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Language and Violence in the Poetry of Ingrid Jonker, Ingrid De Kok, Gabeda Baderoon and Phillippa Yaa De Villiers
Surviving that place: language and violence in the poetry of Ingrid Jonker, Ingrid de Kok, Gabeda Baderoon and Phillippa Yaa de Villiers. MARIAN DE SAXE No foreign sky protected me, no stranger’s wing shielded my face. I stand as witness to the common lot, Survivor of that time, that place.1 Witness literature, or the literature of testimony, has been the focus of much analysis in South Africa since the Truth and Reconciliation Commission of 1996 to 1998.2 Heidi Grunebaum maintains that ‘reconciliation discourse … places very particular boundaries around what is spoken, written, remembered, represented, mourned and claimed.’3 In this paper I intend to juxtapose these boundaries with rhythm and poetic formalism, of which Finch writes: ‘I can think of no more poignant a model for the paradox of boundaries than the way a vibrant, living, boundaryless poem flows in the consistent, defining shape of its form.’4 This paper deliberates the paradox of boundaries in a broad sense: how boundarylessness, language and rhythm within poetic form or formlessness gives or withholds freedom to write the witnessing of violence and death. 1 Anna Akhmatova, ‘Requiem,’ Against Forgetting ed. Carolyn Forché (New York: W. W. Norton & Co., 1993), p. 101. 2 For example Antje Krog, Country of my Skull (Johannesburg: Random House 1998); Eric Doxtader and Charles Villa-Vicencio eds., To Repair the Irreparable (Claremont: David Philip Publishers, 2004). 3 Heidi Grunebaum, 'Talking to Ourselves: Among the Innocent Dead: On Reconciliation, Forgiveness, and Mourning,' PMLA 117, no. 2 (March, 2002): p.307. 4 Annie Finch, ‘Female tradition as feminist innovation,’ In The Body of Poetry (Ann Arbor: University of Michigan Press, 2005), pp. -
Intertextuality and Literary Solidarities in South African Writing About London
“I slipped into the pages of a book”: Intertextuality and Literary Solidarities in South African Writing about London Andrea Thorpe 1 “I slipped into the pages of a book”: Intertextuality and Literary Solidarities in South African Writing about London In this article, I argue that London plays a dual role in South African writing, as a “real” city at a particular moment in history, and as a textual, imaginative space. For many South African writers, London comes to stand metonymically for English culture and literature even if their attitude towards Englishness and Empire may be one of ambivalent critique. The intertexts invoked in South African representations of London forge literary solidarities, and foreground belated postcolonial engagements with modernity that are significantly displaced from the “margin” to the “center” of modernism (and Empire) itself. Keywords: intertextuality, solidarities, apartheid, colonialism, London, South Africa, modernity, modernisms Introduction In Ivan Vladislavić’s 2011 novel, Double Negative, the narrator recalls his arrival in 1980s London by declaring that he “slipped into the pages of a book.”1 This metafictional assertion aphoristically conveys how London envelops the newcomer from the former colony in its past narratives; how London is experienced as a book, or as textual space. In the same passage, the narrator describes how he “couldn’t go down the Tottenham Court Road or Baker Street or pass through Seven Dials or a hundred other places without feeling that [he] was in a story.”2 Similarly, -
The Africaui the Africaui Communist Number40 First Quarter 1970
The Africaui The Africaui Communist Number40 First Quarter 1970 4lIll 4! I 11 9 PRICE PER COPY AFRICA: 1 shilling (E. Africa), 10 cents (S.A.) or equivalent in local currency. ELSEWHERE: 2s. 6d. (U.K.), 50 cents (U.S.) or equivalent. SUBSCRIPTION AFRICA: 4 shillings or equivalent. U.K. & EUROPE 1 year (four issues) 1 Os. 2 years 15s. U.S. & CANADA 1 year $ 1.50 (Airmail $ 3) 2 years $ 2.25 (Airmail $5) STUDENT"S: 25% discount on Surface mail subscriptions AGENTS Usual trade discount (one-third of retail price) to bookshops and sellers ordering 12 or more copies. EDITORIAL Articles, letters material for articles and comments are invited on all themes ofAfrican interest, but payment is by prior arrangement only ADDRESS All correspondence to the distributor: Inkululeko Publications 39 Goodge Street London, W.I England THE AFRICAN COMMUNIST Published quarterly in the interests of African solidarity, and as a forum for Marxist-Leninist thought throughout our Continent, by the South African Communist Party No. 40 First Quarter 1970 Contents 5 Editorial Notes INHUMANITY A DISTURBING 'MANIFESTO' CABORA BOSSA 'BOSS' CLAIMS ANOTHER VICTIM WHITE IMMIGRATION 15 LENIN AND AFRICA Terence Africanus 1970 marks the centenary of the birth of Vladmir ilyitch Lenin-'Lenin the Liberator' as J.B. Marks called him at the world Communist meeting in Moscow. In this article-the first of several we shall be publishing during the course of Lenin Year-and approach is made to distinguishing the special significance of Lenin's life and work for the people of our Continent. 28 ROGUE ELEPHANT OF AFRICA Z. -
Uys Krige and the South African Afterlife of Fernando Pessoa
Uys Krige and the South African afterlife of Fernando Pessoa Stefan Helgesson* Keywords Fernando Pessoa, Roy Campbell, Armand Guibert, Hubert Jennings, Uys Krige, Afrikaans, the world republic of letters Abstract Three letters to Hubert Jennings—two of them from the Afrikaans poet Uys Krige, one from the French poet Armand Guibert—prompt a reconsideration of the South African reception of Fernando Pessoa. Although this reception was and is clearly limited, Krige emerges here as a key individual connecting Jennings, Guibert, Roy Campbell and—by extension— Fernando Pessoa in a transnational literary network structured according to the logic of what Pascale Casonova has called “the world republic of letters” (La République Mondiale des Lettres). As such, however, this historical network has limited purchase on the contemporary concerns of South African literature. The letters alert us, thereby, not just to the inherent transnationalism of South African literature, but also to largely forgotten and, to some extent, compromised aspects of South African literary history. Palavras-chave Fernando Pessoa, Roy Campbell, Armand Guibert, Hubert Jennings, Uys Krige, Afrikaans, a república mundial das letras Resumo Três cartas a Hubert Jennings – duas delas do poeta afrikaans Uys Krige, uma do poeta francês Armand Guibert – incitam uma reconsideração da recepção de Fernando Pessoa na África do Sul. Embora essa recepção tenha sido e ainda seja claramente limitada, Krige aqui emerge como indivíduo chave a conectar Jennings, Guibert, Roy Campbell e – por extensão – Fernando Pessoa, numa rede transnacional estruturada segundo a lógica que Pascale Casanova nomeou “república mundial das letras” (La République Mondiale des Lettres). Como tal, porém, essa rede histórica tem recebido limitada atenção nas preocupações contemporâneas da literatura sul-africana. -
Literature, Geography, and Poetics
The Pennsylvania State University The Graduate School College of the Liberal Arts AFRICAN GENRES: LITERATURE, GEOGRAPHY, AND POETICS IN THE LONG EAST COAST A Dissertation in Comparative Literature by Michelle G. Decker © 2014 Michelle G. Decker Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2014 The dissertation of Michelle G. Decker was reviewed and approved* by the following: Eric Hayot Distinguished Professor of Comparative Literature and Asian Studies Dissertation Adviser Chair of Committee Head of the Department of Comparative Literature Gabeba Baderoon Assistant Professor of Women’s Studies and African Studies Jonathan P. Eburne Associate Professor of Comparative Literature and English Nergis Ertürk Associate Professor of Comparative Literature Christopher Reed Professor of English and Visual Culture *Signatures are on file in the Graduate School. ABSTRACT African Genres enacts a broad reassessment of academic and popular conceptions of “Africa” through analyzing written literatures from the Long East Coast. It demonstrates how geography, literary form, and interpretive practices interplay to formulate these broad conceptions. As a whole, the work demonstrates how interpretations of African geography affected its place in world history; discusses how the heuristic of genre shapes how Western readers read non-Western texts; and finally, calls for a reimagining of the limits and characteristics of an African poetics. In respective chapters, African Genres enacts close-readings of the form, content, and style of texts written between 1860 and 1970, a time period that intentionally bridges multiple colonialisms (Arab, European, and internal) and postcolonialisms. In this work, Zanzibar (along with the Swahili coast and East African interior), Egypt, and South Africa are the representative locations of the Long East Coast. -
Book Reviews
Book Reviews Bernth Lindfors. Early Nigerian Literature. New York: Africana Publishing Corporation, 1983. pp. 198. $32.50. Early Nigerian Literature has the virtue of all Lindfors's writing — it is useful to both the beginner and to all specialists. The open• ing chapter surveys the state and development of writing in English in Nigeria from the turn of the century, but especially from the date of three seminal publications which saw the phenomenon of modern Nigerian literature spring almost fully blown — Amos Tutuola's Palm Wine Drinkard (1952), Cyprian Ekwensi's People of the City (1954), and Chinua Achebe's Things Fall Apart (1958). The chapter will refresh the memory of students and scholars who know the history of the development of this literature: it will, as well, provide a splendid context for those who come to the literature for the first time. There was a good deal of writing in English, by both Nigerian and expatriate authors, before the appearance of the three voices mentioned above and Professor Lindfors designates them. He notes as well the growth, as rapid as the full-length writing itself, of literary journals providing as it were forewarning of the larger growth to follow — Black Orpheus, The Horn, Ibadan, Mews, and Nigerian Magazine. The main body of the book is comprised of ten chapters, eight of which are devoted to the early writing of authors who have, all but one, maintained the literary reputations forecast by their early writ• ing, different as these writers are one from the other: Fagunwa (whose work was written in Yoruba but which is available in part at least through translation), an important influence on Amos Tutuola (whose "Earliest Long Narrative" is discussed in Chapter 3), C. -
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. -
Ingrid Jonker: to Escape from the Concealing Image
Ingrid Jonker: To Escape from the Concealing Image Lesley Marx, July 2019 “She was difficult and complicated, but enchanting.” Suzanne Fox1 Opdrag (1999) In his eloquent homage to Ingrid Jonker, Jack Cope writes that “[n]o group or category, no academically cold classification can be fitted to her. Ingrid Jonker escapes from the concealing image and will not be taken possession of or harnessed to any creed or cause save those of poetry and life”(1966, 12). But of course the attempt has been made to harness her, attempts rapidly accelerated after Nelson Mandela’s landmark tribute to her during his inaugural address to the first democratic South African parliament in 1994: The time will come when our nation will honour the memory of all the sons, the daughters, the mothers, the fathers, the youth and the children who, by their thoughts and deeds, gave us the right to assert with pride that we are South Africans, that we are Africans and that we are citizens of the world. 1 The certainties that come with age tell me that among these we shall find an Afrikaner woman who transcended a particular experience and became a South African, an African and a citizen of the world. Her name is Ingrid Jonker. She was both a poet and a South African. She was both an Afrikaner and an African. She was both an artist and a human being. In the midst of despair, she celebrated hope. Confronted with death, she asserted the beauty of life. In the dark days when all seemed hopeless in our country, when many refused to hear her resonant voice, she took her own life. -
Polish Journal of English Studies
POLISH JOURNAL OF ENGLISH STUDIES Journal of the Polish Association for the Study of English (PASE) No. 2.2 Guest Editor Dr Paweł Stachura Polish Association for the Study of English Warsaw 2016 Publisher: Polish Association for the Study of English ul. Hoża 69, 00-681 Warszawa Editorial Board: Editors-in-Chief: Prof. Jacek Fabiszak, Prof. Krzysztof Fordoński Heads of Thematic Sections: Prof. Danuta Gabryś-Barker (Applied Linguistics), Prof. Henryk Kardela (Linguistics), Prof. Ryszard Wolny (Studies in Culture), Prof. Jacek Fabiszak (Studies in Literature), Prof. Jadwiga Uchman (Studies in Literature) Managing Editor: Dr Weronika Szemińska Language Editor: Dr Marcin Tereszewski Technical Editor: Dr Łukasz Karpiński Advisory Board: Prof. J. Lawrence Guntner (Technische Universität Braunschweig) Prof. Nicoleta Cinpoes (University of Worcester) Prof. Jan Jędrzejewski (University of Ulster) Prof. Adriana Biedroń (Pomeranian University, Słupsk) Prof. Cem Cam (Cykrova University) Prof. Jean-Marc Dewaele (Birkbeck College, University of London) Prof. Hossein Nassaji (University of Victoria) Prof. Sarah Mercer (University of Graz) Prof. Terence Odlin (Ohio State University) Prof. Rebecca Oxford (University of Maryland) Prof. David Singleton (University of Pannonia) Prof. Jorge Bastos da Silva (University of Porto) Prof. Séllei Nóra (Debrecen University) Prof. Irene Gilsenan Nordin (Dalarna University) Prof. Bożena Rozwadowska (University of Wrocław) Reviewers: Prof. Mihaela Avram, Prof. Dagmara Drewniak, Prof. Jacek Fabiszak, Prof. Ewa Kujawska-Lis, Prof. Zbigniew Maszewski, Prof. Ewa Piechurska-Kuciel, Prof. Barbara Puschmann-Nalenz, Prof. Paweł Stachura, Prof. Jadwiga Uchman, Prof. Andrzej Wicher, Dr Ryszard Bartnik, Dr Sławomir Kozioł, Dr Dagmara Krzyżaniak, Dr Anna Kwiatkowska, Dr Michał Lachman, Dr Anna Rogos-Hebda, Dr Piotr Śniedziewski Cover Design: Dr Łukasz Karpiński © Copyright by Polish Association for the Study of English (PASE) Contents From the Editor ...................................................................................................... -
Jennings, Pessoa and Contrast Magazine
The Primacy of the Imagination: Jennings, Pessoa and Contrast magazine Geoffrey Haresnape* JENNINGS, Hubert D. (1979). “In Search of Fernando Pessoa,” in Contrast 47, South African Quarterly. Cape Town: S. A. Literary Journal Ltd., Jun. 1979, Vol. 12, No. 3, pp. 16-25. ____________________ (1971). “The Many Faces of Pessoa,” in Contrast 27, South African Quarterly. Cape Town: S. A. Literary Journal Ltd., NoV. 1971, Vol. 7, No. 3, pp. 51-64. Contrast, which has since 1990 been styled New Contrast, is South Africa’s oldest, and one of its most respected, literary magazines. The 170th issue has recently appeared. When the first issue appeared in the summer of 1960, South African English poets of reputation—like Anthony Delius and Sydney Clouts— and the Afrikaans poet Uys Krige1 were present on the editorial masthead. These were all men who were individualistic in their pursuit of verbal art and whose work would not be entrapped in political agendas of any kind. From the outset, and for twenty years thereafter, the editing of the magazine would be headed by the novelist and poet Jack Cope. It was he who noted in the foreword to Contrast 1 that “to true artists nothing remains concealed and no heart is completely closed” (p. 11). Up until the time that Cope relinquished the editorship in 1980, he did his best to maintain for his authors a room for manoeuvre, and to remain as open as possible in the largely closed ambience of a country given over to apartheid ideology. It was Cope who published during the 1970s two articles on Fernando Pessoa submitted by Hubert Jennings—the first entitled “The Many Faces of Pessoa” (Contrast 27) and the second “In Search of Fernando Pessoa” (Contrast 47).2 There is a gap of eight years between the two pieces, a time during which Jennings continued the work on the Portuguese poet which he had begun during the 1960s. -
Athol Fugardjs Cc Lesson from Aloes
Surviving in Xanadu: Athol FugardJs cc Lesson from Aloes" ERROL DURBACH ... I would build that dome in air, That sunny dome ! those caves of ice ! And all who heard should see them there, And all should cry, Beware ! Beware ! Coleridge, "Kuhla Khan" Y OVANADU": the nameboard hangs conspicuously from the garden gate of a small cottage in the Algoa Park district of Port Elizabeth, a depressed White working-class area that serves as a buffer between the city and the even more depressed Coloured townships on its outskirts. It is, at first sight, the pleasure dome of a "mad Afrikaner, who recites English poetry" (47) and adopts the cultural symbols of a Romantic tradition quite alien to the drought-stricken South African landscape. Here, under a blazing African sky, he cultivates his beloved collection of aloes — the miraculous plant that springs from rocks in the "rainless glare" (15)—carefully tending his specimens in their jam-tins and categorizing their bewildering variety in a dogged attempt to order his world. There are no gardens "bright with sinuous rills" in this Xanadu, no incense-bearing trees or sunny spots of greenery — no vestiges of a gentle English Romanticism — and the attempt to create an African analogue of a Coleridgean idea is fraught with irony and incongruity. The two traditions do not merge, as he discovers in his tense relationship with his English wife, whose skin burns and blisters in this Xanadu and who laments her in• ability to cultivate roses in its barren soil. And the noblest of his Xanadu-ideals — to create a world of sustaining order out of the chaos around him, to reconcile all racial and political hostility in a 6 ERROL DURBACH garden domain and discover the aloe's secret of survival in the desert of the heart — all these liberal hopes are cruelly counter• manded by the negative corollaries inherent in the Coleridgean idea itself. -
Canine Embodiment in South African Lyric Poetry Wendy Woodward
Canine embodiment in South African lyric poetry Wendy Woodward Wendy Woodward is Professor Emerita in the English Department at the University of the Western Cape where she taught South African literature, animal studies and Creative Writing. Email: [email protected] Canine embodiment in South African lyric poetry This article discusses South African lyric poetry in English including translations since the 1960s. Rather than being private statements, South African lyrics, like all lyrics, are essentially dialogic—in relation to the philosophical, the political or the psychological. The poems examined here are in dialogue with dogs, their embodiment, their subjectivities, their contiguities with humans. This article considers how trans-species entanglements between human and canine, whether convivial or adversarial, manifest poetically in myriad ways in gendered and/or racialised contexts and analyses how the vulnerabilities of both humans and dogs are made to intersect. Ruth Miller portrays dogs as divine creations who are uncertain and “embarrassed”. Ingrid Jonker’s poems intertwine human and canine, foregrounding gendered vulnerabilities. Where dogs are figured metonymically, entanglements of human and dog break down binary categorisations, in Jonker’s poems as well as in those of other poets. Mongane Wally Serote’s creatural humans, for example, seem both animal and human. Oswald Mtshali figures dogs within apartheid structures as antagonists, protectors or savage scavengers. More recent poems, influenced perhaps by new thinking about the animal subject, imagine dogs in compassionate interspecies connections. Many of these recent elegiac poems, in particular those by Jenna Mervis and Harry Owen, are attentive to beloved dogs but without sentimentality or the imposition of an anthropocentric focus.