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Journal articles on the topic 'Afrikaans culture'
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1
Steyn, Adriaan S. "Afrikaans, Inc.: the Afrikaans culture industry after apartheid." Social Dynamics 42, no. 3 (September 2016): 481–503. http://dx.doi.org/10.1080/02533952.2016.1259792.
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Kruger, E. "Die insluiting van ’n (multi-)kulturele komponent in die kurrikulum vir Afrikaans as addisionele taal." Literator 22, no. 3 (June 13, 2001): 75–91. http://dx.doi.org/10.4102/lit.v22i3.370.
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The inclusion of a (multi-)cultural component in the curriculum for Afrikaans as additional language In this article the author pleads for a democratisation of Afrikaans as an additional language curriculum so that the teaching and learning of Afrikaans could contribute towards cross-cultural consciousness. Relevant definitions of the concept culture are discussed, as well as intercultural understanding, stereotyping and communication. The relationship between literature, culture and cognitive development as well as culture and nonverbal communication is perused. Several ways are indicated by which culture could be integrated into a communicative Afrikaans language programme, such as giving attention to different sociolinguistic speech routines, including authentic media texts, as well as the study of folklore and stereotypes in literary texts (with examples of each of these cultural components). Broadening the learning content in this way could assist in neutralising the negative effects of the political-historical past of the Afrikaans language. This aim can be reached if the non-mother tongue learner’s interests are stimulated and his/her needs are addressed. Being involved in and exposed to these kinds of cultural components in Afrikaans, the learners would feel at home in the additional language classroom. Consequently they would feel free to participate actively – both emotionally and cognitively – and would ultimately accept responsibility for their own learning.
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Roth, Egonne. "Lessons in writing the biography of the crossover poet, Olga Kirsch." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 63–76. http://dx.doi.org/10.17159/tvl.v.54i1.4.
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Olga Kirsch was an English-speaking Jewess who wrote and published poetry in Afrikaans. As such she exemplifies a crossover poet who introduces the voice of the other into a national canon in her case, the only Jewish voice in Afrikaans poetry. Three questions were raised in the research and writing of her biography. The first concerns the extent to which she, as a Jew, was influenced by the dominant culture in which she grew up. The second seems more complex: What influence has Olga Kirsch had on the dominant culture was she able to influence the South African Afrikaans culture and literature in any way? Third, to what extent does the multi-culturalism of Kirsch affect the process of research and writing her biography; are there problems specific to writing the biography of a cross-cultural writer?
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Klingenberg, Jana. "De Burger-Leeskring: a Brief History of South Africa’s First Commercial Book Club and its Effect on Afrikaans Literature." Quaerendo 49, no. 2 (August 7, 2019): 158–79. http://dx.doi.org/10.1163/15700690-12341440.
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Abstract This paper investigates the history of the De Burger-Leeskring and the impact it had on Afrikaans literature and cultural development. It places the development of Nasionale Pers and the Afrikaans language within the context of South Africa’s history and the development of language, politics and culture, as well as considering book clubs or readers’ circles and their purpose within this context. This paper uses Bourdieu’s classification of different kinds of capital—specifically cultural capital and financial capital—to evaluate the success of this Leeskring [Reader’s Circle]. It was found that although not financially successful, the Leeskring’s influence on Afrikaans literature was vast.
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Van Huyssteen, G. B. "The sexist nature of sexual expressions in Afrikaans." Literator 17, no. 3 (May 2, 1996): 119–36. http://dx.doi.org/10.4102/lit.v17i3.625.
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Cognitive metaphor theories indicate that sexual metaphors are metaphors in which a taboo domain of knowledge is described in terms of a non-taboo domain of knowledge. Data from the Afrikaans language substantiate the idea that mappings between these two domains are motivated on cognitive as well as on pragmatic grounds. In this article, it will be attempted to indicate how sexism is sustained by sexual metaphors in the Afrikaans-speaking community. The fact that sexism is underlaid by sex role stereotypes, leads to the conclusion that sexism is also sustained by means of the use of metaphors. The fact that different metaphors exist in different sub-culture groups indicates that metaphorical mappings are strongly influenced by culture and ideology. Data from feminist communities substantiate this assumption. Finally, the possibility of metaphor transformation as a mechanism of purification with regard to sexism and stereotyping is investigated.
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Stell, Gerald, Xavier Luffin, and Muttaqin Rakiep. "Religious and secular Cape Malay Afrikaans: Literary varieties used by Shaykh Hanif Edwards (1906-1958)." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 163, no. 2-3 (2008): 289–325. http://dx.doi.org/10.1163/22134379-90003687.
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In the context of the White and Christian-dominated Afrikaans language movements, followed by apartheid, little attention has been paid to an Afrikaans literary variety used among Muslim Cape Coloureds, a group often referred to as ‘Cape Malays’. Descending mainly from Asian slaves brought by the Verenigde Oost-Indische Compagnie (VOC, Dutch East India Company), and bearing the marks of cohabitation with non-Asian populations at the Cape, the Cape Malays at an early stage developed a distinct religious culture through their adherence to Islam, as well as a distinct Cape Dutch linguistic identity through their connections with the Dutch East Indies and the Islamic world. These cultural idiosyncrasies found expression in a local literature, religious and (more rarely) secular, using as a medium a variety of Cape Dutch/Afrikaans written either in the Arabic alphabet or in the Roman alphabet.
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Galloway, F. "Sisteemtendense in die Afrikaanse literatuur: ’n bestekopname van 1983." Literator 8, no. 2 (May 7, 1987): 1–12. http://dx.doi.org/10.4102/lit.v8i2.861.
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A survey of the Afrikaans literary scene of 1983 might one day prove to be a survey of this literary system on the eve of a “new dispensation”. From the ranks of the Afrikaans literary establishment there was a resounding “Yes” to the 1983 referendum which effectively compartmented ‘culture’ to ‘own affairs'. In this time of political change and adjustment the role of the Afrikaans intellectual and writer within the South African community has once again become an urgent point of debate. From literary texts themselves, from established journals and ‘little magazines' there are clear indications that a reflection on ideology keeps recurring. There are also voices on the periphery of the literary system which demand attention - young black poets and dramatists have for some years been involved in enacting and reciting their Afrikaans works on the Cape Flats and in townships on the Rand. Looking back at the Afrikaans literary scene of 1983, and its relationship with the socio-political context, one is left with two main impressions. On the one hand the literary establishment has confirmed its faith in reform under the leadership of the National Party. On the other hand there are developments in extra-parliamentary politics and within the literary system itself which threatens the equilibrium. Which of these trends will be the decisive factor with regard to the literary dispensation must be awaited.
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Moon, Jihie. "Hybride zelf(re)presentatie in de dagboeken van Hennie Aucamp." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 44–62. http://dx.doi.org/10.17159/tvl.v.54i1.3.
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This article on Hennie Aucamp approaches his journals as ego-documents. The positional dilemma and identity crisis of Afrikaners in the new South Africa are portrayed in the triptych: Gekaapte tyd (Captured time, 1996), Allersiele (All Souls, 1997) and Skuinslig (Light at Dusk, 2003). Aucamp's journals constitute a hybrid composite that bridges the space between a personal reflection on daily life and that of a historical, social and cultural document. Through the complex process of disguise and revelation of the "I", Aucamp's diaries create a space that allows free contemplation and reflection both on the socio-cultural developments in the new South Africa and on the fate of Afrikaners and Afrikaans itself. It is from his feeling of displacement and expatriation as a white Afrikaner under the new system and his fear of the disappearance of Afrikaners and Afrikaans that Aucamp positions himself as a defender of Afrikaner culture. Moreover, Aucamp claims that this cultural legacy could be used as future-oriented survival strategy: the preservation of culture being simultaneously self-preservation. It is within this framework that he makes a subtle comparison between Afrikaans and Afrikaner culture and the culture of the San; his affinity for the lost culture of the San runs parallel with his defence of the world of Afrikaners. This has resulted in the writer's socio-cultural criticisms and commentaries in a certain sense becoming a personal performance in favour of the recreation of a lost Afrikaner language and culture. At the same time, they il- lustrate the writer's attempt to position himself strategically with regard to the future-oriented formation of identity not only of himself, but also of the reader. It is within this context that the increase in ego-documents written in modern-day South African and Afrikaner literature can also be seen as a struggle against loss and forgetting.
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Erasmus, M. "Literêre vertaling as kruiskulturele kommunikasie: Kortonnen dozen van Tom Lanoye in Afrikaans." Literator 19, no. 3 (April 30, 1998): 29–52. http://dx.doi.org/10.4102/lit.v19i3.556.
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Literary translation as cross-cultural communication: Kartonnen dozen by Tom Lanoye in Afrikaans Literary texts are more frequently translated from Afrikaans into Dutch than vice versa. The translation of the popular Flemish writer Tom Lanoye's short novel Kartonnen dozen by Daniel Hugo is indeed one of the very few examples of the latter. In this article I explore, inter alia, the politics of translation which may underlie this imbalance; literary translation as a way of "opening up" a foreign culture; the ideology of translatability. To establish whether Hugo's translation may be seen as adequate, and thus as functioning effectively within the Afrikaans (target) literary system, a comparative analysis is made of the two texts (i.e. Kartonnen dozen and Kartondose) in respect of certain textemes which I regard as imperative for the target text to convey the intention of the source text. In conclusion, I voice my opinion on a literary translation such as Kartondose and its role in the endeavour of decolonisation to resist globalisation.
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Kruger, E. "Imagologie en die bestudering van literêre stereotipes in die onderrig van Afrikaans as addisionele taal." Literator 23, no. 3 (August 6, 2002): 197–220. http://dx.doi.org/10.4102/lit.v23i3.350.
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Imagology and the study of literary stereotypes in die teaching of Afrikaans as additional language Imagology is the study of national and ethnic stereotypes as represented in literature. These stereotypes are represented in literary images of identity and alterity when intercultural contact is portrayed in texts. The main concepts of Imagology are discussed to provide educators with a scientific framework in the teaching of Afrikaans as additional language, with specific reference to literature teaching. Learners from various cultural backgrounds bring with them their own stereotypes. Studying literary youth texts that portray images of national stereotypes can facilitate the process of intercultural understanding and reconciliation. Learners can be exposed to the representation of Self and Other in prescribed Afrikaans literary texts without their self-image being threatened, yet discovering the relativity of values, and learning respect for their own culture as well as for that of the target language. The background, scientific approach and principles of Imagology are described, as well as important concepts. By using Imagology as a literary tool in studying Afrikaans texts in the additional language classroom, literature teaching will include looking at the narrative and functions of youth literature to discern psychological and ideological focalisation, together with its influence on negative and positive representations of Self and Other.
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Magano, C. F., A. Thomas, and G. P. De Bruin. "A cross-cultural comparison of organisational commitment amongst vehicle sales staff." South African Journal of Business Management 42, no. 1 (March 31, 2011): 17–29. http://dx.doi.org/10.4102/sajbm.v42i1.486.
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The automotive industry is regarded as being critical to the economic growth of South Africa (Horn, 2007). As the achievement of organisational goals occurs largely through the performance of committed human resources (Nijhof, De Jong & Beukhof, 1998), the purpose of the present study was to gain a deeper understanding of the differences in organisational commitment amongst different language groups (language being a proxy of culture) of vehicle sales staff at a large South African motor retailer.The unit of analysis for the study was individual employees (n=314) and the data were collected through the administration of the TCM survey questionnaire developed by Allen and Meyer (1990) to measure affective, normative and continuance commitment. The majority of respondents (36,90%) were African language speakers, 32,30% were English language speakers and 3,60% were Afrikaans language speakers.Results indicate that African language respondents scored significantly lower on normative commitment than did either the Afrikaans or English respondents. No significant differences in normative commitment were observed between the Afrikaans and English respondents.Given the strategic importance of the automotive industry to the South African economy, this finding could alert managers to the necessity of understanding the reasons for the lower normative commitment of the African language group (compared to the Afrikaans and English speakers) and, accordingly, to devise ways of increasing normative commitment with this group.
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Steyn, J. C. "Afrikaans as universiteitstaal: Onlangse ontwikkelinge in historiese en internasionale perspektief." Literator 15, no. 1 (May 2, 1994): 33–58. http://dx.doi.org/10.4102/lit.v15i1.650.
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A study of the history of South African universities from 1918 to 1948 showed that six factors influenced the use of a particular language as a language medium at a university, namely economic and political power, as well as the number of people in the language community (which determines matters such as the official status of the language and the availability of money for universities), lecturers' and students ’ knowledge of the language, its position as scholarly language, language loyalty and attitudes toward other languages and the support enjoyed by language and related ideologies. Whereas these factors were reasonably favourable for Afrikaans universities in the past, they currently pose a threat to the survival of Afrikaans-medium universities. The standpoint is defended that retaining Afrikaans as educational and scholarly language should be an important factor when making decisions on universities. The tension between internationalisation and retention of the own language and culture is also topical in Europe, and steps have been taken to try to protect the retention of Dutch as language medium at Dutch and Flemish universities.
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Marx, Hannelie, and Viola Candice Milton. "Bastardised whiteness: ‘zef’-culture,Die Antwoordand the reconfiguration of contemporary Afrikaans identities." Social Identities 17, no. 6 (October 3, 2011): 723–45. http://dx.doi.org/10.1080/13504630.2011.606671.
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Drwal, Malgorzata. "Discourses of transnational feminism in Marie du Toit’s Vrou en feminist (1921)." Tydskrif vir Letterkunde 57, no. 2 (July 22, 2020): 14–25. http://dx.doi.org/10.17159/tl.v57i2.7765.
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In this article I investigate transtextuality in Vrou en feminist (Woman and Feminist, 1921) by Marie du Toit in order to demonstrate how she grafted first-wave transnational feminism onto the Afrikaans context. Du Toit’s book is approached as a space of contact between progressive European and North American thought and a South African, particularly Afrikaner, mindset. Du Toit relied on a multiplicity of late nineteenth and early twentieth centuries discourses to support her argument that Afrikaner women become part of the feminist movement. Due to the numerous quotations from scientific papers and literary fiction, mostly English but also Dutch, her book can be described as a heteroglot text. Utilizing the histoire croisée approach, I discuss Du Toit’s text on the macro and micro scale: I locate it in a historical perspective as a literary document and focus on the ways in which diverse voices intersect and converse with one another. I argue that the book was an unsuccessful attempt at inviting the Afrikaans reader into a transnational imagined community of suffragettes because of prejudice against the English language and culture. English sources, which Du Toit extensively quoted, deterred potential Afrikaans supporters, and consequently prevented transfer of feminist thought. Even though she also supported her views with some texts in Dutch in wanting to appeal to her reader’s associations with a more familiar Dutch culture, this tactic was insufficient to tip the balance.
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Cloete, W., and M. Wenzel. "Translating culture: Matthee’s Kringe in ’n bos as a case in point." Literator 28, no. 3 (July 30, 2007): 1–26. http://dx.doi.org/10.4102/lit.v28i3.166.
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The translation of “cultural identity” in a novel such as “Kringe in ’n bos” contributes towards the definition of a uniquely South African representation of time and space in the global context. When translation is studied as a product of its socio-historical context, the translator is faced with problems of translating ideology and cultural identity in literature. Realia constitute a particular challenge to the translator because, according to the definition, precise equivalents of these words do not exist in other languages, which could cause shifts in the target language text. This article considers the concept of translatability and concludes that, despite the problems encountered, an adequate and satisfactory German translation from the Afrikaans original should be possible. The question of translatability assumes an interesting dimension as the Afrikaans novel was translated into English by the author herself. The privileged position of author-translator granted Matthee a near-perfect understanding of the different layers of meaning and intention of the source text and eliminated the gap between the author and translator. However, one gains the impression that the German translator (Stege) resorted to transference as a strategy to avoid translation and it emerges that most instances of definite mistranslations are, indeed, attributable to Stege’s unfamiliarity with the South African context.
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Winbush, Christine, and Rachel Selby. "Finding home: South African migration to New Zealand." Aotearoa New Zealand Social Work 27, no. 1-2 (January 1, 2015): 46–58. http://dx.doi.org/10.11157/anzswj-vol27iss1-2id16.
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South Africans have migrated to New Zealand either deliberately abandoning their country of birth or drawn to New Zealand as a country opening its arms to them to begin a new life. Leaving home means many do wait for their souls to arrive in their newly adopted home. Many have suffered grief and loss, while adapting and settling into a new country and culture. Most of the families that have come to New Zealand are either of English or Afrikaans background. They bring skills needed in New Zealand and while many have readily adapted there are many who have struggled with the change. This paper addresses the issue of culture shock and other associated tensions experienced by South African mi- grants with Afrikaans as their first language. Themes addressed in this article emerged from a review of the literature and in the course of a research project. They represent issues of importance for New Zealand teachers, social workers, counsellors, mental health workers and all who work with migrants.
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Hauptfleisch, Temple. "The eventification of Afrikaans culture—some thoughts on the Klein Karoo Nasionale Kunstefees (KKNK)." South African Theatre Journal 15, no. 1 (January 2001): 169–77. http://dx.doi.org/10.1080/10137548.2001.9687731.
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John, P. "Meer dydelikhyt oor die punch en die vis: ’n Vergelyking van Niggie, Daar’s vis in die punch en Eilande." Literator 25, no. 1 (July 31, 2004): 23–46. http://dx.doi.org/10.4102/lit.v25i1.244.
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More clarity about the punch and the fish: A comparison of Niggie, Daar’s vis in die punch and Eilande In this article, three novels published in 2002 – namely Niggie by Ingrid Winterbach, Daar’s vis in die punch by Jackie Nagtegaal and Eilande by Dan Sleigh – are compared with reference to the perspectives the three texts furnish on the idea of creativity. The initial point of departure is the way in which language is used in the novels. This approach tangentially touches on the debate about “Engrikaans”, a form of code switching used by certain Afrikaans authors. The article illustrates how a certain kind of creativity can be associated with the consumer society and the culture industry, whilst a creativity which transcends the dictates of the culture industry proceeds from a position where the supposedly integrated subject is destabilised or put “in process”.
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Pieterse, Hendrik, Jaco Dreyer, and Johannes van der Ven. "The Evil of Violence: A Trigger for a Human Rights Culture?" Religion and Theology 13, no. 3-4 (2006): 264–313. http://dx.doi.org/10.1163/157430106779024662.
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AbstractThis article seeks to answer the following question: to what extent does the interpretation of violence as evil contribute – positively, negatively or not at all – to a human rights culture among some 2000 grade 11 students at private (Catholic and Anglican) schools and Afrikaans medium public schools in the Johannesburg/Pretoria region on the basis of surveys conducted in 1995/1996 and 2000/2001? The regression analyses show that on a number of population characteristics controlled hamartiological interpretations of violence as evil have a mainly positive effect, especially those couched in terms of the divine apocalypse, provided it is construed in its positive dimension ('the new Jerusalem') rather than its negative dimension ('the last judgment'); this also applies to interpretations couched in terms of the institutional transmission of evil contributing to the world of evil. The other interpretations have a predominantly or purely negative effect, especially those relating to a primordial dualistic struggle between good and evil forces, divine retribution and intergeneration transmission of evil. Some population characteristics appear to be more powerful than the hamartiological interpretations, especially gender (female students are more in favour of human rights) and political and cultural attitudes.
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De Jong, M. "Neo-Fascisme, norme, literatuur: Oor Pieter Stoffberg se Die hart van ’n bond." Literator 13, no. 1 (May 6, 1992): 75–92. http://dx.doi.org/10.4102/lit.v13i1.725.
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In this article it is argued that Pieter Stoffberg's collection of stories, Die hart van ’n hond, forces the reader to constitute racist frames in order to interpret. Furthermore the author proposes that Kristeva's formalisation of the 'negation of negation', developed in The Revolution of Poetic Language, can theorise the textual process in these stories as a transgression in which the taboo on political rightist conservatism in a "New South Africa' is broken. To produce this transgression, the text places the reader in the position of the other, a position in which normative decision-taking is precluded. This itself could, however, constitute an ethical moment. On the basis of the Neo-Fascist aspects of Die hart van ’n hond, the article proposes a re-introduction of the ethical in literary’ discourse and critically comments on Afrikaans literary culture in this respect.
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Muller, Stephanus. "Apartheid Aesthetics and Insignificant Art." Journal of Musicology 33, no. 1 (January 1, 2016): 45–69. http://dx.doi.org/10.1525/jm.2016.33.1.45.
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Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were famously sung all over the world by the soprano Mimi Coertse. The role his ouevre played in the construction of a so-called European culture in Africa is uncontested. Yet surprisingly little attention has been paid to the rich evocations of landscape encountered in Marais’s work. Contextualized by a selection of Marais’s paintings, this article glosses the index of landscape in this body of cultural production. The prevalence of landscape in Marais’s work and the range of its expression contribute novel perspectives to understanding colonial constructions of the twentieth-century South African landscape. Like the vast, empty, and ancient landscape of the Karoo, where Marais lived during the last decades of his life, his music assumes specificity not through efforts to prioritize individual expression, but through the distinct absence of such efforts. Listening for landscape in Marais’s songs, one encounters the embrace of generic musical conventions as a condition for the construction of a particular national identity. Colonial white landscape, Marais’s work seems to suggest, is deprived of a compelling musical aesthetic by its very embrace and desired possession of that landscape.
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Burger, W. "Postmodernisme: doelgerig of vrolike fuif? 'n Polisieroman en 'n moorddroom." Literator 15, no. 1 (May 2, 1994): 59–72. http://dx.doi.org/10.4102/lit.v15i1.651.
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The incredulity towards metanarratives in the postmodernist era holds serious implications for historiography. Two "historiographic metafictional novels" (Hutcheon's term), one Flemish and one Afrikaans, are discussed in this article. There is a significant difference in the way these two texts react to ontological doubt. On the one hand there is a celebration of the loss of metanarratives in Het beleg van Laken (Walter van den Broeck). On the other hand this loss is used in a very serious way to undermine existing metanarratives in Kroniek uit die doofpot (John Miles). The joyous humour and celebration in Het beleg van Laken is absent in Kroniek uit die doofpot. It is concluded that some historiographic metafiction frivolously celebrates decentring and the incredulity towards metanarratives. In other historiographic metafiction ontological doubt manifests without humour or celebration and serves to undermine metanarratives. It might he true that the celebration belongs to a late capitalist Western culture whereas it is unsuitable for a developing country.
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M, J., and W. De Koker. "Spiritualiteit te midde van ‘n kultuur van voorspoed. ‘n Fokus op die Ooste van Pretoria." Verbum et Ecclesia 23, no. 2 (August 7, 2002): 432–51. http://dx.doi.org/10.4102/ve.v23i2.1213.
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Spirituality in an affluent culture. A focus on the Eastern suburbs of Pretoria The eastern suburbs of Pretoria is a white, mainly Afrikaans speaking and Dutch Reformed community with a relatively high level of education and income and a mostly stable family life. Religion is important to most of the inhabitants. Church life is characterised by movement and change. Church members move to and fro between different churches and congregations, while many congregations experience change in their worship services. This leads to pain and schism in congregations, and members experience marginalisation. The research has been done by listening to the stories of individuals (co-researchers). The story of the research has developed under the themes of leadership, so called “American” and “European” attitudes towards life, change, relationships and service. The story reaches a climax when the predominant attitudes of prosperity and success is deconstructed in values that are shared by all the co-researchers, namely worship, care and service.
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Viljoen, Armand, Martinette Kruger, and Melville Saayman. "The art of tastings: enhancing the arts festival experience." International Journal of Event and Festival Management 9, no. 3 (October 8, 2018): 246–65. http://dx.doi.org/10.1108/ijefm-03-2018-0023.
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PurposeThe role and importance of arts festivals are well documented within the festival and events literature. Art and culture, as well as the subsequent enhancement thereof, are especially significant in multicultural societies. However, little is known regarding the role of culinary experiences within an arts festival setting. The paper aims to discuss these issues.Design/methodology/approachThe case study was a well-known and popular Afrikaans national arts festival held annually in Potchefstroom, South Africa. Visitors to three distinct tasting experiences (brandy, whisky and sparkling wine, including Méthode Cap Classique), offered as part of the festival programme, were surveyed.FindingsIn the analyses, 292 completed questionnaires were included, which revealed three managerial factors for a successful tasting experience, as well as six tasting experience dimensions. In all cases, the experiences exceeded the expectations. This research greatly contributes towards the body of knowledge regarding tasting experiences at national arts festivals, an aspect that has not been researched to date.Practical implicationsBased on the results, practical implications are provided to enhance the current tasting experiences as well as visitor loyalty. This research is a stepping stone towards understanding the needs and preferences of the visitors, as well as identifying how the festival can capitalise on delivering these experiences.Originality/valueThis research identified for the first time the factors that contribute to a memorable tasting experience, as well as evaluated the tasting experience dimensions.
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Mesthrie, Rajend. "Fanakalo as a mining language in South Africa: A new overview." International Journal of the Sociology of Language 2019, no. 258 (August 27, 2019): 13–33. http://dx.doi.org/10.1515/ijsl-2019-2027.
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Abstract Fanakalo pidgin rose to prominence when it was selected for use as the lingua franca of the highly multilingual mines of South Africa. This article examines the properties of Fanakalo as a mining language, in contrast to its uses on farms, suburban households and in urban employment. Fanakalo has evolved a special register of technical terms pertaining to the mining industry from various sources (chiefly Zulu, English and Afrikaans). This article characterizes lexical innovations in this mining register and corrects previous estimates of the sources of innovation by differentiating the major parts of speech. The article also draws attention to the complexity of Fanakalo in pamphlets put out by mining management, in sharp contrast to the more usual kind of Fanakalo documented in earlier sources. As far as mining language policy is concerned, there have been calls in the last few decades to discontinue its use on the mines on the grounds of its associations with colonial and racial domination. Whereas Fanakalo has been invariably denigrated by intellectuals as a language of oppression rather than culture, there have been some surprising recent developments. In the wake of the tragedy at Marikana mines in 2012, where 34 workers on strike were shot and killed by police, Fanakalo has come to prominence as the language preferred by the strikers for mass meetings and negotiations with management. This process offers possibilities of the linguistic elaboration of the pidgin and raises questions about possible creolization.
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Willemse, Hein, and Steward Van Wyk. "Adam Small (75)." Tydskrif vir Letterkunde 49, no. 1 (April 4, 2017): 5–9. http://dx.doi.org/10.17159/tl.v49i1.2080.
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Adam Small het op 21 Desember 2011 sy vyf-en-sewentigste verjaardag gevier. Ter afwagting van hierdie geleentheid het die Departement Afrikaans en Nederlands aan die Universiteit van Wes-Kaapland (UWK) in samewerking met Tydskrif vir Letterkunde ’n simposium met die titel “Adam Small: sy lewe en werk” op Vrydag, 7 Oktober 2011 aangebied. In die loop van sy lewe as ’n skrywer en akademikus was Small aan beide die UWK en Tydskrif vir Letterkunde verbonde. Die universiteit is in 1960 te midde van groot politieke omstredenheid opgerig en Small was aanvanklik die enigste swart lektor. In 1973 bedank hy sy pos as senior lektor in Wysbegeerte in simpatie met studente-eise vir ’n aanneemliker onderrigbedeling op die UWK-kampus. In 1984 keer hy terug as professor en hoof van die Departement Maatskaplike Werk. Twaalf jaar later tree hy uit die diens. Sy verbondenheid aan Tydskrif vir Letterkunde in die vroeë 1960s was van korte duur. Saam met ’n aantal jonger Afrikaanse skrywers wat later as die Sestigers bekend sou staan, was hy deel van ’n nuwe redaksie wat ’n vars benadering in die oudste Afrikaanse literêre tydskrif wou blaas. Persoonlikheidsgeskille met die ouer garde van Tydskrif het egter daarvoor gesorg dat die voorgenome samewerking slegs een uitgawe sou duur. Met hierdie historiese verbintenisse is dit gepas dat die Small-simposium op die kampus van die UWK plaasgevind het en dat die voordragte in Tydskrif vir Letterkunde gepubliseer word.
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du Plessis, Hans, and Julie Grant. "Afrikaans on the Frontier: Two Early Afrikaans Dialects." Critical Arts 33, no. 4-5 (September 3, 2019): 20–32. http://dx.doi.org/10.1080/02560046.2019.1702072.
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WELLS, JULIA C. "EVA'S MEN: GENDER AND POWER IN THE ESTABLISHMENT OF THE CAPE OF GOOD HOPE, 1652–74." Journal of African History 39, no. 3 (November 1998): 417–37. http://dx.doi.org/10.1017/s0021853798007300.
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Quite possibly, Eva, born Krotoa, is the most written about African woman in South African historiography. Her name fills the journals of the Dutch East India Company almost from the very start of their little feeding-station at the Cape of Good Hope in 1652. She is known as a Khoena girl taken into Dutch commander Jan Van Riebeeck's household from the age of about twelve, who later became a key interpreter for the Dutch, was baptised, married Danish surgeon, Pieter Van Meerhoff, but then died as a drunken prostitute after his death. Yet her persona remains an enigma. As Christina Landman put it, ‘Krotoa is a story-generator’.To conservative historians, Eva's life offers living proof that the Khoena were irredeemable savages. To black nationalist writers, such as Khoena historian, Yvette Abrahams, she personifies the widespread rape and abuse of black women by the invaders. Eva's chief biographer, V. C. Malherbe, forms a more neutral judgment by describing Eva as primarily ‘a woman in between’. Landman views her as an early synthesizer of African and Christian religious traditions. Carli Coetzee demonstrates how recent Afrikaans-speaking artists, poets and actors have constructed an image of Eva as the mother of the Afrikaner nation, a tamed African who acquiesced to Europeanness. She is often portrayed as yearning to return to her African roots, but without success.Virtually all of the representations of Eva construct her as a helpless victim of vicious culture clashes. Today's racial consciousness, laced with assumptions of inevitable African/European hostility, is often read back into the historical record. Frustratingly large gaps in that record leave room for a wide range of interpretations, depending heavily on the subjectivities of the historian. Virtually all previous writers, however, have judged Eva primarily by the tragic circumstances of her death, while minimizing the considerable achievements of her earlier years.
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Bosman, Martjie. "Die FAK-fenomeen: populêre Afrikaanse musiek en volksliedjies." Tydskrif vir Letterkunde 41, no. 2 (April 20, 2018): 21–46. http://dx.doi.org/10.4314/tvl.v41i2.29672.
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Afrikaans popular music of a variety of genres and subgenres is currently flourishing. A very productive phenomenon is the re-interpretation of older songs, in particular folk songs. This article gives a short historical overview of the collection and publication of Afrikaans folk songs, followed by a brief description of various ways in which folk songs have previously been utilised. The collection of Afrikaans folk songs known as the FAK (Federation of Afrikaans Cultural Organisations) songbook earned itself an important position in Afrikaans cultural circles, but it was also stigmatised. Since the end of the 1990s, Afrikaans popular songwriters and singers showed a renewed interest in so-called FAK songs and a number of musical arrangements and re-writings of folk song lyrics have been recorded. A number of lyrics that either contain references to folk songs or are re-writings of folk songs, are discussed. Tension between the old, well-known words of the folk songs and the new songs often develops, while the intertextual references to older songs are used to comment on current situations. The importance of popular music in minor cultures is briefly discussed.
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van Rensburg, Christo. "The First Afrikaans." Critical Arts 33, no. 4-5 (September 3, 2019): 10–19. http://dx.doi.org/10.1080/02560046.2019.1731161.
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Bosman, Nerina. "Eenders en anders: Die leksikons van Afrikaans en Nederlands in die een-en-twintigste eeu —’n loodsstudie." Tydskrif vir Letterkunde 50, no. 3 (May 18, 2018): 135–54. http://dx.doi.org/10.17159/tl.v50i3.5117.
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Early research into the Afrikaans vocabulary was mainly diachronic and comparative (Dutch being the “mother” language from which Afrikaans developed) and the relationship between the lexicons of the two languages was not explored in any great detail towards the end of the twentieth century. This state of affairs changed with the publication of Groot Woordeboek Afrikaans en Nederlands (“Great Dictionary Afrikaans and Dutch”) in 2011, a dictionary with an amalgamated lemma list. One of the outcomes of the lexicographic project was the realisation that less than fifty percent of the lemmas in the dictionary were absolute cognates, words which are similar in both form and meaning. This finding prompted a synchronic comparison of word forming processes in Afrikaans and Dutch, using two small newspaper corpora from 2009 as well a selection of neologisms. Analysis of the data shows that although Afrikaans and Dutch differ in the way in which loan words are incorporated—Dutch speakers prefer to take over the words as they are, whereas Afrikaans speakers make use of calques— the morphosemantic process of compounding is still the most productive way for adding words to the lexicon. The two languages do not make use of each others’ coinages, one indication that their lexicons are increasingly growing apart.
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Coetzee, A. "Oorgangsliteratuurgeskiedenis: die illusie van ’n nasionale Suid-Afrikaanse letterkunde." Literator 18, no. 3 (April 30, 1997): 41–56. http://dx.doi.org/10.4102/lit.v18i3.548.
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Literary history in transition: the illusion of a national South African literatureThe transformation of South Africa from a divided country to a unified democracy has created a discourse of ‘one-nationness’. Although this concept may primarily be a politicial ideal, it also encompasses the diverse fields of culture, language and literature. Literary theoreticians and historians may have to fin d a methodology for describing the various literatures in terms of a 'South African literature if such a unified concept can exist where literatures are produced in eleven languages. These literatures, however, also differ in ways of expression, because the cultures and political contexts from which they originated vary. In considering the deficiencies of a recent literary history, this article attempts to determine whether a methodology based on the Foucauldian concept of the discursive formation may be able to combine the various literatures as statements within the narrative of a nation.
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Willemse, Hein. "‘Om weer mens te word’: Identiteit, onreg, skuld en restitusie in die RSG-vertelreeks Almal het ’n storie." Tydskrif vir Letterkunde 50, no. 3 (May 18, 2018): 173–86. http://dx.doi.org/10.17159/tl.v50i3.5120.
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A history of internal division marks the Afrikaans speech community. In the past the Afrikaans language was often claimedas ‘the white man language’, a presupposition that led to the common assertion that it was ‘the language of apartheid’. Much of the politics underlying these historical perceptions involve the expression of Afrikaner nationalism during the 20th century. Since the early 1990s the South African society has undergone fundamental political and social changes, also regarding the Afrikaans language. This article explores an Afrikaans radio series Almal het ’n storie (“Everyone has a story”) that illustrates some of these changes regarding current identity formation and social restitution processes. The article will provide an overview of Almal het ’n storie, followed by brief summaries of the story lines of two selected storytelling performances and a closer analysis of its underlying expressions of identity. A more generalised discussion of identity formation and restitution in the radio series will conclude the paper. To put these matters in overall perspective the identity politics of the Afrikaans language, a background history of the radio station and the series sponsor, an Afrikaans cultural association, and their recent strategic changes will introduce the paper along with an abbreviated overview of restitution as formulated in Elazar Barkan’s The Guilt of Nations: Resititution and Negotiating Historical Injustices (2000).
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Bosman, Nerina. "Annerlike Afrikaans (Anton F. Prinsloo)." Tydskrif vir Letterkunde 46, no. 2 (November 9, 2017): 252. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i2.3457.
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Saal, Elvis. "Halala Afrikaans (Daniel Hugo, red.)." Tydskrif vir Letterkunde 47, no. 1 (October 23, 2017): 176. http://dx.doi.org/10.17159/tl.v47i1.3362.
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KRIGER, ROBERT S. "Afrikaans: Recollection, Redefinition, Restitution Introduction." Matatu 15-16, no. 1 (April 26, 1996): 3–11. http://dx.doi.org/10.1163/18757421-90000166.
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Matatu, Editors. "AFRIKAANS LITERATURE RECOLLECTION, REDEFINITION, RESTITUTION." Matatu 19, no. 1 (April 26, 1997): 265–76. http://dx.doi.org/10.1163/18757421-90000275.
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Dangor, Suleman Essop. "Arabic-Afrikaans Literature at the Cape." Tydskrif vir Letterkunde 45, no. 1 (February 19, 2018): 123–32. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4483.
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Tuan Guru – the first official imam at the Cape – used Malayu as the medium of instruction in the Dorp Street madrasah (Muslim religious school) which he established at the end of the 18th century. This changed in the middle of the 19th century when Cape Dutch was adopted as the language of instruction. While the children were familiar with this language they could not read the Latin script since they were barred from attending the public schools. Cape Muslims could, however, read the Arabic script which they had to learn for liturgical purposes - though they could not speak Arabic. To overcome this conundrum, numerous scholars and teachers began to translate Arabic texts into Cape Dutch and then transcribing these in the Latin script. These “readers” came to serve as official textbooks in the madrasahs at the Cape. This article traces the development of this genre of literature which came to be known as Arabic-Afrikaans, comments on manuscripts that were identified by Adrianus van Selms, Achmat Davids and Hans Kähler and highlights the daunting challenge of transcribing Afrikaans phonetically in the Arabic script.
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Lourens, Amanda. "Die uitbou van ’n eens marginale tradisie: Marlise Joubert se gebruik van vroulike taal." Tydskrif vir Letterkunde 50, no. 3 (May 18, 2018): 60–71. http://dx.doi.org/10.17159/tl.v50i3.5112.
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It has already been shown that female poets play an important role in the Afrikaans literary system, after the domination by a male tradition had relegated the female system to a marginal position. Female poets came to the fore since the 1970s and took up a stronger and more central position within the system. This article strives to investigate the further consolidation of this female Afrikaans tradition, especially with reference to the volume Passies en passasies (“Passions and Passages”, 2007) by Marlise Joubert. In particular, this article wants to investigate whether specific aspects of Joubert’s work, apart from the exploitation of female topics, are responsible for the appeal by critics for a stronger position for Joubert within the literary system. The following hypothesis forms the basis for the investigation: Joubert employs an authenticfemale language in her poetry, and this leads to the consolidation of the Afrikaans female tradition.
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Renders, Luc. "Aan die ander kant: Swart Afrikaanse skrywers in die Afrikaanse letterkunde." Tydskrif vir Letterkunde 45, no. 2 (February 21, 2018): 234–37. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i2.4516.
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Joyson, Roshni, and Dr Cynthia Catherine Michael. "Racial Identity in Post-Apartheid South Africa: J.M. Coetzee’s Disgrace." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 28, 2021): 39–51. http://dx.doi.org/10.24113/ijellh.v9i3.10943.
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J.M. Coetzee is a South African novelist, critic and an active translator of Dutch and Afrikaans literature. His novels are conspicuous for their well- crafted composition, pregnant dialogues and analytical brilliance. Coetzee’s earlier novels question the apartheid regime, while his later works offer an apocalyptic vision of post- apartheid South Africa. His major works include Disgrace, Waiting for the Barbarians, Life and Times of Michael K, Boyhood, Age of Iron and The Childhood of Jesus. In 1999, Coetzee has been the recipient of numerous awards throughout his career, although he has a reputation for avoiding award ceremonies. Coetzee became the first author to be twice awarded the Booker Prize, winning it as second time for Disgrace which portrays the post-apartheid society. Coetzee went on to win the Nobel Prize for literature in 2003 for his entire body of works. During the years of apartheid, he was at the forefront of the anti-apartheid movement among writers. Scholar Isadore Dalia labelled J.M Coetzee as one of the most distinguished white writers with an anti-apartheid sentiment. Coetzee’s earlier novels question the apartheid regime, while his later works offer an apocalyptic vision of post- apartheid South Africa. Disgrace can be analyzed as a representative work of the new south Africa where the social problems relating binary oppositions such as black- white, white- immigrant, powerless- powerful, are stressed. This paper attempts to show through the protagonist, David Lurie, that the way to adapt to the changes in the country is to make a fresh start, a way to adapt to the new times, where no ideas of the old are retained. Frantz Fanon’s concepts within the field of post colonialism which he articulated in Black Skin, White Masks (1967) and The Wretched of the Earth (1963) have much relevance in Disgrace. The objective of this paper is to stretch his new ideas in a new direction by applying his theories on nation and culture onto a white subject Lurie, a white native South African. In the light of Fanon’s text, The Wretched of the Earth it can be argued that following the revolutionary political changes in South Africa in 1994, the former colonizer can be seen in the same way as the colonized usually is: a powerless native, regardless of racial identity.
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WILLEMSE, HEIN. "The Invisible Margins of Afrikaans Literature." Matatu 15-16, no. 1 (April 26, 1996): 91–102. http://dx.doi.org/10.1163/18757421-90000170.
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Kabuta, Ngo Semzara. "De Eigennaam en het “Zelflofdicht” in de Afrikaanse Orale Literatuur." Afrika Focus 17, no. 1-2 (February 11, 2001): 15–50. http://dx.doi.org/10.1163/2031356x-0170102003.
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The proper name and “selfpraise poetry” in the African oral literature There is a particular poetic genre in African oral literature, based on selfpraise. Selfpraise poetry is built on proper names and formulas, with the metaphor and hyperbole as central style figures. In this article, we situate the proper name inside African culture and show the link between the proper name and selfpraise. Furthermore, we try to grasp the meaning of praising oneself in African culture. The study relies essentially on Cilubà and Kilubà data, but references are made to other languages, in order to show that the genre is not limited to the Lubà oral literature. The first part concentrates on name giving and its meaning. The second part is an analysis of selfpraise poetry, with examples in different languages.
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Uys, R. "Die Suid-Afrikaanse bestuurder: Uitdagings en dilemma." South African Journal of Business Management 20, no. 3 (September 30, 1989): 144–53. http://dx.doi.org/10.4102/sajbm.v20i3.954.
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The South African manager: Challenges and dilemma The South African working environment is typified by two extremes. On the one hand there is an over-supply of unskilled labour, whilst on the other hand there is a severe shortage of qualified persons which have the applicable experience. In addition white males are mainly used to fill managerial positions. This unavoidably leads to the over-utilization of white males within the management sphere. Not only do they try to cover the whole managerial spectrum, but they also execute the majority of specialist activities. The inevitable result is total work dedication mainly to compensate for the lack of the correct training and experience. This necessarily leads to the neglect of spouse and family and a superficializing of religion, culture, and personal life. To determine to what extend this negative situation actually exists in South Africa and what need to be done to rectify it, country-wide research was undertaken and the findings are recorded in this article.
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Roux, Alwyn. "Die heel mooiste Afrikaanse liefdesgedigte." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 266–67. http://dx.doi.org/10.17159/tvl.v.54i1.22.
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Willemse, Hein. "Afrikaans Onbeperk – die lewensbydrae van Patrick J. Petersen." Tydskrif vir Letterkunde 45, no. 2 (February 21, 2018): 177–83. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i2.4512.
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van WYK, JORAN. "Afrikaans Poetry and the South African Intertext." Matatu 15-16, no. 1 (April 26, 1996): 111–16. http://dx.doi.org/10.1163/18757421-90000172.
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Burden, Matilda. "The significance of traditional afrikaans ballads in contemporary society." Acta Ethnographica Hungarica 47, no. 1-2 (July 2002): 225–35. http://dx.doi.org/10.1556/aethn.47.2002.1-2.23.
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Van Coller, H. P. "'n Boer in beton: "Hierdie huis" deur Kleinboer." Tydskrif vir Letterkunde 55, no. 2 (August 30, 2018): 148–69. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i2.4766.
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This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer’s trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of “metamodernism” in its quest for meaningful moral and philosophical “master” narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy.
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Feinberg, H. M., Lidwien Kapteijns, and Jay Spaulding. "Een Kennismaking met de Afrikaanse Geschiedenis." International Journal of African Historical Studies 20, no. 2 (1987): 330. http://dx.doi.org/10.2307/219857.
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