Academic literature on the topic 'Afrikaans fiction'
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Journal articles on the topic "Afrikaans fiction"
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Ess, Courtneigh. "’n Feministiese ondersoek na Bettina Wyngaard se misdaadfiksie." Tydskrif vir Letterkunde 61, no. 1 (April 30, 2024): 24–34. http://dx.doi.org/10.17159/tl.v61i1.16619.
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The recent discourse on black feminism in Afrikaans literature is strongly influenced by powerful and activist-oriented writers like Ronelda Kamfer, Lynthia Julius, and Veronique Jephtas. With their poetry and public statements, they have shaped the feminist discourse significantly. However, the recent discourse on feminism in Afrikaans largely overlooks the contributions of certain black Afrikaans women writers. Bettina Wyngaard, a black Afrikaans woman novelist, attempts to disrupt this silence and through her literature and opinion pieces, she advances an alternative feminist stance. This article focuses on Wyngaard’s contribution to the recent feminist discourse and the ways in which she asserts her voice within the debate. In this article I refer to three of her crime fiction novels, namely Vuilspel (Foul play) (2013), Slaafs (Slavishly) (2016) and Jagter (Hunter) (2019). I analyse these texts in attempt to examine the feminist ideology underlying her literature. I argue that Wyngaard chooses crime fiction, a genre traditionally dominated by white males, in attempt to sanction her voice within the feminism debate in Afrikaans. In this article, I examine Wyngaard’s crime fiction within the context of third wave of feminism, which engages with popular culture as a tool for critique and to promote feminist ideology. I explore the feminist consciousness and ideology in Wyngaard’s novels and the ways in which she challenges established patriarchal conventions in crime fiction as a genre. I employ Anne Cranny-Francis’ framework in the feminist value of crime fiction to examine the feminist themes in Wyngaard’s work.
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Snyman, M. "Wie skryf wat vir wie? ’n Outeursprofiel van die Afrikaanse kinder- en jeugprosa (fiksie) 1990-2001." Literator 25, no. 3 (July 31, 2004): 17–42. http://dx.doi.org/10.4102/lit.v25i3.263.
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Who writes what for whom? An authors’ profile of Afrikaans children’s and youth prose (fiction) 1990-2001 In this article a profile of authors in the production category Afrikaans children’s and youth prose (fiction) for the period 1990-2001 is compiled according to selected categories. The profile attempts to determine whether trends can be identified and statements and opinions of researchers with regard to this production category be corroborated by inferences drawn from this profile. Among others, the article addresses issues such as the age and gender of authors, the relation between authors and publishers and the influences of prices and awards on the publishing and writing patterns in this production category. It was found that a statistical analysis of authors involved in this publication category corroborated perceptions and findings of researchers in the field and can also identify and predict trends and problems.
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Steenberg, D. H. "Flitse van sosiale verandering in enkele postmodernistiese Afrikaanse romans." Literator 18, no. 3 (April 30, 1997): 91–102. http://dx.doi.org/10.4102/lit.v18i3.551.
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Glimpses of social change in some postmodernist Afrikaans novelsPostmodernist novels, and thus also Afrikaans postmodernist novels, are radically anti-traditional. In one respect, however, they maintain the tradition of Afrikaans fiction: they open perspectives on the development of the society from which they originate. Functioning in a multicultural community, the novelists' awareness often concerns the development of relations between different racial groupings in the South African society, which is seen as basically African. The breaking down of the (colonial) barriers between black and white by writers of historiographic metafiction - like John Miles and André Letoit - can perhaps be regarded the first step in the direction of social transition. Letoit hails Africa as the continent of promise, and authors like Berta Smit, Eben Venter and Etienne van Heerden present visions of a growing harmony between black and white in the new South Africa.
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Burger, Willie. "Historiese korrektheid en historiese fiksie: ’n respons." Tydskrif vir Letterkunde 52, no. 2 (February 17, 2015): 78. http://dx.doi.org/10.4314/tvl.v52i2.6.
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Historical correctness and historical fiction: a responseIn this article the relationship between history and fiction is examined in response to the historian, Fransjohan Pretorius’s criticism of recent Afrikaans fiction about the Anglo-Boer War in Tydskrif vir Letterkunde 52.2 (2015). The intricate relationship between history and fiction is examined by pointing, on the one hand to the problematic of the relationship between history and the past and on the one hand, to the difference between fiction and history. The function of aesthetic illusion, verisimilitude and conceptions of reference is investigated theoretically before turning to the specific novels that Pretorius discusses. The article shows that historical fiction cannot be restricted to novelized versions of accepted history, but that historical fiction also reminds the reader that the past is always culturally mediated and that the primary aim of novels is not to represent the past but to examine aspects of human existence. A comparison between fiction and history can therefore not be used as a norm to assess novels.
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Attridge, Derek. "Contemporary Afrikaans Fiction in the World: The Englishing of Marlene van Niekerk." Tekstualia 3, no. 46 (July 4, 2016): 129–42. http://dx.doi.org/10.5604/01.3001.0013.4213.
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Many of the most ambitious and important South African novels of the past fi fty years have been written in Afrikaans, but in order to reach a global audience the authors have had to turn to translators. Focusing on Marlene van Niekerk’s novels Triomf (1994; English translation by Leon de Kock, 2000) and Agaat (2004; English translation by Michiel Heyns, 2007), this article examines the challenges that this fi ction, and the particular character and social status of different varieties of Afrikaans, present to the translator, and discusses the signifi cance of the differences between versions addressed to an English-speaking South African readership and versions addressed to a global readership. Derrida’s claim that the only thing to be translated is the untranslatable is discussed, and the untranslatability of Triomf and Agaat, it is suggested, also means that they can only be translated and retranslated.
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Van Coller, H. P. "The Peregrination of Afrikaans Prose Fiction from Farm to City1." Journal of the Australasian Universities Language and Literature Association 2008, no. 109 (May 2008): 27–46. http://dx.doi.org/10.1179/000127908805259879.
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Wiggill, M. N., and G. F. De Wet. "Realistic teenage fiction with a sexrelated theme: Readers’ responses to Slinger-slinger by Francois Bloemhof." Literator 25, no. 3 (July 31, 2004): 217–38. http://dx.doi.org/10.4102/lit.v25i3.271.
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Francois Bloemhof submitted his novel for teenagers, “Slinger-slinger” for the Sanlam competition for youth fiction in 1996. Eventually this prizewinner in the beginners’ category was published in 1997. The main theme of “Slinger-slinger” is the sexual awakening and identity of teenagers. A study was undertaken to obtain the opinions of teenage readers about the success of “Slinger-slinger” as a whole, as well as to gauge the success of integrating sexual aspects in this novel. The study also served to obtain information about the reading needs of teenage readers with regard to realistic teenage fiction and teenage fiction with a sex-related theme. The findings of the study underlying this article indicated that the participating teenage readers regarded “Slinger-slinger” as successful and interesting, and that they would like to read more realistic Afrikaans teenage fiction such as “Slinger-slinger”.
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Buitendach, Samantha, and Elizabeth Le Roux. "Travelling Stories: Selling Translation Rights of Afrikaans Fiction to Dutch Publishers." Publishing Research Quarterly 34, no. 2 (April 24, 2018): 288–303. http://dx.doi.org/10.1007/s12109-018-9574-3.
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Wasserman, Herman. "Re‐imagining identity essentialism and hybridity in post‐apartheid Afrikaans short fiction." Current Writing 12, no. 2 (January 2000): 96–112. http://dx.doi.org/10.1080/1013929x.2000.9678087.
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Attridge, Derek. "Contemporary Afrikaans fiction in the world: The Englishing of Marlene van Niekerk." Journal of Commonwealth Literature 49, no. 3 (May 19, 2014): 395–409. http://dx.doi.org/10.1177/0021989414531591.
Full textDissertations / Theses on the topic "Afrikaans fiction"
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Trump, Martin. "South African short fiction in English and Afrikaans since 1948." Thesis, SOAS, University of London, 1985. http://eprints.soas.ac.uk/28643/.
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Prevailing critical practice tends to view South African literature as comprising a number of writing communities in the country whose works and concerns have little to do with each other. Hence literary works in English and in Afrikaans, by black and by white South African writers are rarely considered in relation to one another. Literary criticism in South Africa has, in other words, proceeded along much the same lines as the political determinations of the country, dividing the literature into distinct racial and linguistic camps. While I have chosen to consider South African short fiction with reference to different major writing communities in the country, an underlying principle of this study is the essential unity of South African literature. Works in different languages and by writers of different social groups are seen as comprising a single national literature. Consequently I have followed the practice throughout of frequently drawing comparisons between stories by writers in English and in Afrikaans, by black and by white writers. One sees as the study develops how works by writers in all of the communities are closely related to one another. Black and white South African writers share a host of common concerns in their works. The short story has been chosen as the genre for consideration in this work because it is a predominant literary form in all of the major South African communities. It has been at the cutting edge of developments in South African prose fiction since the 194-0's. The short story sharply illustrates not only historical and social changes in the country but also changing patterns within the writing communities. The historical context of this study is that of the short period of ascendency of Afrikaner nationalism during the 1950's and 1960's and the indications of this movement's gradual disintegration and collapse during the 1970's and 1980's. This is seen against the emergence of African nationalism as the most forceful adversary of white racism in South Africa. The section on the white short fiction in English takes as one of its key points of examination the notable range and diversity in its works; this is directly linked with the fact that this community is at a remove from the central historical clash between Afrikaner and African nationalisms. The short fiction of Afrikaners is considered in two phases, that of the 1950's and 1960's, and then from the 1970's on. In the first phase the writers were striving to modernize their prose tradition and to a great extent abandoned pressing local issues for an involvement in the fashionable trends and concerns of contemporary European and American writers. By the 1970's, however, Afrikaans writing returns to share the concerns of English South African writers about the ravages of apartheid in the region. Black short fiction of this era is viewed as dealing with a central tension in the black community: namely, the threat of violence against traditional values of communalism. The study concludes with an appraisal of the literature of apartheid assessing its place within African and international literary traditions. The principal writers discussed in this study are: Hennie Aucamp, Chris Barnard, H.C. Bosman, M.C. Botha, Breyten Breytenbach, Jack Cope, Achmat Dangor, Abraham De Vries, Ahmed Essop, Nadine Gordimer, Henriette Grove, P.J. Haasbroek, Bessie Head, Christopher Hope, Dan Jacobson, Elsa Joubert, Alex La Guma, E.M. Macphail, Mtutuzeli Matshoba, James Matthews, John Miles, Casey Motsisi, Es'kia Mphahlele, Mbulelo Mzamane, Njabulo Ndebele, Welma Odendaal, Alan Paton, Jan Rabie, Richard Rive, Sheila Roberts, Barney Simon, Can Themba, and Peter Wilhelm.
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Van, Huyssteen Konstant. "Populêre vs. literêre grensverhale : twee beelde van die Angolese oorlog (1966-1989)." Master's thesis, University of Cape Town, 1998. http://hdl.handle.net/11427/19512.
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Bibliography: pages 198-207.In this dissertation, a study is made of two bodies of fiction documenting the South African soldier in Angola. The fiction was limited to Afrikaans short stories, as this genre is believed to best reflect the fragmentary, explosive experience of combat. This demarcation also served as a way of limiting the body of fiction for the study. A cut-off year of 1990 was taken. The rationale for this is that the late seventies and eighties was the golden age for the publication of border fiction, and that Southwest AfricaNamibia gained independence in 1990 with a SWAPO (South West Africa People's Organisation) government, thus largely defeating the purposes of South African military involvement in Namibia and Angola. The collections of short stories that were analyzed in this study, were divided into two categories. The stories published in popular family magazines such as Die Huisgenoot were considered to be popular fiction. These stories are overtly accepting of South Africa's involvement in Namibia and Angola, and are highly propagandistic. The collections Ses Wenverhale (1988) by Maretha Maartens and others, and Verby die wit brug (1978) by Johan Coetzee, were analyzed as examples of this category. In the category of literary short stories, Wie de hel het jou vertel? (1988) by Gawie Kellerman and 'n Wereld sonder grense (1984) by Alexander Strachan were analyzed. It is important to note that the texts were selected thematically i.e. the criterium was that they had to have the South African soldier in South West AfricaAngola as main theme. Analyses of the texts are based on the thesis formulated by H P van Coller in his article "Afrikaanse literatuur oor die gewapende konflik in Suider-Afrika sedert 1963 - 'n voorlopige verslag". In this report, Van Coller mentions that studies comparing the literary border fiction with the popular border fiction, have been left behind. The study aims at examining this unexplored territory and looks extensively at how these two bodies of fiction differ. It was found that two radically different images of the border war emerge from the two bodies of fiction: the popular fiction is uncritical, war is presented more as an exciting game in the popular fiction, whereas it is presented as deadly, yet addictive, in the literary fiction. The ideological backgrounds from which the stories are written, are fundamentally opposed: the popular fiction often sees the war as a continuation of the white man's struggle for survival on a violent continent, and God is assumed to be on the South African side. The literary fiction documents a loss of God and criticises the government, censorship and apartheid. The literary fiction also fulfills a function of reporting - that which has not been said in the media due to censorship by government. The scope of the popular fiction is much narrower than the literary fiction, ignoring issues such as homosexuality in the army, torture and atrocities. Finally, the conclusions differ, with a sentimental "all will be well" in the popular fiction, as opposed to the fundamental pessimism in the literary fiction.
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Strydom, Gideon Louwrens. "Saligia." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1020884.
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When her life starts falling apart, a journalist and writer heads for a small rural town. Here the strange and wonderful tales about a local woman ignite her curiosity. As the town's secrets unravel she finds the truth behind all the fantasies. And in fighting her own demons she makes an unusual connection to this woman. She soon realises that this connection holds the key to her own salvation. Or her downfall.
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Shezi, B. K. "Vernuwing van maatskaplike norme as tema in afrikaanse jeuliteratuur vanaf 1985 tot 1995." Thesis, University of Zululand, 1999. http://hdl.handle.net/10530/1189.
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Dissertasie ingehandig by die Faculty of Arts ter vervulling van die vereistes vir die graad Magister Artium in Afrikaans aan die Universiteit van Zululand, South Africa, 1999.Hierdie studie behels ‘n ondersoek na jeugliteratuur, wat gesien word as verhale met eiesoortige kenmerke wat moet voldoen aan die sielkundige behoeftes van die tiener. Die doelwit is 'n ondersoek na die vernuwing van maatskaplike norme in Afrikaanse jeugliteratuur vanaf 1985 tot 1995. Hoewel maatskaplike norme ‘n sisteem vorm wat as gehee! deur die lede van die samelewing beheer moet word, kan die verhouding tussen verskillende rassegroepe uitgesonder word as die maatskaplike norm wat vir dekades ln groot bron van probleme in die Suid-Afrikaanse samelewing was, en nog steeds nie volkome opgelos is nie. Daar word dan in hierdie studie gekyk na die uitbeelding van die verhouding tussen verskillende rassegroepe in Afrikaanse jeugliteratuur, en die hipotese wat getoets word, is dat die veranderde norme in die samelewing gereflekteer sal word in literatuur vir jongmense ten einde hulle te help om as volwaardige volwassenes op te tree. Daar word tot die gevolgtrekking gekom dat daar nie in enigeen van die verhale wat ontleed is, enige negatiewe rassistiese voorstellings van swart of ander karakters op grand van rasseverskille voorkom nie. Die Suid-Afrikaanse samelewing word uitgebeeld as ongemtegreerd en daar word ook erkenning gegee aan die feit dat daar grense en ongelykhede bestaan tussen mense op grand van politieke en sosiale faktore. Daar word egter ook aan die ander kant erkenning gegee aan die nadelige gevolge van hierdie politieke stelsel, en dit is vera! belangrik dat karakters uit verskillende rasse- en sosiale groepe as innerlik gelykwaardig uitgebeeld word. Daar word klem gele op die sielsgenootskap tussen mense en die feit dat ons almal op die psigiese vlak dieselfde probleme en behoeftes het, en dat mense, ongeag hulle velkleur, mekaar kan help in die groeiproses tot groter lewenskennis en selfinsig.
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Hoogbaard, Sherrilyn. "'n Ondersoek na die armoede-diskoers en die uitings patriargie, bloedskande en apartheid in Triomf van Marlene Van Niekerk." Thesis, University of the Western Cape, 1996. http://etd.uwc.ac.za/index.php?module=etd&.
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Carvalho, Alyssa May. "The novel as cultural and historical archive: an examination of Marlene van Niekerk's Agaat (2006)." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1224.
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This research engages with a contemporary theoretical debate in the literary field, namely the ability of fictional texts to contribute to archival records. Contemporary research in archival discourse suggests that there are many intersections between fiction and the archive. Using Hamilton and others’ seminal text Refiguring the Archive (2002) and Pasco’s “Literature as Historical Archive” (2004) as point of departure, this dissertation offers an analysis of the South African English translation of Marlene van Niekerk’s Agaat (2004, translated 2006). In both form and function, the novel is viewed as a simulation of an archive. In Agaat, Van Niekerk has compiled a fictional archive of two indigenous South African cultures through her portrayal of the two main characters: Afrikaner culture during apartheid as embedded in the focalization of Milla de Wet and remnants of Khoi and/or San culture as emerge from the fictionalised subjectivity of her coloured housekeeper-nurse, Agaat. Through a conceptual and theoretical exploration of archival discourse, I argue that literary texts, such as Van Niekerk’s novel, have the potential to refigure (or creatively redefine) the archive and to enhance its scope and relevance, especially as South Africa undergoes transformation.
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Scheepers, Adriana Wilhelmina. "Die verhouding tussen autobiografiese feit en fiksie in die kortverhaaloeuvre van Koos Prinsloo." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/22463.
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Bibliography: pages 336-354.Tegniese en tematiese vernuwing, aansien én verguising van sy literêre werk, 'n opsienbare openbare lewe én dood - dit alles het bygedra dat Koos Prinsloo bykans 'n kultusfiguur geword het en dat sy skrywersloopbaan en literêre arbeid 'n uiters interessante, maar komplekse studieterrein is. Verskeie artikels en nagraadse studies oor uiteenlopende aspekte van Prinsloo se verhale is reeds voltooi, maar daar is nog geen sistematiese ondersoek gedoen oor die verhouding tussen feit en fiksie soos dit na vore kom in sy vier bundels nie. Met die skrywer se afsterwe in Maart 1994 is sy oeuvre afgesluit. Dit is dus vir die navorser moontlik om tot bepaalde gevolgtrekkings te kom ten opsigte van 'n volledige korpus tekste. Die werkswyse in hierdie studie is om Prinsloo se verhaalbundels in chronologiese volgorde te ontleed, te bepaal watter verhale outobiografiese merkers vertoon, na te gaan watter tegnieke die skrywer gebruik het om sy tekste te fiksionaliseer/defiksionaliseer, en wat die funksies en konsekwensies is van die byhaal van die "werklikheid" by die fiksionele. Die uitsprake van kritici word by elke bundel gegee, met die navorser se reaksie op die kritiek. As gevolg van die omvang van hierdie studie, word daar nie aandag gegee aan die (meer omvattende) verhouding tussen "feit" en "fiksie" in Prinsloo se oeuvre nie. Sodanige studie sal meebring dat die talryke dokumentêre verwysings in sy werk nagevors en die funksionaliteit daarvan bepaal word. Hierdie studie konsentreer net op die verhouding tussen die outobiografiese feit en fiksie in sy werk, maar verwys, waar nodig, na sommige van hierdie dokumente.
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Jordaan, Margarethé Maria. "Die representasie van slaafskap in 'Die kremetartekspedisie' deur Wilma Stockenström : die voorstelling van die onvoorstelbare." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51721.
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Thesis (MA)--Stellenbosch Universiteit, 2000.ENGLISH ABSTRACT: In this study the role played by literature or fiction in historiography is investigated. Firstly, the problem of representing an "objective reality" is outlined, and subsequently applied to the domain of historiography by questioning terms such as "objectivity", "reality" and "truth". Due attention is given to changing perceptions about the nature of history writing. It is indicated that historiography cannot render or recreate the past as something which is present here-and-now and, therefore, that history writing is of necessity always an interpreted and subjectively construed representation of an ephemeral "reality". Against this background the thesis focuses on that part of South African history (slavery) which for a variety of reasons lacks a formalised historiography. It is indicated how the "gaps" created by the failures of formalised historiography can be "filled" by the suggestive power of the literary imagination. Wilma Stockenstrëm's Die kremetartekspedisie (1981) is used to exemplify the above claims by specifically noting how the personal slave experience is described through the literary imagination in Die kremetartekspedisie.
AFRIKAANSE OPSOMMING: In hierdie studie word daar ondersoek ingestel na die moontlike rol wat letterkunde of fiksie kan speel in die geskiedskrywingsproses. As agtergrond word die problematiek rondom die bestaan en voorstelling van 'n 'objektiewe werklikheid' bespreek en uitgebrei na die terrein van die historiografie deur die bevraagtekening van terme soos 'objektiwiteit', 'werklikheid' en 'waarheid'. Daar word aandag geskenk aan verskuiwende persepsies oor die aard van geskiedskrywing en aangedui dat historiografie nooit die verlede teenwoordig kan stel nie en dat geskiedskrywing altyd 'n geïnterpreteerde en subjektief-gekonstrueerde representasie van 'n verbygegane 'werklikheid' is. Teen hierdie agtergrond word daar spesifiek gelet op 'n gedeelte van die Suid-Afrikaanse geskiedenis wat, as gevolg van verskeie redes, 'ontbreek' in formele geskiedskrywing, naamlik slawerny. Daar word aangedui hoe hierdie gapings op suggestiewe wyse deur die literêre verbeelding 'gevul' kan word. Die kremetartekspedisie deur Wilma Stockenstr6m dien as voorbeeldteks om bogenoemde punt te illustreer deur spesifiek te let op die wyse waarop 'n slavin moontlik haar persoonlike ervaring van haar slaafskap sou kon verwoord soos dit in Die kremetartekspedisie deur die literêre verbeelding gedoen word.
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De, Vries D. W. "'n Ondersoek na die verskynsel literere spanning aan die hand van Deon Meyer se roman Proteus." Thesis, University of the Western Cape, 2016. http://hdl.handle.net/11394/5667.
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Magister Artium - MAIn these novels suspense plays an important role, but elements that are usually found in literary works are also prominent in these narratives, for instance the fleshing out of characters' psyche and working with philosophical or current issues. In rhetorical terms these novels can be said to be suspense novels that make use of literary devices and themes. Novels by Deon Meyer fit into this category. In the Netherlands translations of his works are to be found among 'literaire thrillers' in bookshops. Therefore one of Meyer's novels was chosen for analysis. In this study the ways in which suspense is created in a narrative text is investigated. Proteus, a literary thriller, was chosen for its handling of characters and events in the transition in South Africa from an apartheid state to a democratic dispensation. This poses an intricate challenge for the writer. The reseach problem posed is this: How is literary suspense created in a narrative text? The creation of suspense in a narrative text has to do with literary communication. For this reason Roman Jakobson's well-known model for literary communication is at the basis of this research. Rene Appel's criteria for the creation of suspense in narrative texts, as it is explained in his work Spanning in verhalen: Over het schrijven van spannende boeken (2007), is also part of this study at its theoretical base. Various relevant sources have been included in this regard. In this formalistic study various elements pertaining to suspense in the narrative are part of the research in terms of isolating the ways in which suspense is produced in a narrative text in general and specifically in the case of Proteus. Also in this regard the novel's literarity is discussed.
South Africa
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Buitendach, Samantha Angelique. "Selling translation rights in trade publishing : case studies of Dutch translations of Afrikaans fiction in the Netherlands and Belgium." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/66256.
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The reading and buying market for Afrikaans fiction is limited due to historical and economical reasons. It can thus be argued that in order to expand the market for South African Afrikaans trade publishers and authors' novels, a work needs to be translated via the selling of translation rights with the assistance of the publisher or literary agents, into a language that has similar needs in terms of cultural consumption, for example book reading culture. Due to the colonial influence of the Dutch on South African culture and the development of Afrikaans, this study explores the selling of translation rights of Afrikaans fiction to trade publishers in The Netherlands and Belgium. The polystem theory is also used to illustrate the movement of languages from a peripheral position to semi-peripheral and central position within a global literary polysystem. A qualitative and exploratory research design is used. Secondary research in the form of a literature review combines theoretical information, clarifies terms and provides context from which primary research develops. In terms of primary research, interviews with key informants in the Belgian, Netherlands and South African publishing industry were conducted. Case studies of South African crime author Deon Meyer, and historical romance author Irma Joubert provide in-depth analysis of success factors, process and factors that influenced the selling of subsidiary rights to Dutch trade publishers. Lastly, visibility and discoverability of Afrikaans fiction on an international rights trading platform, as well as interaction amongst South African and foreign publishers were observed, at the largest book rights fair, the Frankfurt Book Fair. The findings of this study provide practical information and act as reference guide to role players in the publishing industry, including authors, trade publishers and literary agents. Recommendations for best practice in the selling of subsidiary rights are included, as well as initiatives for further research, experimentation, investment and development of the selling of subsidiary rights to European trade publishers to ultimately grow the Afrikaans fiction book buying and reading markets.Dissertation (MIT)--University of Pretoria, 2017.
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Books on the topic "Afrikaans fiction"
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Roderigues, Jan. Ongeslyp: Skitterende staaltjies van lank gelede. Pretoria: Protea Boekhuis, 2019.
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G, Du Plessis P. Kortetjies en 'n lange: Outobiografiese verdigsels soos bygelig. Kaapstad: Tafelberg, 2009.
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H, De Vries Abraham, ed. Eeu: Honderd jaar van Afrikaanse kortverhale. 5th ed. Kaapstad: Human & Rousseau, 1996.
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1924-, Scholtz Merwe, ed. Verteillers: Die groot afrikaanse verhaalboek. Kaapstad: Tafelberg, 1990.
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Theodorus, Cloete Theunis, ed. Dit kom van ver af: 'n storieverskeidenheid. Pretoria: Litera, 2002.
Find full textBook chapters on the topic "Afrikaans fiction"
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Attridge, Derek. "Afrikaans Modernism and the Anglophone Reader: Etienne van Heerden’s 30 nagte in Amsterdam." In Forms of Modernist Fiction, 118–30. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781399512459.003.0009.
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This chapter focuses on writing in Afrikaans, beginning with a description of the language and a survey of writers who have used it in inventive ways. Writers who use Afrikaans depend on translation to reach a global audience. The relation between translation and singularity is considered in the light of Jacques Derrida’s comments on translation. A passage from Etienne van Heerden’s novel 30 nagte in Amsterdam that employs a modernist style and its translation by Michiel Heyns is analysed to demonstrate some of the challenges faced by the translator. The novel’s untranslatability is not separate from its translatability and retranslatability.
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"Collective Trauma in Modern Afrikaans Fiction." In Traumatic Imprints: Performance, Art, Literature and Theoretical Practice, 165–73. BRILL, 2011. http://dx.doi.org/10.1163/9781848880856_019.
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Broodryk, Chris. "Jungian Reflections on South African Cinema." In Exploring the Collective Unconscious in the Age of Digital Media, 197–213. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9891-8.ch008.
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This chapter explores how, in the aftermath of apartheid, Oliver Hermanus' film Skoonheid (2011) can serve as a healing fiction by inviting an engagement with present and past political and personal conflicts and resisting a type of cultural amnesia. In particular, this chapter draws on Jungian film studies to explore key scenes in Skoonheid that demonstrate the effects of a frustrated individuation process that nonetheless offers possibilities for the viewer to consider ways of healing. To position Skoonheid as healing fiction, the chapter utilises the work of James Hillman, amongst others, to conceptualise notions of healing. The chapter also locates the film against the historical backdrop of an Afrikaans-language cinema that traditionally privileged an inflexible white male subjectivity. In contrast, Skoonheid shows the Afrikaans-speaking white male as inhabiting a space of perceived disempowerment and loss, where the soul should still strive towards meaningful acts within a collective, within a community.
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"8. Afrikaans Modernism and the Anglophone Reader: Etienne van Heerden’s 30 nagte in Amsterdam." In Forms of Modernist Fiction, 118–30. Edinburgh University Press, 2023. http://dx.doi.org/10.1515/9781399512473-010.
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Roberts, Sheila. "Inheritance in Question: The Magical Realist Mode in Afrikaans Fiction." In Postcolonizing the Commonwealth, 87–97. Wilfrid Laurier Press, 2006. http://dx.doi.org/10.51644/9780889206076-009.
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Attridge, Derek. "Contemporary Afrikaans Fiction and English Translation Singularity and the Question of Minor Languages." In Singularity and Transnational Poetics, 61–78. Routledge, 2014. http://dx.doi.org/10.4324/9781315773629-4.
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MacKenzie, Craig. "Gray, Stephen (1941–)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem1972-1.
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Novelist, poet, dramatist, and critic Stephen Gray was born in Cape Town and educated at the universities of Cape Town, Cambridge, and Iowa, where he was a member of the Iowa Writers Workshop. He edited Granta while at Cambridge and taught in France for some years before taking up a position at the Rand Afrikaans University (now the University of Johannesburg) in 1969, where he taught for some 20 years and became Professor of English. He took early retirement in 1991 and has since then worked as a freelance writer. The author of several works of poetry, drama, and fiction, Gray is also South Africa’s foremost anthologist and literary historiographer. Stephen Gray’s early novels are the satirical Local Colour (1975) and Invisible People (1977), and the historical Caltrop’s Desire (1980). His fascination with history is also reflected in John Ross: The True Story (1987), a fictionalized treatment of the life of Charles Maclean (‘John Ross’), a ship’s boy who survived a shipwreck off the Natal coast in 1825 and spent several years at the court of King Shaka. Later novels include Time of Our Darkness (1988), Born of Man (1989), and the semi-autobiographical War Child (1991). His autobiography, Accident of Birth, appeared in 1993.