturers in the Department of Religious Studies and the Department of Anthropology respectively, for their sustained interest in seeing me complete the programme. In successfully carrying out this study, I benefitted immensely from the goodwill and kindness of many friends. They are so many that I feel tempted to avoid listing them. However, the crucial roles some of them played in bringing about this harvest make this impossible. I, therefore, would like to single out some of them for recognition and appreciation. Razaq Adedayo is tops on the list for not only encouraging me to take on the PhD challenge, but also for practicalising his encouragement by buying me half a dozen titles of post-apartheid novels. Next is Samson Alli who enlisted his support for my study by paying for a two and a half years subscription to Questia online library on my behalf. Following the same thread, Akin Salami, undeterred by some unusual shipment challenges, got me four titles of post-apartheid plays. I would also like to thank Mr. Ahmed Olasehinde, Dr Sunday Adedini and Mr. Gideon Fareo who, at different times, facilitated my procurement of some books from South Africa. I profoundly appreciate these friends indeed, and pray that their return to roots, if and when they choose, would be attended with joy, booties and fulfilment. iv Other friends and colleagues who were supportive in various ways include Kayode Azeez, Taiwo Osanyemi, Tunde Adedeji, Kazeem Oyedeji, Taiwo Adebayo, Luqman Adaranijo, Ibrahim Motajo, Ponnle Lawson, Dr (Mrs) C. O. Adewusi, Dr (Mrs) C. O. Ajewole-Orimogunje, Mrs. A O. Michael and Mrs. C. O. Oyelekan, all of the Federal Polytechnic, Ede. The kind gestures and sustained interest of friends like Wasiu Moshood, Nurudeen Lawal, Akin Olaniyi, Samson Ilori, Idowu Adekunle and Francis Olatokunbo are also appreciated. The prayerful supports of my Ustaz, Alhaji Abdurrazaq Ilyas, are also acknowledged. To my siblings, Lukman, Fausat, Maruf and Mutiu, I say thanks for your well-wishes and prayers. Finally, I thank my supportive wife, Arike, for bearing those long hours of absence when I stayed back at the office or locked myself in a room swotting. To Fola and Juwon, thanks for the same reason. v TABLE OF CONTENTS Title Page i Certification ii Dedication iii Acknowledgement iv-v Table of Contents vi-vii Abstract viii CHAPTER ONE: Introduction 1.1 Background to the Study 1 1.2 A Brief Historical Profile of South Africa 3 1.3 Statement of the Problem 5 1.4 Objective of the Study 5 1.5 Purpose of the Study 6 1.6 Significance of the Study 7 1.7 Research Methodology and Scope 7 1.8 Theoretical Framework 8 CHAPTER TWO: Review of Literature 2.1 Periodising South African Literature 17 2.2 Developments and Trends 26 2.3 Post-apartheid Era and the Literary Imagination 54 CHAPTER THREE: Socio-Political Cum Creative Freedom and the Subversion of Sex and Sexuality Myths 3.1 Introduction 66 3.2 Critical Analysis of Selected Texts 72 3.3 Aesthetics 102 3.4 Conclusion 122 CHAPTER FOUR: Excavating Memories of Truth Towards Reconciliation 4.1 Introduction 124 4.2 Critical Analysis of Selected Texts 129 4.3 Aesthetics 175 vi 4.4 Conclusion 188 CHAPTER FIVE: Realities of Disillusionment 5.1 Introduction 190 5.2 Critical Analysis of Selected Texts 191 5.3 Aesthetics 239 5.4 Conclusion 248 CHAPTER SIX: Summary, Conclusion and Recommendation 249 References 253 vii ABSTRACT Literary productivity in South Africa increased dramatically with the political change from apartheid to multi-racial democracy in 1994. This surge has attracted much interest, with critics trying to map the changes observable on the post-apartheid literary landscape using race and gender. However, adequate attention has not been given to the emergent literature from the political perspective. This study, therefore, examined new themes and forms in selected post-apartheid literature in order to show the impact of political change on literary expression. The study adopted Jean-Francois Lyotard‟s and Homi Bhabha‟s models of postmodernism and postcolonialism respectively. It selected five texts, based on thematic affinities, from each of the genres of prose, drama and poetry. The prose texts are End, A Duty of Memory, The Quiet Violence of Dreams (TQVD), Thirteen Cents and Disgrace. The drama texts are Nothing but the Truth (NBTT), Ubu and the Truth Commission (Ubu), Dream of the Dog (DOD), Molora and Reach! while those from poetry are Dancing in the Rain (DITR), Handsome Jita (HJ), It All Begins, Letter to the State and The New Century of South African Poetry. The methods of analysis are literary and critical interpretations of the texts. Inscriptions of sexual acts, non-normative sexuality and open inter-racial romance, politically forbidden before 1994, are prominent thematic concerns in the novels. Linguistic vulgarism and eroticism are inscribed brazenly in End, TQVD and Thirteen Cents. Postmodern inter-textuality also inscribes eroticism in End. A Duty of Memory and Disgrace explore gay relations only between women, but with restraint. In TQVD and Thirteen Cents, characterisation establishes the inter-racial dimension of gay relations. Specific spatial settings in End and Thirteen Cents destroy the myth of secrecy about the sexual act. The drama texts thematise national reconciliation. However, while Ubu and DOD dwell on the significance of truth in reconciliation, NBTT and Reach! emphasise memory. Molora advocates forgiveness. Using „faction‟, Ubu, NBTT and Molora directly appropriate materials from South Africa‟s politically-motivated Truth and Reconciliation Commission while DOD and Reach! do so indirectly. While characterisation is fictional in the plays, some of the spatial and temporal settings are real. In poetry, the theme of disillusionment about the hopes which multi-racial democracy had held for the people is depicted. This is done directly in all the collections, but also ironically and satirically in It All Begins, Dancing in the Rain, Handsome Jita and Letter to the State. Proverbs and wise sayings, as well as combinations of standard codes and slang, feature noticeably in DITR, HJ and It All Begins. In all the genres, postcolonial hybridity such as glossing, abrogation and linguistic pluralism features. The multiplicity of thematic preoccupations and executions in post-apartheid South African literature illustrates how political change affects the country‟s literary expression. This multiplicity, occasioned by the new political realities, defines the new trajectory of South African literature. Key words: Post-apartheid literature, Political change, Sexuality, Reconciliation, Disillusionment Word count: 467 viii CHAPTER ONE Introduction 1.1 Background to the Study Following her adoption of constitutional democracy and repeal of racially discriminatory laws in the early 1990s, South Africa assumed the sobriquet „Rainbow Nation‟, which derives from the amalgam of different racial groups and ethnic diversity inhabiting the country. The country now operates on the principles of equality, liberty and justice. Geographically, South Africa is located at the Southern- most part of sub-Sahara Africa, specifically on Latitude 29 Degree South and Longitude 24 Degree East. It is bordered on the North by Botswana, Namibia and Zimbabwe; by Mozambique and the Indian Ocean on the East, and by the Atlantic Ocean on the West. Somewhere in the eastern part of the country are Swaziland and Lesotho landlocked by this giant country. The country has three administrative capitals, comprising Pretoria (Executive), Cape Town (Legislative) and Bloemfontein (Judicial), and nine geo-political divisions, which include Gauteng, Limpopo, Free State, Eastern Cape, Western Cape, Northern Cape, Kwazulu-Natal, North-West province and Mpumalanga.
Load more

Recommended publications
  • THE SHAPING of SOUTH AFRICAN THEATRE: an OVERVIEW of MAJOR TRENDS by Temple Hauptfleisch 1. INTRODUCTION: CHANGED CONCEPTS of H
    In: Arndt and Berndt. Words and Worlds. African Writing, Literature, and Society – A Commemorative Publication in Honor of Eckhard Breitinger. Africa World Press, 2007. This is an expanded version of the German article called “Sudafrikanisches Theater – Entwicklungen und Strömungenvon Vergangenehit bis Gegenwart”. In Kreatives Afrika. Schriftstellerinnen über Literatur. Theater und Gesselschaft. Einer Festschrift für Eckhard Breitinger (Hrsg. Susan Arndt und Katrin Brendt). Wuppertal: Peter Hammer Verlag, 2005 THE SHAPING OF SOUTH AFRICAN THEATRE: AN OVERVIEW OF MAJOR TRENDS By Temple Hauptfleisch University of Stellenbosch South Africa 1. INTRODUCTION: CHANGED CONCEPTS OF HISTORY The radical changes in political, social and cultural thinking in the world, and in Africa in particular, over the past twenty years have significantly affected concepts of historiography and have caused major re-evaluations of accepted histories across the world. This sense of (re)discovery has had a similar impact on the cultural history of South Africa. It has meant rediscovering lost (or discovering new) facts, redefining principles of historiography, reinterpreting the old, and ultimately seeking to write a new history. The most fundamental issue of course is to discover and learn to deal with fact and (real and potential) influence of the vast treasure-trove of events and artefacts produced before and during the colonised period, but ignored, denied or undervalued by commentators in the past. This situation, the processes involved and the causes for it all, are not unique to, or in any way limited to, South Africa of course, as the history of any former colony will testify. However the political history of Southern Africa the country has so entrenched a specific way of thinking that any wider awareness of tradition and cultural riches encompassing anything more than purely colonial values was virtually impossible till very late in the 20th century, except as a radical, oppositional, esoteric, or possibly even eccentric, area of study and contemplation.
    [Show full text]
  • Places We Belong As by the Places We Do Not—A Truth That Crystalises
    places we belong as by the places we do not—a Plessis: Hy was ’n rukkie pagter hier (Heilna du Plooy); Pieter truth that crystalises towards the end of the collection Fourie: Teatermaker (Fanie Olivier); breyten breytenbach: (66): woordenaar, woordnar (Francis Galloway); Johann de I remember that I too am not from around these parts Lange 60: ’n Huldiging (Daniel Hugo) en Reza de Wet: Die That this city, this town is not my own dramaturg as dromer (Temple Hauptfleisch en Marisa Although I cannot erase it Keuris). Die volgende publikasies in die reeks is in From my being produksie: huldigingsbundels oor Elsa Joubert, Antjie Krog, Bartho Smit, Anna M. Louw, Ina Rousseau en Ndoro finds herself, then, in the realisation that the Wilma Stockenström. kind of belonging promised by society is not the In die 21ste eeu is daar ’n merkwaardige toename belonging she seeks. Her disillusionment is also a in die belangrikheid van pryse in die letterkunde en moment of promising truth (70): die kunste. Wat die Suid-Afrikaanse Akademie vir Curse is Wetenskap en Kuns se literêre toekennings betref, het you will never fit in die dramatoekennings van meet af aan telkens swaar Blessing is gedra aan omstredenheid. you will never want to Talle polemieke en debatte rondom prys- toekennings, asook die kom en gaan van pryse deur We need to reimagine what it means to belong— die jare, dui daarop dat literêre toekennings nooit beyond the binaries, the borders, the rigidity that seeks outonoom kan funksioneer nie. Dit staan altyd in to cement belonging but in reality only displaces us and verhouding tot opvattings oor waardeoordeel, smaak alienates us from the world.
    [Show full text]
  • The Dynamics of the Interaction Between Music and Society in Recorded Popular Afrikaans Music, 1900 – 2015
    The dynamics of the interaction between music and society in recorded popular Afrikaans music, 1900 – 2015. by Schalk Daniël van der Merwe Dissertation presented for the degree of Doctor of Philosophy (History) in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Albert Mauritz Grundlingh Co-supervisor: Prof. Stephanus Muller December 2015 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2015 Copyright © 2015 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Acknowledgements Firstly, I would like to extend my gratitude to my two supervisors, Professors Albert Grundlingh and Stephanus Muller – I cannot think of a more suitable combination of minds for guiding me through the specific challenges of writing on this subject. I am also grateful for the History Department of Stellenbosch University for financial support, and to my colleagues Professors Sandra Swart, Bill Nasson, Wessel Visser, Dr. Anton Ehlers, (soon-to- be Dr.) Chet Fransch, Melvyn Daniels and Leschelle Morkel, and former colleague Dr. Sarah Duff – all of whom contributed in their own ways. Thank you to Mimi Seyffert, Marina Brink and Lynne Fourie at the University of Stellenbosch’s Library Archive for their help and guidance with archival material. Thank you also to Ernéne Verster and Huibre Lombard at the University of the Free State’s Institute for Contemporary History Archives, and to Monica van Deventer at the SABC Information Library for their help and correspondence.
    [Show full text]
  • ATINER's Conference Paper Series LIT2014-1732
    ATINER CONFERENCE PAPER SERIES No: LNG2014-1176 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series LIT2014-1732 An Attempt at Periodizing Recent (Southern African) Afrikaans Poetry (1955-2012) Bernard Odendaal Professor North-West University (Potchefstroom Campus) South Africa 1 ATINER CONFERENCE PAPER SERIES No: LIT2014-1732 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. This paper has been peer reviewed by at least two academic members of ATINER. Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Odendaal, B. (2015). "An Attempt at Periodizing Recent (Southern African) Afrikaans Poetry (1955-2012)", Athens: ATINER'S Conference Paper Series, No: LIT2014-1732. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved. Reproduction is allowed for non-commercial purposes if the source is fully acknowledged. ISSN: 2241-2891 03/12/2015 ATINER CONFERENCE PAPER SERIES No: LIT2014-1732 An Attempt at Periodizing Recent (Southern African) Afrikaans Poetry (1955-2012) Bernard Odendaal Professor North-West University (Potchefstroom Campus) South Africa Abstract A broad perspective is offered on developments in the poetry of the Afrikaans language in Southern Africa between 1955 and 2012.
    [Show full text]
  • Photographs by Neville Dubow
    the thinking eye photographs by Neville Dubow Marilyn Martin & Paul Weinberg the thinking eye photographs by Neville Dubow Marilyn Martin & Paul Weinberg with contributions by Saul and Jessica Dubow, Christopher Peter, Antonia Bamford and Daniël Geldenhuys Published in conjunction with the exhibition The Thinking Eye – photographs by Neville Dubow Irma Stern Museum 16 May to 27 June 2015 Publisher: Special Collections, University of Cape Town Libraries ISBN 978-0-7992-2520-4 CURATORS Marilyn Martin and Paul Weinberg IRMA STERN MUSEUM Christopher Peter and Mary van Blommestein CCA HONOURS IN CURATORSHIP INTERNS Contents Antonia Bamford and Daniël Geldenhuys CATALOGUE DESIGN Daniël Geldenhuys From the curators Marilyn Martin & Paul Weinberg 6 PROOF READING Josephine Higgins ‘Prof’ Dubow, the Museum Director from 1971 to 1998 PRINTING Christopher Peter 8 Hansa Printers Copyright © Images: Neville Dubow family Neville Dubow Copyright © Texts: the authors Saul and Jessica Dubow 11 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, Neville Dubow – for the sake of art, education and freedom of expression mechanical, photo-copying, recording, or otherwise, without the prior permission of the copyright owners. Marilyn Martin 16 First published 2015 Neville Dubow – Unframed Photograph on cover Paul Weinberg 27 Harpist 1-4 Paris 1989 Photograph on title page Teach on Landscape intervention Daniël Geldenhuys 30 New York 1975 Photographs on inside
    [Show full text]
  • And the Predicament of Being Young in Post-Apartheid South Africa1
    Youth: “Born Frees” and the Predicament of Being Young in Post-Apartheid South Africa1 Hlonipha A. Mokoena Abstract If South Africa’s intellectual history is defined in generational terms then it is possible to speak of a “generation gap” in the history of political and social ideas. Whereas in the 1940s, the elitist and qui- escent leadership of the African National Congress was jostled into action by the “Young Lions” of the Youth League; and whereas the literary opposition to apartheid was led from within the Afrikaner/ Afrikaans community by the Sestigers—“the Generation of the Sixties”—“youth” in South Africa today is not synonymous with political and philosophical innovation. This paper will explore the problems of “youthfulness” and “rejuvenation” in South African political thought by describing the ways in which the “Born Frees” could conceive an intellectual “manifesto,” as both an alternative to the post-apartheid “death of ideas” and as a revision of the his- toriography on “youth” that has been the foundation of narratives about the young since the 1976 Soweto uprising. Even philosophers are young men for a time. They must be born somewhere, some time and begin to think and write. .it is impossible to choose one’s beginnings. (Althusser 2005, 63-64) Children scratch sores—sleep / bitten by the tsetse flies of Soweto / of June 16. (van Wyk 1986, 49) The two epigraphs above hint at the core presupposition of this paper, namely that the history of South African political thought cannot be written without considering how the country’s writers and thinkers were once young people.
    [Show full text]
  • The Whiteness of South African English Radio Drama
    THE WHITENESS OF SOUTH AFRICAN ENGLISH RADIO DRAMA: A POSTCOLONIAL STUDY OF THE RISE, DECLINE AND DEMISE OF A DRAMATIC SUB-GENRE by MARGARET ELAINE LOGAN submitted in fulfilment of the requirements for the degree of MASTER OF ARTS in the subject THEORY OF LITERATURE at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF MARISA KEURIS NOVEMBER 2009 ACKNOWLEDGEMENTS The author would like to express her appreciation to the following for their contribution to the formulation, execution and presentation of this study: Prof. Marisa Keuris, Head of the Department of Afrikaans and Theory of Literature, UNISA, Pretoria, for her encouragement, guidance and support. Her interest in radio drama, expressed at an early stage in my studies at UNISA, has been a source of inspiration for me: Retha Roux of the SABC Sound Archives, Johannesburg, for the provision of invaluable information, and her unfailingly prompt response to my many queries: Former radio drama practitioners, friends and former colleagues, who completed my questionnaires or gave interviews, most notably Nigel Vermaas, Jack Mullen and Bev Peirce, whose valuable insights, opinions and recollections form such an important contribution to this work: Old Time Radio experts and archivists Frans Erasmus and Kevan Mardon, for their readiness to share their expertise, including recordings and magazine articles: Claire Welch, Technical Support Executive of the South African Advertising Foundation, for her helpful assistance, and the provision of radio audience statistics: My husband and children for their patience and encouragement. ii ABSTRACT An exposition of South African English radio drama tracing the historical, cultural and political issues which led to the demise of the art form in 1999, and its resurrection at ICASA’s insistence in 2006.
    [Show full text]
  • 1 Shifting Identities: an Exploration of The
    Shifting identities: An exploration of the possibilities for a syncretic Afrikaans theatre by means of three case studies – Hex (2003), Lady Anne (2007), Ekspedisies (2008). by HEIKE GEHRING (13G0005) Submitted in fulfilment of the requirements for the degree Doctorate in Philosophy in the Department of Drama RHODES UNIVERSITY Supervisor: Professor Anton Krueger January 2016 1 Dedicated to my parents, Erwin and Martina Gehring (née Gerber). 2 Acknowledgements I would like to express my sincere gratitude to the following people: My supervisor, Professor Anton Krueger, for his invaluable guidance and support; Prof Gary Gordon for his ongoing inspiration and his help in giving life to Lady Anne and Ekspedisies; The collaborators (performers, designers, technicians, administrators) who have been involved in the creation of Hex, Lady Anne and Ekspedisies; The teaching and support staff at the Rhodes Drama department who have, in various capacities, made it possible for me to undertake this project; Willem Jansen for his extraordinary contribution to both Hex and Ekspedisies; Tim Huisamen for all his support; Mindy Stanford for editing; Ruth Longridge for proofreading; Ella van Tonder for initial translations; Gerhard de Lange for administrative help; My family – Erwin, Martina, Silke and Imke Gehring – for their unwavering support. 3 ABSTRACT This thesis investigates the possibilities for syncretic Afrikaans language theatre within a post- 1994 South African society. The research sets out to explore in what manner theatre can be language-specific, while at the same time being able to cross language contexts. This exploration is driven by the wish to develop strategies for creating Afrikaans theatre that is able to reflect on a society “united in diversity”.
    [Show full text]
  • Afrikaners in the New South Africa: 12
    CHAPTER TITLE i REBECCA DAVIES is Senior Lecturer in the Department of International Relations at Plymouth University where she teaches African politics. She holds a DPhil from the University of Stellenbosch in South Africa where she remains a visiting fellow at the Centre for Comparative and International Politics. She has taught at universities in Australia, South Africa and New Zealand. INTERNATIONAL LIBRARY OF AFRICAN STUDIES 1. Military in the Making of Modern South 14. Apartheid South Africa and African Africa – Annette Seegers States: From Pariah to Middle Power, 978 1 85043 689 8 1961–1994 – Roger Pfister 2. The Diplomacy of Liberation: 978 1 85043 625 6 The Foreign Relations of the ANC 15. A History of the Left in South Africa: Since 1960 – Scott Thomas Writings of Baruch Hirson 978 1 85043 993 6 Baruch Hirson 3. A History of East Africa, 1592–1902 978 1 85043 454 2 R. W. Beachey 16. An African Trading Empire: The Story 978 1 85043 994 3 of Susman Brothers & Wulfsohn, 1901–2005 4. The Nigerian Military and the State Hugh Macmillan Jimmy Peters 978 1 85043 853 3 978 1 85043 874 8 17. The Place of Tears: The Novel 5. Adjusting Society: The World Bank, and Politics in Modern Zimbabwe the IMF and Ghana Ranka Primorac Lynne Brydon & Karen Legge 978 1 84511 120 5 978 1 86064 000 1 18. Mineworkers in Zambia: Labour and 6. The Horn of Africa: Politics and Political Change in Post-Colonial Africa International Relations Miles Larmer Peter Woodward 978 1 84511 299 8 978 1 85043 741 3 19.
    [Show full text]
  • In Memoriam ANDRÉ PHILIPPUS BRINK (1935-2015)
    Werkwinkel 10(1), 2015, pp. 7-9 © Department of Dutch and South African Studies Faculty of English, Adam Mickiewicz University, Poznań, Poland DOI: 10.1515/werk-2015-0001 In memoriam ANDRÉ PHILIPPUS BRINK (1935-2015) André Brink, born in 1935 in Vrede (Orange Free State), belonged to the genera- tion of Sestigers, along with Ingrid Jonker, Breyten Breytenbach, Jan Rabie, and Etienne Leroux, striving for a new experimental literature, writing freely about sexual themes, and using universal symbols and archetypes. Representative for the decade of the sixties are his experimental novels Lobola vir die lewe (Dowdry for Life, 1962), Die ambassadeur (The Ambassador, 1963), Orgie (Orgy, 1965), and Miskien nooit (Maybe Never, 1969), which are also a testimony of his strong inter- est in French existentialism. Brink summed up his French experience with the famous phrase: “I was born on a bench in the Luxembourg Gardens in Paris, in the early spring of 1960.” The next phase in Brink’s creative development, which began after the Soweto unrests in 1969, brought a certain change into his writing, typical for other writers of his generation. Brinks novels starting from Kennis van die aand (Looking on Darkness, 1973), the fi rst offi cially banned novel in Afrikaans, confronted and challenged the stern reality of a racially divided society. The publication ban encouraged Brink to write an English translation of his book, portraying an interracial relationship and denouncing the social injustice of apartheid policy. From then on, Brink’s prolifi c oeuvre was generated simultaneously in both languages, enabling the writer to reach a wider public, not only in South Africa, where his books were available through limited distribution, but also in Europe and worldwide.
    [Show full text]
  • Afrikaner and Countercultural Discourse
    The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Myths of Rebellion: Afrikaner and Countercultural Discourse by ROSSOUW NEL Thesis presented for the Degree of MASTER OF ARTS in MEDIA STUDIES Centre for Film and Media Studies UNIVERSITY OF CAPE TOWN Town June, 2010 Cape of UniversitySupervisor: Prof. Martin Botha COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of others people has been attributed, and has been cited and referenced. Signature:_____________________________________Date:______________________ Town Cape of University Contents ________________ Abstract Acknowledgements Reader’s Note Introduction Background and objective 1 Literature review 3 Key interests 5 The creation of myths 5 The function of rebellion 7 Methodology Town 9 Chapter synopsis 13 Chapter One: Principles of Afrikanerdom Foundations Cape 15 Against the British of 19 Religion as distinction 21 The need for self-representation 23 Mythmaking 25 Communism and apartheid 26 Strategies of reinvention 29 Racially inclusive Afrikanerdom 29 Victimised Afrikanerdom 31 BourgeoisUniversity Afrikanerdom 33 Chapter Two: Principles of counterculture Foundations 36 A post-war shift 38 The rise of countercultural thinking 41 The rise of punk 46 Subversion and recuperation 50 Taste and rebellion 55 The cultural significance of rebellion 66 Chapter Three: A tradition of Afrikaner rebellion N.P.
    [Show full text]
  • A Close Reading and Comparison of Selected Poems by Ingrid Jonker and Sylvia Plath
    A close reading and comparison of selected poems by Ingrid Jonker and Sylvia Plath by Maria Magdalena Thomas A dissertation submitted in fulfilment of the requirements for the degree Masters of Arts in Literary Theory in the Department of Afrikaans at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES SUPERVISOR: Professor C.H.F. Ohlhoff November 2013 © University of Pretoria Maria M Thomas 2013 Abstract Following a close reading strategy, the research seeks to discover what the intratextual relations of each selected poem, three by Ingrid Jonker and three by Sylvia Plath, reveal. Flowing from the thematic overlaps that exist between the selected Jonker poems and Plath poems, it explores what similarities or differences in poetic form, the use of poetic devices and content, in other words intratextual relations, can be discovered via a comparison. Given that Jonker and Plath were contemporaries and shared biographical events, and after having considered and compared the intratextual relations of the selected poems, the research seeks to show what similarities or differences can be discovered in the exploration and comparison of the intertextual and extratextual relations of the selected poems. Thus, the thesis’ critical approach includes the close investigation of the structure of each of the selected poems, in order to discover its communication first, before delving into biographical, historical, social, political, and thematic approaches and interpretations. The research reveals that exercises of close reading, with a few exceptions, have not been the main focus in the discussion of either poet’s poetry. In other words, context has, for the most part, been favoured over text and over form.
    [Show full text]