Many of these poems, although written in English, are inspired by Sepedi idioms and proverbs. Some invoke township and village life, others the observations and questions that come from writing poetry and experiences of travelling to different countries to read my poems. Others dwell on the political transformation in South Africa, or its absence, and on my own spiritual transformation.

This thesis is a monograph of South African poet and artist, Wopko Jensma. Jensma's published anthologies, Sing/or Our Execution (1973), Where White is the Colour, Where Black is the Number (1974) and Have You Seen My Clippings (1977) together with the relatively unknown and unpublished, Blood and More Blood deal with issues of identity relating to race and class within the context of apartheid South Africa in the nineteen seventies. These four anthologies represent a poetics of resistance conceived as an antidote to personal and social suffering as a result of the racist oppression of blacks in South Africa. Jensma's experimental poetry harnesses the signatures of jazz lyrics, concrete poetry, the avantgarde as well as African dance forms in bizarre cameos of underclass misery and racial oppression. In lieu of metrical regularity and rhyme the aesthetic experience is simulated by asemantic qualities of speech, sound and rhythmic undulations in a poetry characterised by what Samuel Beckett has called "the withdrawal of semantic crutches" (Schwab 1994:6). Jensma's schizoid discourse manifests itself as an asocial dialect with highly personal idioms, approximate phrases and substitutes which make his language extremely difficult to follow at times. Jensma's diction of private idiomatic language, mixing of dialects, the use of syncopation, ellipsis and experimental topography have no doubt contributed to the cryptic and arcane aberrations associated with schizophrenia. This schizoid versification is a paradoxical wish to protect the core of oneself from communication whilst simultaneously expressing the need to be discovered and acknowledged. This private idiomatic language reveal ordinary people driven into interior psychological spaces, as well as psychotic and surreal extremes in order to survive an overwhelming and implosive reality. Jensma's textual strategies deconstruct modernist assumptions about rationality, domination and meaning as a tyranny of power. The socially constructed self is exposed as a subject disempowered and alienated by ideologies which demand acquiescence and which offer false assurances in return. Likewise, the schizoid scrambling of the signifier is an attempt to repel the subjection implicit in rationalist discourse and to encourage an awareness of the world ideologically sanctioned by its dominant discourses. This study begins with a detailed biography of Jensma. The next chapter establishes the theoretical assumptions which inform the interface between Jensma's poetry and schizophrenia. Jensma's poetry is then systematically appraised in terms of themes, form and subjectivity. The last chapter is a study of the intertextual relations which provide insight into the context and milieii in which Jensma wrote and which permit a reading of Jensma's poetry as a discursive space in which different literary histories co-exist and respond to one another. The thesis concludes with an evaluation of Jensma's poetry as a pathological yet incisive response to the reductive politics ofracial essence, cultural crisis and the vagaries of consumer culture. / Thesis (Ph.D)-University of Durban-Westville, 2002.

Bibliography: p. 362-393. / In this thesis, the discussion of South African English poetry is undertaken in terms of critical questions to which the body of work, to date, has not been subjected. In the nineteen-seventies and -eighties, several anthologies of South African English poetry were published which, despite their differing foci, attested to the strength, innovation, and international stature of the work. Their editors made claims which emphasised both the importance of Sowetan poetry and the emancipation of white poetry, particularly in the last three decades, from the legacy of a stultifying colonial past. This thesis sets out to examine the validity of these critical evaluations. The impetus for such an examination is threefold. Firstly, in comparison with a world literature, South African English poetry has had little impact on the kinds of aesthetic questions which have led to the radical work of international figures like Milosz, Walcott, Neruda. Secondly, South African English poetry tends to be bifurcated by critical analysis, both locally and internationally, into the work of black poets and the work of white poets. Despite the realities of social history which have indeed dichotomised the human experience of South Africa in racial terms, this dichotomy does not seem the most fertile assumption from which to approach the achievement of a nation's poetry. Thirdly, as a poet himself, the writer of this thesis embarked upon the scholarly analysis of a poetic ancestry to which his own work looked ,in vain for location. The re-examination of the roots and value of South African English poetry begins in the thesis with the dilemmas posed by a legacy of romanticism in its displaced relation to a British colony. From this point the discussion argues that this legacy is visible in the unsatisfactory work of liberal poets in the nineteen-seventies and eighties, and argues that such choices cannot be nourishing to a South African cultural originality. Turning to the work most forcefully emphasised as culturally original - i.e. the work of the Soweto poets in the nineteen-seventies and after - the thesis explores this poetry's claims to stylistic and conceptual innovation. The poetry of the late eighties is then examined in relation to its desire to support, and even to drive, anti-apartheid philosophy and practice. The conclusions of the final chapter, presaged throughout the entire argument, suggest that earlier critical estimations of South African English poetry ignore crucial aspects of what has usually been meant by a fully achieved poetic tradition and that such neglect amounts to the betrayal of the very meaning of the term "poem".

Autobiography of Bone consists of a cycle of original dramatic poems and short poetic dramas which investigate the problematics of a reconceptualisation of the genre-based distinctions between poetry and drama. The work seeks to extend and then map the new territory revealed to me as a result of my experiments with form, and with the consequences that new forms have for content and meaning. The material in the cycle of poems presents and explores a multi-layered and wide-ranging, rather than unitary, response to issues of the body (specifically disability), memory and language. A concluding scholarly essay, “Orthopaedia” – Understanding the Writing Practice”, researches some of the theoretical and conceptual issues that informed the poems, including the influence of verse drama and the contemporary long poem, in an attempt to construct an archaeology of the writing process and the imagination of the writer. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.

Abstract not available. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2007.

No abstract available. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.

The main focus of this thesis is to examine how identity and culture are conceived and articulated in a representative selection of contemporary South African poetry. In the introductory chapter, an examination is made of the concepts of identity and culture, in the course of which the polarities of inside and outside, self and other, personal and political, subjective and objective, are carefully examined. Then, through close textual reference to relevant poems considered under the titles “Poetry of the Self”, “Black Consciousness Poetry”, “The Poetry of Revolution”, “Worker Poetry” and “Feminist Poetry”, the thesis attempts, by tracing the dialectical relationship of these polarities, to analyse how each putative body of poetry conceives and articulates cultural identity. The concluding chapter of the thesis, titled “Towards a New Aesthetics”, argues that current research into the relationship between identity and culture opens the way to a “new” aesthetics, a new literary-critical practice, one that takes into cognisance the intersubjective complexities that shape cultural expression.

This study of ButIer's poetry proceeds chronologically in accordance with the dates of composition of his poems. The first task has, therefore, been the compilation of a chronology of his poems. Butler rarely dates his poems; nor does he keep a diary. Yet there are several criteria which make sensible dating of his poems possible. The first is the date of publication of individual poems. Many of the poems which appear in one or more of the five collections were published earlier in army magazines, student newspapers, and the like. A work which can be traced back to one of these early sources may be assumed to have been written fairly soon before its date of publication. Another criterion is subject. It is possible to discern periods in the poet's career in relation to the subjects of his poems. The most obvious example is the War Period. Allied to subject is the criterion of theme. To use the War Period again, poems written during or immediately after the war years all treat the theme of man's dehumanisation. Both subject and theme are linked with biography. It is often possible to ascertain Butler's location from details in the poem; knowledge of his movements thus enables one to date such a poem. Butler's style is the most significant criteion. This study is based on the observation that his style develops as time passes. The Butler of the Sixties is different from the Butler of the Fifties as far as style of writing is concerned. A poem which defies dating on all other grounds cannot escape this ultimate test. Each of these criteria - date of publication, subject matter and theme linked to biography, and style - has limited reliability as a guide to dating the poems. But combined they are a meaningful instrument to assist in the structuring of a chronology whose most valuable source was the poet himself who was kind enough to search his memory for dates. The fact that Butler rewrote or revised a number of his poems several times does of course raise the question: Is the first version merely a stage in the development of the poem, or a poem in its own right? This study is based on the opinion that a poem is a poem, regardless of the number of versions which precede or follow it, provided it is a complete statement. Each version should, in fact, be regarded as representative of the poet's thoughts, feelings, and skills at the time he wrote it, and is lndependent of subsequent versions. For the purposes of this chronology, poems have been placed at the time of the experience from which they grew. This thesis does, however , take cognizance of the ehanges in style or theme later versions may reveal.

This thesis represents the first extended study of South African poetry in English from a gender perspective. It is conceived in two parts: firstly, a deconstructive analysis of the dominant tradition of South African English poetry in order to reveal its masculine or androcentric base; and secondly, the reconstruction of an alternative gynocentric tradition that gives primacy to women and the feminine in poetry. The first section consists of an examination of the ways in which the feminine has been. excluded from the poetic tradition in historical terms by means of social and economic constraints on women. The study begins with a brief reference to the beginnings of cultural gender discrimination in British poetry, from which South African English poetry derives, and then moves to a more extended consideration of the ways in which this discrimination has manifested itself in the South African context in the nineteenth and twentieth centuries. This is followed by an analysis of the "poetics of exclusion", the ways in which the tradition genders itself as masculine by defining its central speaking position or subjectivity as male and masculine, and so excludes women and the feminine. The second section commences with the reconstruction or recovery of a gynocentric tradition of women's poetry in English in South Africa by means of a gynocritical "map" or survey, followed by a discussion of the nature of the feminine discourse or "poetics" required to provide the critical context for this poetry. The preliminary "map" is given greater detail by in-depth discussion of the women poets considered to be major contributors to the gynocentric tradition: Mary Morison Webster, Elisabeth Eybers, Tania van Zyl, Adele Naude, Ruth Miller, Ingrid Jonker and Eva Bezwoda. The study ends with an examination of the work of contemporary women poets in South Africa, especially the black women poets of the 1970s and '80s, and the poets - both black women and white women - who wrote from exile in the 1980s. / Thesis (Ph.D.)-University of Natal, Durban, 1993.

A collection of mostly lyrical poems. The poems explore moments of experience and thought relating to longing and belonging, in terms of relations, memory and place. The poems are mostly short and intense. Silence and implied meanings are often as important as what is said; shadows are evoked to recall substance. Though short, the poems are not tightly closed – on the contrary, meanings proliferate in the process of exploration.