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Journal articles on the topic 'Afrikaans poetry'
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1
Van der Elst, J., and C. Reinecke. "Die Afrikaanse poësie vir kykers." Literator 21, no. 1 (April 26, 2000): 69–84. http://dx.doi.org/10.4102/lit.v21i1.443.
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Afrikaans poetry for viewers The purpose of this article is to create an awareness of the visual or socalled physiognomic aspects of poetry in Afrikaans. Several examples of Afrikaans poems with a visual presence are given. Visuality in poetry is not a new phenomenon. It is of course linked to the emergence of concrete poetry which was formally named thus by Eugen Gomringer and Decio Pignatari in 1955. A fully-fledged and complete volume of concrete or visual poetry in Afrikaans was created by Willem Boshoff during the seventies and published in 1980. The physiognomically striking Afrikaans poems can be classified and studied according to the physical size of the visual element responsible for the overall impact of the poem. Several forms of these elements and their impact on the relevant poems are discussed in this article, which is based on an exploration of more than 500 volumes of poetry, in order to get an overview on visuality in Afrikaans poetry from the beginning of this century until 1989.
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Crous, Marius. "Afrikaans poetry: New voices." Current Writing 21, no. 1-2 (January 2009): 200–217. http://dx.doi.org/10.1080/1013929x.2009.9678318.
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Willemse, Hein. "Soppangheid for Kaaps: Power, creolisation and Kaaps Afrikaans." Multilingual Margins: A journal of multilingualism from the periphery 3, no. 2 (November 7, 2018): 73–85. http://dx.doi.org/10.14426/mm.v3i2.42.
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In this contribution, the dignity of speakers of Cape Afrikaans (Kaaps) is discussed withreference to the need for bi-dialectic tuition at school and Afrikaans poetry writtenin the Cape eye dialect. It is argued here that, besides Standard Afrikaans, a greaterawareness of language varieties must be cultivated in education and the media sothat learners develop the ability to control a variety of language registers. Further themanifestation of Kaaps, as eye dialect, is discussed at the hand of poetry examples.Here it is found that poets often stereotypically affirm topics in their poetry writtenin dialect format. The hope is expressed that the dignity of Kaaps Afrikaans in poetrycan be attained with multiple rhetorical strategies. The soppangheid, dignity, of Kaapsis not only a linguistic issue, but can also serve as a confirmation of the dignity of allAfrikaans speakers.
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De Beer, A. M., and H. J. G. Du Plooy. "Ruimte as tema en metafoor in die poësie van enkele vroulike Afrikaanse digters: 1994-2005." Literator 32, no. 1 (June 22, 2011): 73–98. http://dx.doi.org/10.4102/lit.v32i1.4.
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Space as theme and metaphor in the poetry of selected female poets in Afrikaans: 1994-2005This article illustrates that the representation of physical and abstract space is exceptionally prominent in the work of female poets in Afrikaans who published poetry between 1994 and 2005. The possibility that a “female consciousness” influences the use of spatial metaphors is put forward (but not proved).Following the theoretical insights of Pierre Bourdieu, the relationship between society and art is explored, and consequently the importance of the postcolonial context of Afrikaans poetry published between 1994 and 2005 forms part of the analyses of the thematic and metaphorical aspects of the selected poems. Examples of the salient aspects of representations of space,both as theme and as metaphor, in the work of female Afrikaans poets are discussed in more detail before some preliminary conclusions are put forward.
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Venter, Eben. "Olga Kirsch: ’n Vreemde boom op hierdie aarde / Olga Kirsch: A Strange Tree on This Earth." Werkwinkel 9, no. 2 (November 1, 2014): 17–28. http://dx.doi.org/10.2478/werk-2014-0010.
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Abstract The article traces the lasting alienation of Olga Kirsch (1927-1994), a Jewish-born South African poet, as represented in her seven volumes of Afrikaans poetry published between 1944 and 1983. Growing up in a devoutly Christian, Afrikaans-speaking rural community, she found herself an outsider. The conditions at home brought little comfort, while the awareness of the racial discrimination which permeated society further contributed to her isolation. Seeking for a heimat, she emigrated to Israel at the age of 24. Reading her poetry, it becomes clear that here, too, she remained a stranger, continuing to write and publish in Afrikaans.
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Cochrane, Neil. "'n ope brief aan Dorian Gray en 'n peiling van die Afrikaanse resensiebedryf." Tydskrif vir Letterkunde 55, no. 1 (March 19, 2018): 175–86. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i1.4384.
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The young Afrikaans poet, Ruan Fourie, published his debut volume of poetry, 'n ope brief aan Dorian Gray, in 2017. Fourie's debut received predominantly negative reviews from Afrikaans critics. A review by Afrikaans critic, Tom Gouws, was particularly destructive and transgressed acceptable professional standards. This example of destructive criticism is scrutinized in relation to similar transgressions in Afrikaans book reviews. In addition, a comparable Irish case study and theoretical viewpoints by Van Rees and Janssen are considered to provide a nuanced perspective on current practices in Afrikaans literary criticism. The article also focuses on the responses of Odendaal and Spies to Fourie's poetry to provide a critical and independent opinion on aspects such as publishing decisions, mentorship, manuscript development and editorial mentorship. The last part of the article consists of a substantiated evaluation of 'n ope brief aan Dorian Gray. It is concluded that despite evidence of creative talent, there are too many shortcomings due to questionable editorial mentorship and impetuous publishing decisions.
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Du Plooy, H. "Elisabeth Eybers: die volgehoue 'edel spel'." Literator 12, no. 3 (May 6, 1991): 59–70. http://dx.doi.org/10.4102/lit.v12i3.779.
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This article pays tribute to Elisabeth Eybers who was not only the first woman to publish a volume of poetry in Afrikaans, but who has also received numerous awards for her poetry over the years. She has recently been awarded the P.C. Hooftprijs, the most prestigious literary award in the Netherlands. The relevance of her work is indicated by a discussion of her unique position in the Afrikaans and Dutch literary worlds, and by proposing a new reading of a well-known poem to illustrate the point of view that good poetry can always be reread in relevant ways.
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Van Zyl, D. "Afstand en vereenselwiging: Perspektiewe op die veranderende betekenisse van boer en Boer in die Afrikaanse poësie." Literator 21, no. 3 (April 26, 2000): 1–22. http://dx.doi.org/10.4102/lit.v21i3.492.
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Distance and identification: Perspectives on the changing connotations of boer and Boer in Afrikaans poetry A comparison of various lemmas on boer/Boer in a number of dictionaries, as well as research on the application of these terms in a variety of poetic (and other) texts written during the 19th and 20th century, reveals interesting similarities and dissimilarities regarding both the definition and the utilization of the terms in Afrikaans and Dutch texts. In Afrikaans and in Afrikaans poetry, where Boer (and sometimes boer, under influence of the values attributed to Boer) is often used as an ethnonym, different meanings of the term correspond with the historical, sociological and ideological context. Alternatively, both terms are employed negatively, suggesting a perspective of distance, and positively, implying proximity and identification. The option selected depends on the specific intent and the context, but the terms are often used ambiguously, reflecting a multiplicity of meaning(s).
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Vos, CJA. "Maar my voete wil nou sing." Verbum et Ecclesia 27, no. 1 (November 17, 2006): 237–44. http://dx.doi.org/10.4102/ve.v27i1.151.
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In this article the author takes a closer look at biblical erotica through the eyes of poetry on the one hand and contemporary Afrikaans poetry on the other. By way of conveying some thoughts on texts in Song of Songs (along with other assorted scriptural texts) the ideas regarding sexuality encountered therein are made to converse with a careful selection of a number of Afrikaans poems to express in homiletical fashion something about the wonder and mystery of this greatest of Heaven’s gifts bestowed upon the human condition – the divine spark.
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Odendaal, B. "Waardepeilings van die digkuns van C.M. van den Heever." Literator 24, no. 1 (August 1, 2003): 19–36. http://dx.doi.org/10.4102/lit.v24i1.278.
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Evaluations of the poetry of C.M. van den Heever This article traces the assessments of the value of the poetic work by the Afrikaans author C.M. van den Heever since the second quarter of the twentieth century. Appreciation of him as poet mainly revolves around his role as transitional figure in the important renewal of Afrikaans poetry in the 1930s, as can be seen from two rather divergent critiques by D.J. Opperman (completed in 1946 and 1952, respectively). An outstanding contribution by Van den Heever in this regard is the introduction of elements of Dutch poetry from around the turn of the nineteenth century to the Afrikaans literary world. A critic such as T.T. Cloete, in an article dating from 1957, convincingly argues that aspects of Van den Heever’s poetic style and technique, which other critics had sometimes judged harshly, are largely functional in co-communicating the specific (passively transcendental) attitude towards life and reality conveyed in Van den Heever’s work. Local and international shifts in the dominant literary approaches, however, have caused singularly confessional poetry – such as the bulk of Van den Heever’s poetic output – to be increasingly marginalised since the mid- 1930s. In this respect he shares the fate of Dutch poet A. Roland Holst, whose poetry was influential in shaping the characteristics of Van den Heever’s.
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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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GARDINER, MICHAEL. "‘ONDER ANDER’: WOPKO JENSMA'S POETRY IN AFRIKAANS." English Studies in Africa 40, no. 2 (January 1997): 43–56. http://dx.doi.org/10.1080/00138399708691258.
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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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Van Rensburg, F. I. J. "Psalmberyming in Afrikaans." Verbum et Ecclesia 27, no. 3 (September 30, 2006): 1077–94. http://dx.doi.org/10.4102/ve.v27i3.205.
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The article maps the process by means of which the versification of the Hebrew Psalms in Afrikaans, with its goal of acceptance by the relevant clerical bodies and their ecclesiastical community as a whole, ran its course. The process is illustrated by the history of the two versifications officially commissioned and approved by the mainstream Afrikaans churches, namely those of Totius (professor J D du Toit) and professor T T Cloete, more than half a century separated in time and trend (1937 and 2001 respectively). In view of the fact that both versifiers, as well as professor Lina Spies and dr. Antjie Krog who additionally contributed versifications of a few Psalms, are high profile poets, the evaluation of their work does not only take into account the factor of veracity (compliance with the Hebrew original), but also that of linguistic and stylistic excellence, the Psalms being regarded as poetry.
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Van Rensburg, F. I. J. "Afrikaanse oorlogspoësie na Sestig II." Literator 15, no. 2 (May 2, 1994): 55–66. http://dx.doi.org/10.4102/lit.v15i2.663.
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In this, the second and final article on the study of Afrikaans poetry dealing with aspects of the South African war since the Sixties, an assessment is made of the moral stance adopted by poets vis-a-vis the conflict, while the main characteristics of the war poetry of this period are contrasted with those of the period preceding it.
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Viljoen, Louise. "“Die hart ’n droë blaar”: Verlies, rou en melancholie in Olga Kirsch se Afrikaanse poësie / “The heart a dry leaf”: Loss, Mourning and Melancholia in Olga Kirsch’s Afrikaans Poetry." Werkwinkel 9, no. 2 (November 1, 2014): 31–58. http://dx.doi.org/10.2478/werk-2014-0011.
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Abstract Reading Olga Kirsch’s Afrikaans poetry, one is struck by the important role that the experience of loss occupies in her oeuvre. It is evident in the first two volumes of poetry she published while still living in South Africa, as well as in the five volumes she published after emigrating to Israel in 1948. Because her poetry, especially the volumes written in Israel, exudes an air of melancholy, this article uses Freud’s writings on loss, mourning and melancholia, as well as the historical tradition preceding his work, as a guideline in exploring the way in which the experience of loss, mourning and melancholy is portrayed in Kirsch’s oeuvre. The article focusses on the way in which loss is portrayed in her poetry: her sense that the Jewish experience of loss over the centuries forms part of her history and identity, the way in which she experiences the loss of South Africa and the language Afrikaans in which she is best able to express herself poetically when she emigrates to Israel, the way in which the loss of her father and mother at different times in her life affected her, her feeling that her experience of loss and the ensuing melancholy are carried over to her children.
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Viljoen, Louise. "Of Chisels and Jackhammers: Afrikaans Poetry, 2000–2009." Current Writing 23, no. 1 (May 2011): 17–34. http://dx.doi.org/10.1080/1013929x.2011.572341.
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Nel, Hennely. "Interseksionele feminisme in Afrikaanse poësie: Lynthia Julius se Uit die kroes." Tydskrif vir Letterkunde 61, no. 1 (June 26, 2024): 46–65. http://dx.doi.org/10.17159/tl.v61i1.16067.
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In the current transnational discourse on fourth-wave feminism, “intersectional feminism” is a fundamental concept. The representation of marginalised voices of especially Black women from underrepresented contexts, such as the Global South, is emphasised in an attempt to decolonise the formal domains of literature, academia and the media. Historically, there is a gap in the representation of diverse Black female voices in South African literatures. However, there has recently been an increase in the publication of the literary texts by previously marginalised voices, especially in Afrikaans poetry. Diverse perspectives are shared regarding the complexities of the intersection of identity categories including race, gender, culture, identity, class, language and socioeconomic status in South African society, and how it affects the previously marginalised. A voice that represents intersectional feminist issues in the South African and Afrikaans contexts can be found in Lynthia Julius’s debut poetry book, Uit die kroes (From the kroes, 2020). In this article, the significance of Julius’s unique, intersectional feminist viewpoint, with stories and perspectives from the Northern Cape, is investigated. The focus is specifically on how Julius represents a ‘triple marginalised’ voice in the South African and Afrikaans contexts with regard to her gender, race and language. Furthermore, I will discuss how the uniqueness of her collection of poems and Northern Cape Afrikaans, that have rarely been provided with a platform in the Afrikaans literary canon, contribute to giving a voice to the historic ‘voiceless’. The importance of Julius’s voice and how it highlights the heterogeneity of previously marginalised groups in South Africa, are also explored. In conclusion it is argued that the publication of poets with diverse intersectional feminist perspectives, such as Julius, can be deemed a positive step in the direction of the decolonising process of the Afrikaans literature and feminism.
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Crous, M. "Aspekte van die outeursfunksie in Antjie Krog se Lady Anne (1989)." Literator 23, no. 3 (August 6, 2002): 1–16. http://dx.doi.org/10.4102/lit.v23i3.340.
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Aspects of the author function in Antjie Krog’s Lady Anne (1989) The purpose of this essay is to investigate the Foucauldian notion of the so-called “author function” in Antjie Krog’s seventh volume of poetry, viz. Lady Anne (1989). It is an attempt to show how the notion of the death of the author (Barthes) links up with this theorisation of Foucault. Furthermore, it is also an attempt to indicate the characteristic features of the so-called “author function” in the late eighties in Afrikaans poetry, especially with regard to the conflict between aestheticism and political ideology in poetic expression. Focus is also placed on the role of the author’s name within the discursive framework of what is regarded as “Afrikaans literature”, as well as the author’s interaction with other authors within that discursive framework, in particular, Breyten Breytenbach.
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Cloete, T. T. "Tendense in vyf nuwe digbundels." Tydskrif vir Letterkunde 47, no. 1 (October 23, 2017): 145–55. http://dx.doi.org/10.17159/tl.v47i1.3352.
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This article reviews five recent (2008–2009) Afrikaans poetry collections by Antjie Krog, Johann de Lange, Joan Hambidge, Danie Marais and Loftus Marais respectively. Through an integrative discussion the reviewer establishes a number of key tendencies such as these poets’ ongoing concern with the nature of poetry or the act of writing, their exploration of intertextual meaning, their parodying or debunking of poetic conventions or their poetical appropriation of the ordinary.
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Vosloo, FA. "In a burning sea. contemporary afrikaans poetry in translation." Tydskrif vir letterkunde 52, no. 2 (September 14, 2015): 256. http://dx.doi.org/10.4314/tvl.v52i2.33.
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Van der Elst, J. "Regional and current problems in South Africa and their impact on literature with remarks on the evaluation of the Afrikaans Novel." Literator 6, no. 1 (May 9, 1985): 1–9. http://dx.doi.org/10.4102/lit.v6i1.893.
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My paper centres round a specific situation and its impact on literature in South Africa with special reference to the modern novel in the Afrikaans language and the literary evaluation of the novel. This does not mean that I exclude references to the other genres, poetry and dram a and to literatures in other languages within the South African context. Many of you might know but to clarify I would like to point out that I refer to Afrikaans as the Germanic language originating from the 17th century Dutch mother tongue of approximately 3 ½ million South Africans.
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van der Vlies, Andrew. "Beyond Impasse: Affect and Language Community in Select Contemporary Afrikaans Lyric Poetry." ariel: A Review of International English Literature 54, no. 3-4 (July 2023): 189–215. http://dx.doi.org/10.1353/ari.2023.a905714.
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Abstract: Stasis and impasse register as conditions of interrupted development in many examples of postapartheid South African writing, works that engage the affective discontents of the transition from white minority rule to a future that has not quite materialised as promised. Much extant scholarship on this body of work attends to prose and to texts written in English. This essay takes two collections of poetry published in South Africa in Afrikaans in 2016—Ronelda Kamfer's Hammie and Bibi Slippers' Fotostaatmasjien —as case-study examples of how lyric poetry in this contested language might model a way out of postcolonial (and postapartheid) malaise. These poets' lyrics are performances in a language whose ongoing, creolizing nature is exploited and advanced by their refusal of conventions that historically linked Afrikaans to white nationalist politics. Kamfer's and Slippers' work evokes—and provokes—an excess of continuity whose multiple affective resonances are testimony to the possibilities that lie beyond stasis.
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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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Matjila, Daniel Sekepe. "Water as a metaphorical marker in Setswana and Afrikaans poetry." South African Journal of African Languages 43, no. 1 (January 2, 2023): 25–30. http://dx.doi.org/10.1080/02572117.2022.2139940.
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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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Coetser, J. L. "KWU-werkersklasdramas in Afrikaans (ca. 1930 - ca. 1950)." Literator 20, no. 2 (April 26, 1999): 59–76. http://dx.doi.org/10.4102/lit.v20i2.470.
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GWU working class theatre in Afrikaans (ca. 1930 - ca. 1950)In 1984 Elsabé Brink drew attention to plays, prose and poetry written between 1930 and 1950 in Afrikaans by members of the Garment Workers’ Union (GWU). Scholars such as Stander and Willemse (1992), Van Niekerk (1996) and Van Wyk (1995, 1997) have also referred to GWU plays. Apart from these overviews, GWU plays as such have not yet received the attention they deserve. This article presents a revaluation, initially by providing an overview of their contents, followed by an examination of cultural, economic and political influences. It is argued that - retrospectively - the GWU plays reflected a unique cultural specificity from the framework established by Sitas (1986) for more contemporary working class theatre.
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Marais, J. L. "’n Kort herbetragting van Uys Krige se prosa met verwysing na 'The dream' as sleutelteks." Literator 9, no. 3 (May 7, 1988): 19–28. http://dx.doi.org/10.4102/lit.v9i3.852.
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Uys Krigc’s prose has always received less attention from scholars of the Afrikaans literature than his poetry, translations and plays, Krige was never awarded any Afrikaans literary prize for his prose, which evoked comparatively little interest from Afrikaans scholars. This article discusses possible reasons for the above situation regarding Krige’s prose, followed by a critical discussion of several factors that were decisive in the canonization of Krige as a poet, translator and playwright rather than as a prose writer. These include factors such as the reception of Krige’s prose in comparison with the other genres that he practised, and the compilation of anthologies, a practice by which texts are published in a context that differs from the original. The short story “The dream” (from The dream and the desert, 1953) is then discussed briefly, indicating several key features of Krige’s prose as contained in this text. The article concludes with a view that a reassessment of Krige’s work will probably show him to have been a better prose writer than a poet, contrary to past and, to a large extent, present assumptions.
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Spies, Lina. "Die poësie van Olga Kirsch: Tuiskoms in vreemdelingskap / The Poetry of Olga Kirsch: Homecoming in Exile." Werkwinkel 9, no. 2 (November 1, 2014): 73–98. http://dx.doi.org/10.2478/werk-2014-0013.
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Abstract In writing my article on the poetry of Olga Kirsch I proceed from each poet’s consciousness of the relationship of tension between his humanity and the art he practises. In the case of Olga Kirsch this inner discord was rendered in her humanity. As second recognised Afrikaans woman poet, after Elisabeth Eybers, she was Jewish by birth and English-speaking, although by her own claim Afrikaans, through her environment and school, was stronger than the English of her parental home. In Olga Kirsch’s debut volume Die soeklig (1944) she professes the youthful heart’s restless longing for romantic love in poems still far too trapped in clichéd language. I linger extensively at these so that the great breakthrough of her talent in her second volume, Mure van die hart (1948), can be clearly evident. In strong, stripped-down poems she expresses the Zionistic longing of the Jew in the diaspora for the lost homeland, intensified by the Jewish suffering in the Second World War, with specific reference to the Holocaust in “Die wandelende Jood” and “Koms van die Messias.” After Kirsch’s emigration to Israel in 1948 a silence of twenty-four years followed which was unexpectedly interrupted with the 1972 publication of a thin volume, Negentien gedigte, which impressed especially with “Vyf sonette aan my vader,” which I discuss in detail. In 1975 she visited her native land again and the direct contact with Afrikaans and with the country acted as stimulus for her volume Geil gebied of 1976. The “geil gebied” (fertile area) is a metaphor for the rich subsoil of the poem and for the poem itself. In my discussion of Negentien gedigte and Geil gebied I concentrate on her inner dividedness as being inherently part of her human nature, enhanced by the knowledge that she remained irrevocably attached to her native land and to her Jewish homeland. I point out that the only way she can be healed of this dividedness is by writing her another self in her poems in which she arrives home in both countries, the omnipresence of God and the presence of the beloved husband. Lastly I indicate Olga Kirsch’s enduring place in the Afrikaans tradition of poetry through her procreative influence on other poets or by the way they relate to her poetry.
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Jordaan, D. J. "Fallosentrisme, feminisme en die lesbiese paradoks: Chauvinisties-getinte aantekeninge oor die erotiek in die jongere Afrikaanse poësie." Literator 13, no. 2 (May 6, 1992): 55–68. http://dx.doi.org/10.4102/lit.v13i2.741.
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In this article the author examines aspects of recent Afrikaans erotic poetry, with particular reference to the work of Johann de Lange and Joan Hambidge. Deliberately disregarding psychological and sociological research as a basis for an analysis of gay and lesbian literature, the conclusion arrived at is that the erotic poetry of Hambidge exhibits, paradoxically, a male-oriented viewpoint regarding sexuality. This paradox is the result of language being man-made - a process which has the effect that women’s feelings and experience cannot be expressed without being 'contaminated', resulting in the undermining of the feminist ideal of the ‘woman-identified-woman’.
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Wessels. "The Outsider as Insider: The Jewish Afrikaans Poetry of Olga Kirsch." Prooftexts 29, no. 1 (2009): 63. http://dx.doi.org/10.2979/pft.2009.29.1.63.
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Naudé, Jacobus. "Representation of poetry in Afrikaans Bible translations: A corpus-based analysis." Language Matters 35, no. 1 (January 2004): 226–47. http://dx.doi.org/10.1080/10228190408566214.
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Odendaal, Bernard. "An Attempt at Periodizing Recent (Southern African) Afrikaans Poetry (1955-2012)." Athens Journal of Philology 3, no. 2 (May 29, 2016): 97–116. http://dx.doi.org/10.30958/ajp.3.2.3.
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Bonthuys, Marni. "’n Interseksionele ondersoek: Godsdiens, feminisme, identiteit en behoort in geselekteerde digbundels." Tydskrif vir Letterkunde 61, no. 1 (June 26, 2024): 66–80. http://dx.doi.org/10.17159/tl.v61i1.16403.
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Religion is a common theme in Afrikaans literature. Religious references are used in many ways—during the anti-apartheid struggle it was (for instance) employed to protest the actions of the government in literary texts such as poetry. Similarly, women poets use religion, which is usually associated with patriarchy, as a metaphor for struggles with identity and belonging. Spirituality and organised religion are also shown to be differing concepts with organised religion being the product of society which influences the position of different genders within its stuctures. Spirituality refers to something inherently human related to the individual’s personal belief system. In this article, religious reflections in poetry by three very different female poets will be explored as musings on how religion and belonging to a religious tradition are experienced. This will be done from the perspective of postsecular feminism, which does not revert to binary oppositions when discussing religion, but grapples with it in an intersectional way, as argued by Nandini Deo. An intersectional feminist approach will therefore be utilised to analyse selected poems of Lynthia Julius in Uit die kroes (From the kroes) (2020), of Corné Coetzee in nou, hier (now, here) (2017) and of Radna Fabias in Habitus (2018). Julius, a young black woman, and Coetzee, an older white woman, are Afrikaans poets whose work can be viewed as containing feminist ideas while also exploring the role of religion. Fabias, a black Dutch poet from Curaçao, represents a transnational example where similar themes are explored as in the work of the two Afrikaans poets, albeit from a very different intersectional position. In this article, intersections of, not just gender and race, but also culture, language, politics, nationality, age, ethnicity and identity are considered when understanding a woman’s sense of belonging to a religion.
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Cochrane, Neil. "Ondermyning van normatiwiteitsdimensies in die poësie van Loftus Marais: ’n Queer-teoretiese beskouing." Tydskrif vir Letterkunde 50, no. 3 (May 18, 2018): 72–88. http://dx.doi.org/10.17159/tl.v50i3.5113.
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Although elements of queer experience exist in Afrikaans poetry since 2002, for example in the work of Hennie Aucamp andMarius Crous, a clear shift from gay to queer experience took place with the publication of Staan in die algemeen nader aan vensters ( “In general, stand close to the windows”, 2008) by Loftus Marais. With specific reference to his poetry, the article demonstrates how the eccentric, marginal and oppositional position of various queer subjects, for instance the female impersonator/drag queen, relates to the destabilization of specific dimensions of normativity: heteronormativity, Cape Town as urban space, gay masculinity, the soul//body binary, Christian faith, the gay sadomasochist and the representation of gay male sex in the poetry of Johann de Lange. These aspects are discussed within a queer theoretical framework with a specific focus on the views of queer theorist David Halperin.
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Roth, Egonne. "The Men in the Life and Work of Olga Kirsch." Werkwinkel 9, no. 2 (November 1, 2014): 135–54. http://dx.doi.org/10.2478/werk-2014-0016.
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Abstract Olga Kirsch’s life and work was dominated by three men: her father Schmuel M. Kirsch, her youth lover Ellis, and her husband Joseph Gillis. Their presence can be felt throughout her oeuvre, both in her published Afrikaans and in her unpublished English poetry culminating in a collection of seventy-seven poems written in the months that followed the death of her husband. Through these poems the reader is introduced to a passionate side of Kirsch’s personality that was rarely seen by those who knew her in the normal course of her life. These three relationships resulted in some of Kirsch’s most beautiful poetry, of which her “Vyf sonnette vir my vader” is probably the best known.
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Engelbrecht, G. C., and P. H. Foster. "Politieke herskrywings van die Ons(e) Vader-gebed in vier Afrikaanse gedigte." Literator 32, no. 2 (June 22, 2011): 1–32. http://dx.doi.org/10.4102/lit.v32i2.10.
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Political rewritings of the Our Father prayer in four Afrikaans poems. The utilisation of religious elements is a prominent trend in Afrikaans poetry − often in service of the political struggle, for example during the apartheid years. In this article four rewritings of the “Our Father” prayer are examined, using Linda Hutcheon’s theory of parody, as discussed in (among others), her pioneering work, “A theory of parody” (2000). For Hutcheon, parody does not necessarily imply ridiculing a previous text. According to her well-known definition, parody is “ironic transcontextualization, is repetition with difference. A critical distance is implied between the backgrounded text being parodied and the new incorporating work, a distance usually signaled by irony.” The rewritings of the “Our Father” by Jan Blom (Breyten Breytenbach), Ronnie Belcher and André Letoit (Koos Kombuis) are distinct examples of ironic inversion, while in Hans du Plessis’s poem (in Griqua Afrikaans) the irony is less obvious and the critique (if any) more subdued. As Hutcheon explains and motivates, parody does not always take place at the expense of the parodied text. Thus the parodical rewritings of the “Our Father” need not necessarily be seen as destructive and belittling of the prayer itself, but as critically constructive vis-à-vis the Christian community.
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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Minnaar, Thomas. "Jan Greshoff se ‘aanval’ op Olga Kirsch as een van die hoofredes vir haar emigrasie: ’n Psigoanalitiese beskouing / Jan Greshoff’s ‘Attack’ on Olga Kirsch as One of the Main Causes of Her Emigration: A Psychoanalytical Point of View." Werkwinkel 9, no. 2 (November 1, 2014): 99–118. http://dx.doi.org/10.2478/werk-2014-0014.
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Abstract The poet Olga Kirsch left South Africa permanently for Israel in 1948. It is evident from her poetry that her Zionism, opposition to the racism of the National Party and a failed love played a role in her decision. This article focuses on another reason - a public attack by the Dutch critic Jan Greshoff in an Afrikaans literary magazine in 1946. Using concepts from psychoanalytical theories around borderline and narcissistic personalities, as well as the effect of emigration, Kirsch’s actions are examined as a reaction to narcissistic wounding. Investigating Greshoff’s criticism gives insights into the poet’s actions and explains the hiatus before she started publishing again in Afrikaans from 1971. It is stated that the poet is not considered to be a narcissist as her oeuvre is a testimony to her empathy with others, but the healthy narcissism needed in building one’s self-esteem underwent a severe blow when Kirsch lost the man she loved and was humiliated so devastatingly by the great Dutch critic.
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Odendaal, B. J. "Is T.T. Cloete ’n Calvinistiese digter?" Literator 18, no. 2 (April 30, 1997): 1–24. http://dx.doi.org/10.4102/lit.v18i2.538.
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Is T.T. Cloete a Calvinist poet?T.T. Cloete has had a strong influence on contemporary Afrikaans poetry, particularly as a religious poet with a fanerotic world view. Some critics have characterized him as a Calvinist poet, and the validity of such a description is discussed in this article. It is pointed out that Cloete's Biblical orientation as well as the importance given to the so-called general or creational revelation of God in his poetry, is typically Calvinist. The panentheistic trend in his view of the relation between God and cosmos, the aesthetic mysticism that distinguishes his experience of God and the consequent discomfort in his poems about the meaningful ness of death in the dispensation of God, are, however, indicated as motives deviating from a typically Calvinist world view. In these respects his views, as expressed in his poetry, show similarities with those of the Catholic tradition, even with those of the Eastern Christian church.
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Beukes, Marthinus. "Die paringspel van polariteite." Tydskrif vir Letterkunde 47, no. 1 (October 23, 2017): 156–60. http://dx.doi.org/10.17159/tl.v47i1.3353.
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In Intieme afwesige (“Intimate absence”, 2009), the Afrikaans poet Cas Vos gives shape to absence in quite an exceptional way. Absence as loss finds its expression through the two icons of love from the Middle Ages, Abelard and Heloise. In this, his fifth collection of poetry, Vos interprets the sadness and pain of these two exiles afresh. The voice given to their son, Astralabe, is a highlight of the volume. Intieme afwesige is an absorbing and well-structured collection in which most of the poems are oriented towards the polarities of loss and intimacy.
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Burger, Bibi. "grond/Santekraam en bientang: Gesitueer in globale swart seeroetes." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 62–74. http://dx.doi.org/10.17159/tl.v59i1.8964.
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The Afrikaans poetry collections grond/Santekraam (2011) by Ronelda S. Kamfer and bientang (2020) by Jolyn Phillips both centralise the ocean and both deal with attempts at recovering repressed black histories. Apart from figuring as a source of spiritual fulfilment and connected to figures in the collection’s livelihoods, the ocean is represented in these collections as the bringer of European colonisers and of slaves to South Africa. In this article I contend that references to slavery and colonialism and the use of words in languages brought to South Africa through slave networks position these collections as products of the transnational Black Atlantic tradition, as theorised by Paul Gilroy. The fact that the narratives of both collections take place in the Overstrand region, near the meeting place of the Atlantic and Indian Oceans, gives an indication of how Gilroy’s theory needs to be adapted to be applicable to Afrikaans literature: as many English-language South African theorists have argued, oceanic literary studies in South Africa should pay as much attention to routes in the Indian Ocean as to Atlantic routes. The emphasis in both collections on not only a history of slavery, but also one of the displacement of and violence against the people already inhabiting the area when colonisers alighted, further serves to indicate what an Afrikaans black aquatic literature looks like. When taking into account these differences between Afrikaans and other versions of black aquatic art, reading grond/Santekraam and bientang as part of a global black aesthetics allows the researcher to identify the ways in which these collections are characterised by a hermeneutics of suspicion (an interpretation of contemporary life that recognises the ways in which it is structured and functions in anti-black ways) and a hermeneutics of memory (an interpretation of this anti-black contemporary as a continuation of the history of the dehumanisation of black people).
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van der MERWE, PHILIP. "What the Canon Saw: Socio-political History, Afrikaans Poetry and its “Great Tradition”." Matatu 15-16, no. 1 (April 26, 1996): 117–25. http://dx.doi.org/10.1163/18757421-90000173.
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Marais, R. "Vrouwees: perspektiewe in die meer onlangse Afrikaanse poësie en prosa." Literator 9, no. 3 (May 7, 1988): 29–43. http://dx.doi.org/10.4102/lit.v9i3.853.
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This article investigates the views on woman and womanhood that are expressed in the poetry and prose of several contemporary women writers in Afrikaans. The study is conducted against the background of certain tendencies in feminist movements in Europe, Britain and the United States of America as well as views pronounced in the writings (both literary and feminist) of a number of feminist writers in Europe, Britain and the USA. For the purposes of this investigation a short exposition is given of what feminism entails, as well as of a number of the different views and approaches which it accommodates. Subsequently different views on womanhood as expressed in the creative writings of a number of women writers who have written extensively on this topic are discussed at the hand of their poetry and prose. Specific attention is paid to the South African woman’s views on men, marriage, her own sexuality and motherhood as revealed in the writings of these women.
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Odendaal, B. J. "Via alruin en seks tot God: die eiesoortige mistiek in die poësie van T.T. Cloete." Literator 14, no. 2 (May 3, 1993): 1–24. http://dx.doi.org/10.4102/lit.v14i2.697.
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In this article the researcher contends that T.T. Cloete, one of the most prominent contemporary Afrikaans religious poets, does not only periodically give expression to the mystical experience in his poetry (as Bosman [1989] would have it), but that the whole body of his poetic work is characterized by a distinctive mysticism. This mysticism, averse from the Catholic, ascetically inspired mystical tradition, is to be seen as a continuation and further development of the Protestant tradition with its greater emphasis on the earthly, general revelation of God, and is distinguished by its strong aesthetic basis and its lively topicality.
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Snyman, Elisabeth. "Genre-omlyning van die chanson." Communicare: Journal for Communication Studies in Africa 14, no. 1 (November 7, 2022): 56–64. http://dx.doi.org/10.36615/jcsa.v14i1.1962.
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The aim of this article, held at a popular culture symposium in honour of the Afrikaans writer Hennie Aucamp, is to define the genre of the chanson with specific reference to the poetic chanson of Jacques Brel. Taking the moment of interpretation as point of depar ture, it is argued that the chanson is an inter disciplinary genre combining specific elements of theatre, poetry and music to com municate not only orally, but also audio-visually with an audience. Findings of the semiotics of theatre are used to demonstrate how the chanson uses more than words to put its message across.
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Viljoen, Louise. "Die leser in Breyten Breytenbach se tronkpoësie." Tydskrif vir Letterkunde 46, no. 2 (November 9, 2017): 57–80. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i2.3419.
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Breyten Breytenbach is the most important prison writer in the Afrikaans literary tradition. This article briefly places his prison writing against the background of national and international prison writing before going on to investigate the way in which the reader is represented in his Afrikaans prison poetry. Research about prison writing points out the importance of communication with the outside world for the prisoner. To the prisoner who is also a creative writer, writing is one of the most important means of establishing contact with the outside world. Amongst the large number of poems in Breytenbach’s body of prison poetry which depict an attempt to communicate with the outside world, there are several in which the addressee is explicitly referred to as the reader. The focus of this investigation thus falls on that which reception aesthetics refer to as a”text-internal reader” or “explicit reader”, directly or indirectly addressed in the text. The investigation shows that the poet-narrator in Breytenbach’s prison poems is very conscious of the reader’s role in the concretization of the poem. Several poems from Breytenbach’s body of prison poetry, collected in the anthology Die ongedanste dans (“The undanced dance”, 2005), are analysed to show different facets of the poetnarrator’s relationship with the reader. Some of these analyses describe the poet-narrator’s circumspect approach to the reader and the explanations and instructions given to the reader. Other analyses focus on the poet-narrator’s attempts to manipulate references to time in order to create the illusion of simultaneity with the reader. Further analyses show that the prison writer’s emphasis on the anonymity and absence of the reader can be related to philosophical representations of signification while at the same time being grounded in the material circumstances of Breytenbach’s imprisonment. It is also shown that some of the poems depict the reader as being complicit in creating the circumstances in which the prison poet finds himself.
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Odendaal, B. J. "Sien (en hoor!) is glo: ’n voorlopige verkenning van ikonisiteit as retoriese strategie aan die hand van twee kort gedigte." Literator 12, no. 3 (May 6, 1991): 13–24. http://dx.doi.org/10.4102/lit.v12i3.772.
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Rhetorical text description is aimed at exposing the persuasive strategies employed in a text. It entails a description of the selection of topic, but in particular a stylistic analysis. In this article the researcher explores the necessity of interpreting iconic signification in poetry as a rhetorical strategy, mainly on the grounds of the ‘poetic faith’ aroused in the reader by the code-orientated or demonstrative nature of poetry. The icon, the most ‘seductive’ of sign types on account of its resemblant relation to the denotated object, is seen to function as a ‘hidden persuader’ in poetic communication, valorizing the message of the poetic utterance. After analysing two short Afrikaans poems (Ernst van Heerden’s "Voëlverskrikker" and T.T. Cloete’s "God die digter") within this theoretical framework, the researcher concludes that iconicity, at the core of the poetic function in its aspiration towards minimizing the arbitrariness of signification, must be seen as a rhetorical strategy.
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Deudney-Theron, E. "Metapoëtiese raakpunte in die poësie van Gerrit Kouwenaar en Breyten Breytenbach." Literator 12, no. 2 (May 6, 1991): 49–58. http://dx.doi.org/10.4102/lit.v12i2.758.
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Prompted by the poem "brief in een fles voor breyten" in which a certain poetic relationship between the Dutch poet Gerrit Kouwenaar and the Afrikaans poet Breyten Breytenbach is implied, the author of this article traces the outlines of a meta-poetics common to both poets and through which their poetry has intertextual links with the poetics of among others Poe, Mallarme and Wallace Stevens. The following common denominators are found in Kouwenaars’s body of works and Breytenbach’s ("yk") and Lewendood: the proliferation of the subject, the ‘killing’ of life in language, the extended metaphor of food, eating and excretion and the living poem as a present absence.
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Viljoen, L. "'A white fly on the sombre window pane': The construction of Africa and identity in Breyten Breytenbach’s poetry." Literator 22, no. 2 (August 7, 2001): 1–20. http://dx.doi.org/10.4102/lit.v22i2.359.
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This article explores the way in which the construction of Africa interacts with the construction of identity in the poetry written by Breyten Breytenbach. On the one hand, Breytenbach’s use of the name Jan Afrika, his attempts to emphasise the African-ness of the language Afrikaans as well as the construct Afrikaner indicate a desire to locate his origins in Africa and fix his identity in relation to Africa; on the other hand, it is clear that he constantly problematises the idea of a stable identity. Imposing a narrative on Breytenbach’s poetic oeuvre, it becomes clear that the ‘story’ of his poetry coincides with the order of events in his personal life and that his construction of Africa interacts with and determines the construction of his own identity. In conclusion it becomes clear that Breytenbach locates himself against the background of Africa from which he derives his sense of self, but at the same time takes the position of the nomad, exile, migrant or outsider because it provides him with a unique perspective and the possibilities of transgression and renewal.