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The writings of Roy Campbell, William Plomer and Laurens Van der Post, with special reference to their collaboration in Voorslag (#Whiplash') magazine in 1926Haresnape, Geoffrey Laurence January 1982 (has links)
No description available.
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Mothers, madonnas and musicians: A writing of Africa's women as symbols and agents of change in the novels of Zakes MdaMazibuko, Nokuthula 31 March 2008 (has links)
Abstract
My dissertation interrogates the ways in which Zakes Mda has made women
central to his novels. I argue that the women characters in Mda's novels are key to
the idea of the rebirth
of Africa (and the simultaneous birth of a (South) African
identity) a
rebirth
made necessary by years of dispossession through colonialism
and apartheid. I will explore how on one level Mda, through magical realism,
represents women as symbols of both destruction and construction; and how on
another level he represents them as complex characters existing as agents of
history. Mda’s novels: Ways of Dying (1995), She Plays With the Darkness (1995),
The Heart of Redness (2000) and The Madonna of Excelsior (2002) critique the
topdown
approach of the postapartheid,
postcolonial
discourse of African
Renaissance a
discourse which aims to reverse the damage done to the lives of
Africans who have been brutalised by history. Mda writes an African renaissance
(with a lower case “r”), which acknowledges and explores the ways in which people
on the margins of power, recreate and transform their lives, without necessarily
waiting for politicians to come up with policies and solutions. The renaissance of
ordinary people privileges the spirit of ubuntu, whereby the individual strives to
work with the collective to achieve a more humane world. Mda’s female characters
are central to the debate on renaissance and reconstruction in that he questions
existing gender roles by
ii
highlighting strongly the rights still denied African women his
challenge to the
discourse is whether a renaissance is possible if the humanity of women (and
others marginalised by class, age, location, ethnicity, and other categories)
continues to be denied. I ask the question whether Mda, goes further, and
envisions women participating as leaders in traditionally male spaces.
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Undoing apartheid, becoming children : writing the child in South African literatureHu, Xiaoran January 2017 (has links)
This thesis examines the trope of the child in South African literature from the early years of apartheid to the contemporary moment. The chapters focus on some of the most established and prolific authors in South African literary history and roughly follow a chronological sequence: autobiographies by the exiled Drum writers (Es'kia Mphahlele and Bloke Modisane) in the early 1960s; Nadine Gordimer's writing during the apartheid era; confessional novels by Afrikaans-speaking authors (Mark Behr and Michiel Heyns) in the transitional decade; and J. M. Coetzee's late and post apartheid works. I argue that, while writing from diverse historical and political positions in relation to South Africa's literary culture, these authors are all in one way or another able to articulate their subjectivities-with their underlying ambiguities, contradictions, and negations-by imagining themselves as the child or/and through childhood. My analyses of the works under discussion attend to the subversive and transformative potential of, and the critical energies embedded in the trope of the child, by investigating narrative reconfigurations of temporality and space. Firstly, I will be looking at the ways in which the images, structures, and aesthetics making up the imaginings of the child disrupt a linear temporality and serve as critique of a teleological historiography of political emancipation and the liberation struggle. Secondly, I will pay attention to the spatial relations with which representations of the child are bound up: between the country and the city, black townships and white suburbs, the home and the street. By attending to specific transgressions and reorderings of these spatial relations, my reading also explores the ways in which spatial underpinnings and ideological boundaries of national identities are contested, negotiated, and restructured by forces of the transnational, the diasporic, and the global around the figure of the child.
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Books and pamphlets by South African Jewish writers, 1940-1962 a bibliography.Beinash, Judith. January 1965 (has links)
Thesis (diploma in librarianship)--University of the Witwatersrand.
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Books and pamphlets by South African Jewish writers, 1940-1962 a bibliography.Beinash, Judith. January 1965 (has links)
Thesis (diploma in librarianship)--University of the Witwatersrand.
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"Mahala" by Chris Barnard, Translated from the AfrikaansBond, Desmond H. 12 1900 (has links)
Afrikaans, the world's youngest language, is not known to many outside South Africa. Mahala, a novel in that language by a major writer, has been translated as an example of South African literary resources yet to be made accessible to English readers. Chapter One (the Foreword) contains historical notes on the Afrikaans language and on Barnard's biography, including his publications and literary awards. Chapter Two is a complete translation (currently the only one) of Chris Barnard' s Mahala. Analysis of and comment on Mahala are reserved for Chapter Three (the Afterword), wherein the structure of the novel is discussed, selected characteristics of the book compared with those of recognized English writers, and commentary upon translation supplied. The Bibliography contains reviews of Mahala, backgrounds of South African literature, the history of Afrikaans, aspects of translation, and dictionaries.
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Extra-ordinary forgetfulness.Herman, Vanessa 23 May 2013 (has links)
No description available.
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Uphononongo lokubunjwa kobume bengqondo yabalinganiswa kwiincwadi ezikhethiweyo zesiXhosaNetjies, Nomalanga Primrose January 2012 (has links)
Olu phando luza kugxila kuphononongo lobume bengqondo ephazamisekileyo, lujonge izimo zabalinganiswa nendlela abacinga nabenza ngayo izinto. Kuza kube kugocwagocwa ubume bengqondo yabalinganiswa abakwezi ncwadi zintathu zilandelayo: Incwadi kaTamsanqa ethi, „Buzani Kubawo,‟ ekaJordan ethi, „Ingqumbo Yeminyanya‟ neka Jongilanga ethi, „Ukuqhawuka Kwembeleko.‟Apha kuza kukhokela intshayelelo equlathe izinto ezininzi eziquka amagama amatsha aza kusetyenziswa, indlela oza kuma ngayo umsebenzi kunye nembali ngababhali. Oku kulandelwa yingcingane eza kuthi ibe sisiseko solu phando, ingcingane yobume bengqondo, ingcingane yemeko engaqhelekanga kunye nezayamileyo; ingcingane yokuqonda kunye nengcingane yenkcubeko nentlalo. Kuza kuthi kutyhilwe iimeko abantu abaphila phantsi kwazo emakhaya nasentlalweni ngokubanzi. Iingcali zophando zizamile ukuza neendlela ezizizo zokwazi unobangela wokuphazamiseka kwengqondo ukuze zikwazi ukuza nonyango oluchanekileyo. Ekugqibeleni kuza kuthi kushwankathelwe wonke lo msebenzi, kuvezwe namacebo anokunceda abafundi nababhali kuncwadi. Kuza kucetyiswa ababhali ukuze babethelele ingcamango yokuba kubekho uncedo okanye unyango kubalinganiswa abanesimo sengqondo esiphazamisekileyo, xa kuphononongwa le ngcingane yesimo sengqondo.
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"You have met the woman; you have struck the rock" : Southern African women's writing as resistance /Pentolfe-Aegerter, Lindsay Alexandra. January 1992 (has links)
Thesis (Ph. D.)--University of Washington, 1992. / Vita. Includes bibliographical references (leaves [284]-294).
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Damon Galgut and the critical reception of South African literatureKostelac, Sofia Lucy 24 June 2014 (has links)
Damon Galgut has been a prolific contributor to South African literature since the early 1980s, but
has only recently gained recognition as a significant presence in our cultural landscape. This thesis
considers what the vicissitudes of Galgut’s critical reception — which have seen him, by turns,
celebrated, ignored and even explicitly discounted as a noteworthy South African author — reveal
about the shifting standards of cultural legitimacy which have been set for local writers since the
late apartheid years. It offers, in turn, an extended close reading of each of his novels and considers
the challenges which they pose to hegemonic assumptions about developments within the field of
South African literature over the past three decades. I demonstrate that no coherent line of transition
can be traced across the individual novels which make up Galgut’s oeuvre. They represent, instead,
shifting degrees of discordance and concordance with an epochal metanarrative of South African
literature and the progressive transformation of the field which it implies. In so doing, they enliven
us to the thematic and aesthetic heterogeneity which has always already constituted the field.
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