Dissertations / Theses: 'Post-apartheid literature'

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Potgieter, Carla. "Reading rubbish: pre-apartheid to post-apartheid South African kitsch." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1782.

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Thesis (MA (English Studies)--University of Stellenbosch, 2009.
ENGLISH ABSTRACT: This thesis is concerned with kitsch as cultural phenomena, which it will approach as a specific ‘aspect’, or ‘product’ of modernity. In doing so, this thesis aims to interrogate the notion of modernity, through an analysis of kitsch. In the first place, modernity can be thought as a collection of progressive material changes, usually associated with the onset of the industrial revolution. In this sense, it is easy to establish kitsch as a typical product of modernity, as the latter literally provided the objective conditions of possibility for the production of cheap, easily reproducible industrial goods, with which kitsch is often associated. In the second place, more than a set of material changes however, modernity also entailed a concomitant series of cultural values, the rational, scientific worldview associated with the onset of the Enlightenment. The thesis will therefore also consider how kitsch can be regarded as a direct expression of these values, in as much as the characteristic falseness and conformity of kitsch might be seen as a typical product of this rational, utilitarian worldview. In the third place, modernity also refers to the combined effect of these material conditions and cultural values. Kitsch will be considered, then, also in relation to this ‘life-world’. Importantly, the thesis seeks to demonstrate how the inherent contradictions of modernity become particularly apparent in kitsch. The connection between colonialism and the Enlightenment is nothing new. Indeed, the colonial project was driven by the notion that the West was responsible for the “modernization” and “upliftment” of the rest of the world. However, the idea of modernity as a universal, ideologically neutral concept is deeply problematic. Indeed, this can also be considered as one of the contradictions inherent in modernity. By looking at South African kitsch, this thesis will examine the possibility that, as a typical product of modernity produced in a local context, it can reveal much about the manifestations or ‘trajectory’ of modernity outside the metropolitan centres, where it is usually located. This will be explored by examining, on the one hand, the local ‘trajectory’ of the discourse of modernity, and, secondly, to the place assigned to people within the creation of these local modernities
AFRIKAANSE OPSOMMING: Die onderwerp van hierdie tesis is kitsch as ’n kulturele verskynsel, wat dit as volg benader. Eerstens word daar gevra of dit moontlik is om kitsch as een van die mees tipiese ‘produkte’ van moderniteit te beskou. Die bogenoemde vraagstelling maak dit dus moontlik om moderniteit te ondersoek deur ‘n analise van kitsch. In hierdie tesis, word moderniteit as volg benader: ten eerste, die materiële veranderings in terme van die produksie proses wat gewoonlik met die industriële revolusie geassosieer word; en tweedens, die rasionele, wetenskaplike, kommersiële en utilitêre lewensbeskouing ingelei deur die ‘Verligting’ (of sogenaamde Enlightenment) in die sewentiende eeu. Meer as net ’n versameling fisiese en filosofiese omwentelings, verwys moderniteit egter ook ten derdens na die gekombineerde impak van die bogenoemde in terme van die effek van tegnologie op kultuur, en hoe dit die menslike ‘leefwêreld’ betekenisvol beïnvloed en vervorm. Die bogenoemde skep dus ‘n raamwerk waarbinne kitsch benader kan word. Ten eerste is dit maklik om ‘n verband tussen kitsch en tegnologiese ontwikkelinge, wat dit moontlik maak om vinnige reproduksies van ‘n lae gehalte te vervaardig, te trek. Maar soos beskou vanuit ‘n meer filosofiese perspektief, kan die valsheid en patroonmatigheid van kitsch teruggetrek word na rasioneel utilitaristies wêreldbeskouing van die ‘Verligting’, wat deur die neig na abstrakte, universele waarhede, dikwels vervlakking lei en ook spesifieke etiese gevolge het. Derdens, wanneer daar na die impak van modernisasie op die leefwêreld gekyk word, sal faktore soos die opkoms van die middelklas en sekularisasie ook in ag geneem word. Deur die bogenoemde te ondersoek, sal daar dan ook gedemonstreer word dat die teenstrydighede wat noodwendig deel vorm van die konsep van moderniteit self, in kitsch duidelik sigbaar word, juis in die manier hoe kitsch hierdie teenstrydighede probeer verberg. Díe drie areas dan in ag geneem, is dit verder nodig om ‘n vierde definisie in te sluit om die ondersoek van moderniteit, soos dit in hierdie tesis benader word, te verdiep. Die idee dat kolonialisme en moderniteit ten diepste verbind is, is niks nuuts nie. Die gedagte dat die Weste juis die onontwikkelde kolonies moes “ophef” en “moderniseer” was inderdaad dikwels die ideologiese beweegrede vir die koloniale projek. Maar by nadere ondersoek blyk dit onwaarskynlik dat moderniteit bloot ‘n ideologies neutrale konsep is, wat oral eenvormige resultate sou behaal. Inderdaad, laasgenoemde kan ook as een van hierdie sogenaamde “teenstrydighede” inherent tot die konsep van moderniteit beskou word. Dus, deur na kitsch te kyk wat spesifiek in ‘n Suid-Afrikaanse konteks ontstaan het, wil hierdie tesis ook die moontlik ondersoek dat plaaslike kitsch (as tipiese produk van moderniteit) ons iets meer kan vertel oor die spesifieke verloop en gevolge van hierdie sogenaamde “projek van moderniteit” binne ‘n plaaslike konteks. Dit sal gedoen word deur die volgende twee vraagstukke aan te spreek, aan die hand van plaaslike vorme van kitsch. Eerstens sal daar aandag aan die spesifieke “verloop” en manifestasies van die diskoers van moderniteit in ‘n plaaslike konteks ondersoek word. Tweedens, gaan hierdie tesis ook aandag gee aan die spesifieke plek wat aan verskillende groepe mense binne hierdie plaaslike vorme van moderniteit toegeken word. So ‘n ondersoek sal dan op die plaaslike manifestasies van moderniteit konsentreer, om die aanname dat moderniteit oral eenvormige resultate en vooruitgang sou bereik, ongeldig te verklaar. Die idee van “moderniteit” as universele en eenvormige konsep breek dus letterlik uit mekaar, soos dit met die idee van geografiese spesifieke weergawes van moderniteit gekonfronteer word.

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Barris, Ken. "Fractious Form: The Trans/Mutable Post-Apartheid Novel." Doctoral thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8103.

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The question which I explore is to what degree, and in what way, the paradigm of anti-apartheid literature gives way to its post-apartheid successor. More particularly, I explore how post-apartheid South African novels perpetuate, displace or transmute the narrative forms and conventions characteristic of anti-apartheid writing. I therefore read the forms and conventions in certain post-apartheid novels through the lens of anti-apartheid discourse, in particular its demand for politically engaged realism, tracing continuity and change. I argue that The Good Doctor (2003) by Damon Galgut and Karoo Boy by Troy Blacklaws (2004) reiterate anti-apartheid conventions through devices that become anachronistic, in that they reproduce antiapartheid literary dynamics without adaptation to the post-apartheid conditions represented or implied in these texts. Formal reinvention, however, is evident in the following novels. In The Restless Supermarket (2002), Ivan Vladislavi displaces political engagement from narrative form into the speech acts of his narrator. This text thereby stages a lexical meditation that displaces the typical realist sequence of symptomatic events. Despite this innovation, there are continuities between his work and the early writing of J.M. Coetzee, which suggest that Coetzee anticipated characteristic post-apartheid narrative strategies ahead of their time. Further, the innovative magic realist forms of Zakes Mda's Ways of Dying (1995) and Phaswane Mpe's Welcome to Our Hillbrow (2001) engage with crises of transition so dire that death becomes their central metaphor. Both writers introduce the device of orature as assertions of African identity. However, Mda counterposes orature against death, injecting through it a humanising principle. In Mpe&acirc;s novel, by contrast, orature acquires a murderous agency. I trace variants of what I term "fractured form", namely form that is duplicitous, or otherwise dualistic, through a further group of novels. My premise is that the social fracture represented as content scripts the formal fracture/fractiousness in their narrative forms. An attendant property is to disrupt nationalist discourse in its dominant post-apartheid manifestation, namely the rainbow nation mythos. The texts in this group are Disgrace (1999) by J.M. Coetzee, David's Story (2000) by Z Wicomb, Achmat Dangor's Bitter Fruit (2001), Zakes Mda's The Madonna of Excelsior (2002), and What Kind of Child (Barris 2006). In conclusion, the central question to which I attend has been raised by Michael Green (1997: 7), namely how a body of texts generated within the episteme of anti-apartheid can be meaningfully related to the literary paradigm that replaces it. I find that in the collective formal inventions, fractures and displacements demonstrated in this thesis, an emergent post-apartheid episteme becomes discernable.

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Thyssen, Candy Lynn. "The representation of Black masculinity in post-apartheid children's literature." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/10648.

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The significant changes to the political landscape of South Africa since the abolition of apartheid and the implementation of democracy have had far-reaching effects in social order and gender relations. With the new dispensation has come the promise of new opportunities for men and women of all races to participate fully in the creation of a multicultural society, making the issue of transformation an important agenda. As a social artifact, children's literature has also been influenced by these changes, and the didactic function of this medium make it an interesting site to explore the ways in which historical stereotypes are both perpetuated and challenged. This study focused on the representation of black masculinity in a sample of South African children's literature published after apartheid. The aim was to investigate how race, gender, and class intersect in the representation of black masculinity.

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Bonthuys, Eugene. "Writing, reading ... reconciliation? : the role of literature in post-apartheid South Africa." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53228.

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Thesis (MA)--University of Stellenbosch, 2002.
ENGLISH ABSTRACT: Socially responsible writing has been a feature of South African literature for many years. Under apartheid, many novels dealt with apartheid, as it was one of the main features of our social landscape. The end of apartheid did not however bring about the end of a need for socially responsible writing. South Africa is still faced with many problems, one of which is reconciliation. This thesis investigates whether reconciliation may have become a new theme in South African novels, and whether these novels could playa role in assisting the process of reconciliation in the country. For this purpose, three South African works are analysed, namely Country of My Skull by Antjie Krog, Smell of Apples by Mark Behr and Disgrace by J .M. Coetzee. The introduction attempts to explain the psychological discourse surrounding reconciliation, especially Post-Traumatic Stress Disorder (PTSD), and parallels that may exists. The main body presents detailed readings of the three works, with the focus being on the presentation of reconciliation in the works, and the role that the individual works could play in assisting the reader in coming to terms with his or her feelings of guilt.
AFRIKAANSE OPSOMMING: Vir baie jare was apartheid die onderwerp van baie Suid Afrikaanse skrywers aangesien dit die mees problematiese element van Suid Afrikaanse samelewing was. Die einde van apartheid het egter nie die einde van alle probleme beteken nie. Een van die belangrike probleme is versoening. Hierdie tesis ondersoek die moontlikheid dat versoening die nuwe tema in Suid Afrikaanse letterkunde geword het en ofhierdie werke 'n bydrae kan lewer tot werklike versoening. Vir hierdie doel word drie werke behandel, naamlik Country of My Skull deur Antjie Krog, Smell of Apples deur Mark Behr en Disgrace deur J .M. Coetzee. Die inleiding poog om die sielkundige diskoers om versoening te verduidelik, veral rondom posttraumatiese stres, en die ooreenkomste wat mag voorkom. Die hoofdeel van die tesis bestaan uit 'n diepgaande bespreking van die drie werke, met die fokus op versoening in die werk, maar ook die rol wat die werke kan speel om die leser deur sy ofhaar skuld gevoelens te help.

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Geustyn, Maria Elizabeth. "Representations of slave subjectivity in post-apartheid fiction : the 'Sideways Glance'." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85854.

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Thesis (MA)-- Stellenbosch University, 2013.
ENGLISH ABSTRACT: Over the past three decades in South Africa, the documentation of slave history at the Cape Colony by historians has burgeoned. Congruently, interest in the history of slavery has increased in South African letters and culture. Here, literature is often employed in order to imaginatively represent the subjective view-point and experiences of slaves, as official records contained in historiography and the archive often exclude such interiority. This thesis is a study of the representations of slave subjectivity in two novels: Rayda Jacobs’s The Slave Book (1998) and Unconfessed (2007) by Yvette Christiansë. Its task is to investigate and traverse the multitude of readings made possible in these literary representations, and then to challenge such readings by juxtaposing the representational strategies of the two novels. Both primary texts are works of historical fiction that, in different ways, draw on the archive and historiography in order to grant historical plausibility to their narratives. Engaging with the distinct methods with which they approach and interpret such historical information, I adopt the terms “glimpsing” and “reading sideways”. Throughout this study, I engage each of these methods in order to demonstrate the value, and limits, of each technique in its engagement with the complexities of representing slave subjectivity in the wake of its (predominant) occlusion from historical and official data. Chapter One presents a brief overview of the emergence of the slave past in historiography and public spaces. Following Pumla Gqola’s statement that “slave memory [has] increase[d] in visibility in post-apartheid South Africa”, I move to a discussion of the theoretical perspectives on (re)memory as employed by writers of fiction that exemplify “a higher, more fraught level of activity to the past than simply identifying and recording it ” (“Slaves” 8) . In turn, I identify the imperative archival silence places on authors to write about slaves, and the relevance of genre in this undertaking. Specifically, I consider the romantic and tragic historical fiction genres as they are utilised by Jacobs and Christiansë in approaching representations of slave subjectivity, and how this influences emplotment. Chapter One concludes with a brief exposition of the literary representations offered by Unconfessed and The Slave Book. Chapter Two presents a detailed study of Rayda Jacobs’s The Slave Book as a novel of historical fiction. Jacobs takes up a methodology of “glimpsing” at the slave past through the representations available in historiography. I trace the moments at which the text seeks to convey slave subjectivity, within and without historical discourses, through such “glimpses”, and show how they are employed to establish a focus on interiority and to humanise slave characters. Chapter Three focuses on Yvette Christiansë’s Unconfessed and explores its explicit engagement with silences surrounding the protagonist Sila van den Kaap’s historical presence in the Cape Town Archives. I read Christiansë’s representation of these silences as “acts of looking sideways” at the discursive practices inherent in the historical documentation of slave voices that enact her resistance to “filling” these silences with detailed narrative. I argue that the various forms of silence in the narrative allow for a deeper understanding of the injustices and oppression suffered by Sila van den Kaap, and that it is these silences, ironically, which grant her voice. Chapter Four presents a comparison of the novels and their respective representational techniques of “glimpsing” versus “looking sideways”. While the distinct efficacy and implication of each approach is critically evaluated, both are ultimately found to make an invaluable addition to the literary exploration of slave subjectivity as attention is drawn to the interiority of each text’s characters.
AFRIKAANSE OPSOMMING: Oor die afgelope drie dekades, het die dokumentasie wat opgelewer is deur historici in Suid- Afrika met betrekking tot die slawe in die Kaapkolonie floreer. Ooreenstemmend, het belangstelling in die geskiedenis van die slawe in die gebied van kultuur en letterkunde toegeneem. In hierdie konteks, word literatuur dikwels in diens geneem om op ‘n verbeeldingsryke manier die subjektiewe standpunt en die bestaan van die slawe te verteenwoording, wat vroeër in amptelike rekords dikwels sodanige innerlikheid uitsluit. Hierdie tesis is 'n studie van die voorstellings van slaaf subjektiwiteit in twee romans: Rayda Jacobs se The Slave Book (1998) en Unconfessed (2007) deur Yvette Christiansë. Dit beoog verder om ondersoek in te stel na die menigte lesings in literêre voorstellings en sodanige lesings uit te daag deur die vergelyking van die twee betrokke tekste. Ek neem die "skramse” en "sywaartse" sienings as metodiek vir die eien en interpretasie van argief-materiaal in die twee tekste. Deurgaans in hierdie studie gebruik ek hierdie metodieke op hulle beurt ten einde die waarde van elke tegniek te demonstreer, in terme van die voorstellingshandeling wat elk gebruik om slaaf subjektiwiteit te verteenwoordig. In Hoofstuk Een, word teoretiese perspektiewe oor ‘herinnering’ soos dit bestaan as gevolg van, en ten spyte van, die argief, beskryf en ontleed. In my oorsig van die rol en doel van die argief sowel as die onthou van 'n slaaf verlede in die hedendaagse Suid-Afrika, word benaderings wat in verskeie velde onderneem is om slawerny en sy slagoffers uit te beeld, ook in ag geneem. Ek identifiseer die noodsaaklikheid wat “stiltes” in die argief op skrywers plaas om oor slawe te skryf, asook die relevansie van die genre in hierdie onderneming. Ek kyk spesifiek na die romantiese en historiese fiksie genres soos hulle deur Jacobs en Christiansë gebruik word in hul voorstellings van slaaf subjektiwiteit, en hoe dit voorstellingshandeling beïnvloed. Hoofstuk Een word afgesluit met 'n kort uiteensetting van die literêre voorstellings, soos uitgebeeld in The Slave Book en Unconfessed. Hoofstuk Twee is 'n ondersoek na die funksie van Rayda Jacobs se The Slave Book as 'n historiese fiksie-roman. Jacobs se roman bepeins die geskiedenis van slawerny deur die voorstellingshandeling van ‘n "skramse kyk”. Ek ondersoek die waarde van die romanse wat in die roman opgeneem word, sowel as Jacobs se gebruik van historiografie om haar verhaal te ondersteun. Hoofstuk Drie fokus op Yvette Christiansë se Unconfessed en die wyse waarop die slaaf karakter as protagonis die stiltes as gemarginaliseerde aan die leser kommunikeer, en daaropvolgend, die wyse waarop die historiese figuur, ten spyte van die stiltes in die argief, kommunikeer. Hierdie metodiek bestempel ek as die "sywaartse kyk". Ek argumenteer dat die stiltes in die roman ‘n leemte laat vir 'n dieper begrip van die onreg en onderdrukking wat deur die protagonis gely word, en dat, ironies genoeg, dit hierdie stiltes is wat aan haar ‘n “stem” gee. Hoofstuk Vier is 'n vergelyking tussen die romans en hul doeltreffendheid. Altwee tekste, van ewe belang nagaande die bevordering van subjektiwiteit van slawe tydens die Kaapkolonie, beslaan elk 'n ander benadering tot die argief en geskiedenis self. Dit is met hierdie perspektiewe waarmee hierdie studie omgaan. Beide tekste vorm ‘n waardevolle toevoeging tot die literêre verkenning van slaaf subjektiwiteit deurdat aandag op die innerlikheid van elke teks se protagoniste gevestig word. Verder, deurdat die tekste met historiografie en die argief omgaan, spreek hulle diskursiewe kwessies rakende slaaf subjektiwiteit en die voorstellings daarvan aan.

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MacDonald, T. Spreelin. "Steve Biko and Black Consciousness in Post-Apartheid South African Poetry." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1273169552.

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McDougall, Kathleen Lorne. "Discipline and savagery : the spectacle of the post-apartheid South African school." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/11072.

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Bibliography: leaves 194-203.
In describing and evaluating a South African semiotic of order and disorder, this dissertation traces representations of school discipline through examples of colonial and apartheid to key contemporary discursive practices. In this interdisciplinary dissertation three contemporary sets of texts are analysed: the department of education policy document, Alternatives to corporal punishment (2001), news articles on school disruption from the Business Day, Mail & Guardian and the Sowetan newspapers (1996-2002), and photographs on delinquency and discipline taken by a group of Cape Town public secondary school students.

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Reck, Casey M. "Laying Bare the Sins of the Father: Exploring White Fathers in Post-Apartheid Literature." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/63.

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This Thesis is an exploration of white fathers in three post-apartheid novels: Mark Behr's The Smell of Apples, Nadine Gordimer's The House Gun, and J. M. Coetzee's Disgrace. By examining the link between private white hegemonic masculinity and the apartheid government, the Thesis analyzes the transitional process as these men try to adopt less authoritative identities.

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Thurman, Christopher James. "Guy Butler from a post-apartheid perspective : reassessing a South African literary life." Doctoral thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8102.

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Guy Butler was a substantial public figure in South Africa over the second half of the twentieth century: performer of chameleon literary roles (professor, poet, playwright, autobiographer and historian), as well as cultural politician and opponent of apartheid legislation. Nevertheless, his is not a familiar name to the majority of South Africans, and where he is known, Butler remains a problematic figure. On the one hand, he has been criticised for expressing dated or even "colonial" ideas, or for lacking radical political conviction; on the other hand, he is often seen as a "grand old man" in South African literature rather than as a writer for a new generation of readers. These views do not take into account those elements in Butler's writing that were (and still are) subversive, intellectually compelling and of enduring literary value; nor do they consider the complex private man behind the public persona. Butler's response to the South African situation presents us with a challenge - to acknowledge frankly those elements in his life and work that distance him from us, without losing sight of the significance they hold. The current study makes use of Butler's private correspondence and unpublished material from the National English Literary Museum archives in Grahamstown, and combines the biographical insight gained from this documentation with criticism of his published work in every genre to offer a more balanced explication of Butler's life and work than has yet been achieved.

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Lombard, Erica. "The profits of the past : nostalgic white writing of post-apartheid South Africa." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:bb2c9ae1-e551-4931-9a44-3197fdc6e010.

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Drawing on relevant theory from memory studies, literary criticism, sociology, reception studies and book history, this thesis examines the prevalence of nostalgia in white South African writing of the post-apartheid period. It identifies the numerous and remarkably conventional texts by white authors that proliferated in this time which might be described as nostalgic, arguing that these constitute a key genre of post-apartheid South African literature. In seeking to offer an explanation for why these nostalgic forms predominated in this period, this study takes into consideration the full "communications circuit" of a book i.e. the life-cycle of a book from production to consumption. Consequently, it employs an interdisciplinary framework to examine nostalgic literature from the perspectives of both the producers and consumers of texts. It is argued, ultimately, that post-apartheid nostalgic writing was particularly involved in the protection of certain formulations and structures of whiteness at individual, collective and institutional levels. The argument unfolds in three phases, each of which explores the value of nostalgia and nostalgic white writing in a different but related sphere: namely, literature, memory, and the market. The first phase of the argument provides a literary critical reading of the generic hallmarks of these novels, considering a range of representative texts, including works by Mark Behr, André Brink, Justin Cartwright, J. M. Coetzee, Lisa Fugard, Christopher Hope, Jo-Anne Richards, and Rachel Zadok. The second examines the allure of nostalgia and nostalgic books for the writers and readers of this literature, drawing on sociological studies of post-apartheid white South African identity and reader-response theory to analyse a selection of online and print reviews by readers. In the third phase, the thesis utilises a book historical approach to investigate the influence of various literary markets and the publishing industry, both local and global, in shaping the nostalgia trend.

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Mokhele, M. P. "Race relations in two post-apartheid Sesotho farm novels." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50434.

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Thesis (MA)--University of Stellenbosch, 2005.
ENGLISH ABSTRACT: This study examines the presentation of race relations in two Sesotho novels written after 1994. The purpose of the study is to establish whether or not post-apartheid Sesotho novels present race relations as they were presented during the apartheid era. The novels of focus are, N.S. Zulu's Nonyana ya Tshepo (The bird of hope) (1997) and T.W.D. Mohapi's Lehfaba fa fephako (The pain of hunger) (1999). The manner in which the authors who wrote during the two distinct eras presented the issue of race and presented race relations will be the focal point. At the end of this study it should be clear whether or not authors after 1994, that is, after the apartheid era continue to present race relations in an idealistic manner. During the apartheid era authors such Lesoro (1968) and Mophethe (1966) were very cautious when presenting race relations in their novels. The common factor in these novels is the portrayal of the white Afrikaner characters by the authors. White characters were portrayed as very merciful, good Samaritans and their relationship with their black counterparts were often harmonious and crisis free. Attributes of race such as racial discrimination, racial hatred, racial conflict and racial intolerance were seldom spoken about in those novels. This is reminiscent of the notorious apartheid laws, which prohibit freedom of press. White characters in some novels published during the apartheid era were not characters derived from real life. In N.S. Zulu's novel, Nonyana ya Tshepo we examine the portrayal of the characters from the two distinct races, black Africans and white Afrikaners. The author portrays the two groups of characters to be what Scholes (1981 :11) calls characters representative of a social class, race and a profession. Black characters are portrayed as the exploited, which are always inferior, submissive and subjected to racial discrimination by their white counterparts. White Afrikaners are portrayed as the exploiters, who are superior, oppressors and the ones who further the policy of apartheid. This state of affairs prompted the black Africans to develop hatred towards the Whites. Instead of idolizing their masters, Blacks do the opposite. Our main character, Tshepo who is said to be fathered by the white Afrikaner, is marginalized by his fellow Blacks and declared an outcast. In T.W.D. Mohapi's novel, Lehlaba la lephako, the main character, Seabata who lusts for power and wealth is seen struggling for both at the expense of his fellow black Africans. Seabata is used by his white boss, Sepanapodi, to maintain the legacy of apartheid. The narrator portrays Seabata in such a way that he could carry out his boss' mission. Seabata is power hungry and always likes to please his boss to attain that, even if that means creating enmity with his own black people. Seabata's socio-economic status makes him vulnerable to manipulation by Sepanapodi. Seabata was advised by his father that he should always strive to please his master in order to gain glory and wealth. He followed the advice slavishly and that left him devastated. He found himself at loggerheads with his colleagues, with the pastor, Nkgelwane, with a local teacher, Mohanelwa and with his wife, Mmabatho. Conflict between Seabata and the community is caused by the pain of hunger.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie studie is om ondersoek in te stel of die twee Sesotho novelles wat na 1994 geskrywe is, die verhouding tussen verskillende rasse behandel. Die doel van die studie is om uit te vind of die Sesotho novelles wat gedurende die tydperk van apartheid die aanbieding van rasse-verhouding dek, soos wat dit aangewys was gedurende die tydperk van apartheid. Die ondersoek sal gedoen word met die vergelykking van twee novelles wat na 1994 geskrywe is, d.w.s. N.S. Zulu se Nonyana ya Tshepo en T.W.D. Mohapi se Leh/aba /a /ephako . Die manier waarop die twee skrywers wat gedurende die twee afsonderlike tydperk, die kwessie van rasse behandel, en hoe hulle dit aangebied het, sal die fokuspunt wees. Aan die einde van hierdie studie moet dit duideliker word aan die lesers tot watter mate die skrywers wat na 1994 geskryf het, d.w.s na die apartheid tydperk, nog die rasse-verhouding op 'n idealistiese manier aangebied het. Die skrywers wat gedurende die apartheid tydperk geskrywe het, soos Lesoro (1968) en Mophethe (1966) was baie versigtig toe hulle die rasse-verhouding in hulle novelles aangebied het. Die gewone faktor van hierdie novelles is die uitbeelding van die wit Afrikaners se karakters deur die skrywers. Wit karakters is altyd as baie barmhagtig, en as goeie Samaritane beskrywe, en hul verhouding teenoor hulle swart teenhangers is dikwels eensgesind en vry van krisis uitgebeeld. Die hoedanigheid van rasseonderskeiding wat rassehaat, rasse in stryd met mekaar, en rasse onverdraagsaamheid, is in daardie tyd seide van geskryf in die novelle. Dit herinner die leser aan die ongunstige apartheidswette wat nie vryheid van die pers toegelaat het nie. Wit karakters, in sommige novelle wat gedurende die tydperk van apartheid gepubliseer is, is nie karakters wat van die ware lewe afgelei is nie. In N.S. Zulu se novelle, Nonyana ya Tshepo word 'n uitbeelding gemaak van karakters van die twee afsonderlike rasse, die swart Afrikaners en die wit Afrikaners. Die skrywer beeld die twee groepe van karaktes as die wat Scholes (1981 :11) noem die wat verteenwoordigend van 'n sosiale klas, rasse en beroep is. Swart karakters is beskrywe as diegene wat geeksploiteer word, wat altyd as minderwaardige, onderworpe en mindere rasse beskou word. Hulle word gediskrimineer deur hulle wit landgenote. Wit Afrikaners is beskou as die eksploiteerders, wat die voortreflike onderdrukkers is en wat wat die beleid van apartheid laat voortgaan. Hierdie toestand het die swart Afrikaners gelei om haat te ontwikkel teenoor die Wittes. In plaas van om hulle meesters eer te bewys, het die swart Afrikaners die teenoorgestelde gedrag. Die hoofkarakter, Tshepo, wat geglo is dat hy kind van die wit Afrikaner is, is deur sy mense verban en as verworpeling verklaar. In T.W.D. Mohapi se novelle, Lehlaba la lephako het die hoofkarakter, Seabata, begeertes van mag en rykdom. Hy word opgelei as 'n stryder op koste van sy medemense, swart Afrikaners. Seabata is deur sy wit meester, Sepanapodi misbruik om die nalatenskap van apartheid te handhaaf. Die verteller beeld Seabata af op so 'n manier dat dit duidelik is dat Seabata sy baas se opdrag sou voortdra. Hy, Seabata het 'n wens om mag te he en bo alles om sy baas tevrede te stel op koste van ander swart Afrikaners, al maak dit hom 'n vyand van sy mense. Seabata se sosiale status het hom laat kwesbaar ge stel teenoor Sepanapodi se manipulasie. Sy vader het hom advies gegee dat hy altyd sy meester moes bevredig ter wille van glorie en rykdom. Hy het toe die advies van sy vader slaafs nagevolg, daarom het dit hom in 'n neerdrukkende gevoel laat eef. Aan die einde is hy in 'n konflik met andere soos sy kollegas, die plaaslike predikant, Nkgelwane, die onderwyser, Mohanelwa en sy vrou. Die stryd wat Seabata met al die mense in die gemeenskap het, is die oorsaak van hongersnood.

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Hoveka, Dineo Ida. "A study of selected themes of protest in Zakes Mda's post-apartheid fiction." Thesis, University of Limpopo, 2009. http://hdl.handle.net/10386/2627.

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Thesis (M.A. (English Studies)) --University of Limpopo, 2009
This dissertation examines elements of protest in four of Zakes Mda’s novels, namely, Ways of Dying (1995a), She Plays with the Darkness (1995b), The Heart of Redness (2000), and The Madonna of Excelsior (2002). The elements of protest that are identified and investigated in this study are abuse, betrayal, discrimination, and violence. This study also shows that these elements of protest that are investigated are a result of a lack of integrity and social accountability on the part of government, the civil service, and individuals themselves. In addition, this dissertation reveals the extent to which social injustices negatively influence the thinking and behaviour of the general South African society and thwart the aspirations of ordinary people. Finally, suggestions to curb abuse, betrayal, and discrimination are made.

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Crous, Matthys Lourens. "Presentations of masculinity in a selection of male-authored post-apartheid novels." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1672.

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Fetile, Khanyisa. "An analysis of the representation of sexual abuse in selected post-apartheid novels." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/3822.

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This study examines the way in which three South African novelists, K. Sello Duiker, Phaswane Mpe and Sindiwe Magona portray the sexual abuse of men and women in the post-apartheid era. The novels under discussion are: Thirteen Cents (2000) and The Quiet Violence of Dreams (2001) by K.Sello Duiker, Beauty’s Gift (2008) by Sindiwe Magona and Phaswane Mpe`s Welcome to Our Hillbrow. It will also look at the characters and the events to show that sexual abuse can be physical, traumatic and emotional, and that it affects both males and females, reinforcing in a sense Pucherova`s assertion that “both men and women are oppressed by a patriarchal heterosexist society” (2009:937).

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O'Shaughnessy, Emma Vivian. "History lives in these streets: reading place and urban disorder in three post-apartheid Johannesburg novels." Doctoral thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11535.

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Includes abstract.
Includes bibliographical references.
In the following thesis I use three post-apartheid South African novels, namely Ivan Vladislavi's The Exploded View, Marlene Van Niekerk’s Triomf and Kgebetli Moele’s Room 207, to argue for the persistence of geopathic disorders in post-apartheid Johannesburg. I use the protagonists in the novels and their intertwined relationships with setting as nodes through which to examine the complex and disordered place of this contemporary urban environment and to show how the city’s apartheid history informs the present. I suggest that these narratives portray conflicted instances of integration, inhabitation and navigation within this city because of the presences of historical forms and patterns which continue to colour the experience of life within the changing city. I argue that the past is still present within the built structures of the city and in people’s perceptions of space.

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Andrews, Grant. "Representations of fatherhood and paternal narrative power in South African English literature." University of the Western Cape, 2016. http://hdl.handle.net/11394/4848.

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Philosophiae Doctor - PhD
This study explores the different ways that South African novels have represented fatherhood across historical periods, from the dawn of apartheid to the post-transitional moment. It is argued that there is a link between narrative power and the father, especially in the way that the father figure is given authority and is central to dominant narratives which support pervasive ideologies. The study introduces the concept of paternal narratives, which are narratives that support the power of the father within patriarchal systems and societies, and which the father is usually given control of. This lens will be applied to prominent South African literature in English, including early texts such as Alan Paton’s Cry, the Beloved Country, Nadine Gordimer’s Burger’s Daughter and J. M. Coetzee’s In the Heart of the Country, where the father’s authority is strongly emphasised, and where resisting the paternal narratives often leads to identity struggles for sons and daughters. Later texts, published during the transition from apartheid, often deconstruct the narrative power of fathers more overtly, namely Mark Behr’s The Smell of Apples, Zakes Mda’s Ways of Dying and K. Sello Duiker’s The Quiet Violence of Dreams. More recent novels, published in “post-transitional” South Africa, are radical in their approach to father figures: fathers are often shown to be spectral and dying, and their control of narratives is almost completely lost, such as in Lisa Fugard’s Skinner’s Drift, Mark Behr’s Kings of the Water, Zoë Wicomb’s Playing in the Light and Zukiswa Wanner’s Men of the South. Exploring these shifting representations is a useful way to unearth how ideological and social shifts in South Africa affect the types of representations produced, and how fatherhoods are being reimagined.

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Pett, Sarah. "A difficult equilibrium: torture narratives and the ethics of reciprocity in apartheid South Africa and its aftermath." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002236.

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This thesis takes the form of an enquiry into the development of the ―generic contours (Bakhtin 4) for the narration of torture in South Africa during apartheid and its aftermath. The enquiry focusses on the ethical determinations that underlie the conventions of this genre. My theoretical framework uses Adam Zachary Newton‘s conceptualization of narrative ethics to supplement Paul Ricoeur‘s writings on narrative identity and the ethical intention, thus facilitating the transfer of Ricoeur‘s abstract philosophy to the realm of literary criticism. Part I presents torture as a disruption of narrative identity and a defamiliarization of the intersubjective encounter. The existence of torture narratives thus attests to the critical role of narration in the reconstruction of the tortured person‘s identity and the re-establishment of benign frameworks of intersubjective communication. Literature‘s potential to act as a laboratory for the testing of the limitations of narrative identity and the resilience of ethical mores suggests that the fictional representation of torture also has an important role to play in this attempt at rehabilitation. Part II takes the form of a comparative analysis of non-fictional and fictional accounts of torture originating from apartheid South Africa. This shows that the ethical determinations underlying the narration of torture in South Africa range from intersubjective estrangement to a ―solicitude of reciprocity (Bourgeois 109). However, because the majority of these texts used the presentation of human rights abuses to galvanize international opposition to apartheid, the scope for experimentation was limited by the political exigencies of the time. Part III examines the stylistic and generic shifts in the narration of torture that accompanied South Africa‘s transition to democracy. It suggests that the discursive dominance of the Truth and Reconciliation Commission replaced the fruitful—in literary terms—dialogue between authoritarianism and resistance that characterized the apartheid era with a monologic grand narrative of emotional catharsis, reconciliation and nation building. It also suggests that the ―truth-and-reconciliation genre of writing (Quayson 754) that shaped the literary milieu of the post-TRC period be seen in terms of a resurgence of the apartheid–era paradigms for the narration of human rights abuses that were repressed during the initial phase of democratic transition. By framing the TRC as a catalyst for individual journeys of self-discovery, these novels raise important questions about what it means to be a part of the ―new South Africa. In contrast to the majority of apartheid era literature, the novels of the post-TRC period privilege the literary prerogative over the political, and thus bring to fruition the experimental potential of the previous paradigm. In doing so, they not only go beyond solicitude to achieve an ―authentic reciprocity in exchange (Ricoeur, Oneself 191), but also initiate a process of long-awaited literary expansion, in which authors look beyond the limits of apartheid and begin to critically engage with the region‘s pre-apartheid history and its post-apartheid present.

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Van, der Westhuizen Loraine. "Die representasie van 'wit' armoede in Afrikaanse jeugliteratuur." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62664.

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This study examines the representation of "white" poverty in Afrikaans youth literature between 1990 and 2009 by focussing on the following novels: Droomwa (1990) by Barrie Hough, Die optog van die aftjoppers (1994) by George Weideman, Vaselinetjie (2004) by Anoeschka von Meck, Roepman (2004) by Jan van Tonder, Lien se lankstaanskoene (2008) by Derick van der Walt and Lammervanger (2009) by Frans van Rensburg. The novels are analysed by employing critical whiteness studies as an overarching theoretical framework. Indicators of the "white" characters' poverty are identified with regard to description, dialogue, actions, place and narration with the aim of determining how and why these representations are evident in the novels. In these novels, poverty partly functions as a feature of the the so-called problem book and coming of age novel. Apartheid is the backdrop for some of the novels; here, "white" poverty is portrayed in a nostalgic manner. The most prominent indicator of the characters' poverty is the place where they reside. Other indicators are their appearance, possessions, dialogue and actions. The characters' poverty is not stated explicitly by the narrator in any of the novels. The "whiteness" of characters is represented as self-evident. Apart from this matter-of-factness, there is other evidence of "white" privilege in the way that "white" poverty is represented. The relative poverty of the "white" characters becomes apparent through the opportunities still available to them. These opportunities enable most of the characters to experience relief from or rid themselves of their poverty. The implications of "whiteness" are evident on various levels in the novels and also imbue some "white" characters with the illusion that they should act as the rescuers of "black" characters.
Die representasie van "wit" armoede in Afrikaanse jeugliteratuur tussen 1990 en 2009 word in hierdie studie ondersoek. Die romans wat bestudeer word, is Droomwa (1990) deur Barrie Hough, Die optog van die aftjoppers (1994) deur George Weideman, Vaselinetjie (2004) deur Anoeschka von Meck, Roepman (2004) deur Jan van Tonder, Lien se lankstaanskoene (2008) deur Derick van der Walt en Lammervanger (2009) deur Frans van Rensburg. Kritiese witheidstudies is die oorkoepelende teoretiese raamwerk waarbinne die romans ontleed word. Die merkers van die "wit" karakters se armoede word ten opsigte van beskrywing, dialoog, optrede, ruimte en vertelling geïdentifiseer met die doel om vas te stel hoe en hoekom "wit" armoede in die tekste gerepresenteer word. Die prominentste merker van die karakters se armoede is die ruimte waarin hulle bly. Ander merkers is voorkoms, besittings, dialoog en optrede. In geen van die romans word die karakters se armoede eksplisiet deur die vertelinstansie aangedui nie. Die karakters se "witheid" word grotendeels in die ses romans as vanselfsprekend aangebied. Tesame met hierdie vanselfsprekendheid is daar besliste elemente van "wit" bevoorregting in die uitbeelding van "wit" armoede in die tekste teenwoordig. Die relatiwiteit van die "wit" karakters se armoede word duidelik deur die geleenthede waartoe hulle ten spyte van hul armoede toegang het; hierdie geleenthede stel meeste van die karakters in staat om hul armoede te verlig of daarvan verlos te word aan die einde van die romans. Die implikasies van "witheid" is op verskillende vlakke in die romans waarneembaar en verleen ook aan die karakters die illusie dat hulle, in meeste van die romans, tot die "swart" karakters se redding moet kom. Sleutelterme
Dissertation (MA)--University of Pretoria, 2017.
Afrikaans
MA
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Rehman, Jonas. "From Bantu Education to Social Sciences : A Minor Field Study of History Teaching in South Africa." Thesis, Stockholm University, Department of Didactic Science and Early Childhood Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8022.

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The thesis concerns History teaching in South Africa 1966-2006. Focus lies on the usage of History as a tool of power and empowerment. Primary sources for the survey are textbooks, curricula’s and syllabuses. From a theoretical perspective the thesis discusses power, usage of history and pedagogic literature. The survey is done in a qualitative, hermeneutic way in order to find, discuss and explain underlying structures in the collected data. The thesis results show that History teaching in South Africa was based on an idea of a shared historical consciousness, apartheid, which legitimised the hegemony of the white people. The educational system was an important tool of power and empowerment for the government. The apartheid ideology was reproduced by the pedagogic literature. Today History is a part of Social Sciences and the subject has a focus on natural sciences and technology, which results in certain dilemmas educational-wise.

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Montle, Malesela Edward. "Reconstructing identity in post-colonial black South African literature from selected novels of Sindiwe Magona and Kopano Matlwa." Thesis, University of Limpopo, 2018. http://hdl.handle.net/10386/2591.

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Thesis (M. A. (English Studies)) --University of Limpopo, 2018
This study seeks to examine the concept of identity in the post-colonial South Africa. Like any other African state, South Africa was governed by a colonial strategy called apartheid which meted out harsh conditions on black people. However, the indomitable system of apartheid was subdued by the leadership of the people, which is democracy in 1994. Notwithstanding the dispensation of democracy, colonial legacies such as inequality, racial discrimination and poverty are still yet to be addressed. As mirrored in Sindiwe Magona’s Beauty’s Gift (2008) and Mother to Mother (1998) and Kopano Matlwa’s Coconut (2008) and Spilt Milk (2010), the colonial past perhaps paved a way for social issues to warm their way into the democratic South Africa. This study will use the aforementioned novels penned in the post-colonial period to present an evocation of identity-crisis in South Africa. It will then employ these methodological approaches; Afrocentricity, Feminism, Historical-biographical and Post-Colonial Theory to assert and re-assert the identity that South Africans have acquired subsequent to the political transition from apartheid to democracy. KEY WORDS: Apartheid, Colonialism, Democracy, Identity, Post-Colonialism

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21

Mbao, Wamuwi. "Imagined pasts, suspended presents South African literature in the contemporary moment." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002244.

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Scholarship on Post-Apartheid South African literature has engaged in various ways with the politics of identity, but its dominant mode has been to understand the literature through an anxious rupture-continuation paradigm in which the Apartheid past manifests itself in the present. However, in the contemporary moment, there are writers whose texts attempt to forge new paths in their depictions of identities both individual and collective. These texts are useful in contemplating how South Africans experience belonging and dislocation in various contexts. In this thesis, I consider a range of contemporary South African texts via the figure of lifewriting. My analysis demonstrates that, while many texts in the contemporary moment have displayed new and more complex registers of perception concerning the issue of ‘race’, there is a need for more expansive and fluid conceptions of crafting identity, as regards the politics of space and how this intersects with issues of belonging and identity. That is, much South African literature still continues along familiar trajectories of meaning, ones which are not well-equipped to understand issues that bedevil the country at this particular historical moment, which are grounded in the political compromises that came to pass during the ‘time of transition’. These issues include the recent spate of xenophobia attacks, which have yet to be comprehensively and critically analysed in the critical domain, despite the work of theorists such as David Coplan. Such events indicate the need for more layered and intricate understandings of how our national identity is structured: Who may belong? Who is excluded? In what situations? This thesis engages with these questions in order to determine how systems of power are constructed, reified, mediated, reproduced and/or resisted in the country’s literature. To do this, I perform an attentive reading of the mosaic image of South African culture that emerges through a selection of contemporary works of literature. The texts I have selected are notable for the ways in which they engage with the epistemic protocol of coming to know the Other and the self through the lens of the Apartheid past. That engagement may take the form of a reassertion, reclamation, displacement, or complication of selfhood. Given that South African identities are overinscribed in paradigms in which the Apartheid past is primary, what potentials and limits are presently encountered when writing of the self/selves is attempted? My study goes beyond simply asserting that not all groups have equal access to representation. Rather, I demonstrate that the linear shaping of the South African culture of letters imposes certain restrictions on who may work within it. Here, the politics of publishing and the increasing focus on urban spaces, such that other spaces become marginalized in ways that reflect the proclivities of the reading public, are subjected to close scrutiny. Overall, my thesis aims to promote a rethinking of South African culture, and how that culture is represented in, and defined through, our literature.

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Krueger, Anton. "Experiments in freedom : representations of identity in new South African drama ; an investigation into identity formations in some post-apartheid play-texts published in English by South African writers, from 1994-2007." Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-10282008-141823.

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23

Ntentema, Phakamani. "The challenges in the intellectualisation of indigenous languages in post-apartheid South Africa: what will it take to give the indigenous languages a directive in the implementation and monitoring of language policy in South Africa?" Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33940.

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The language of an individual is another skin in ways that are many, a natural possession of any normal person we use to communicate our ideas and hopes, convey our beliefs and thoughts, explore our traditions and experiences, and improve the community of ours as well as the laws that regulate it. In the Bill of Rights, the right of official language selection was recognized, and the Constitution recognizes that the indigenous languages are a resource that has not been exploited. This study has been carried out to elevate the use and uplift the status of indigenous languages by examining the challenges of intellectualizing the indigenous languages in post-apartheid South Africa. The language choice in South Africa does not favour the indigenous languages. The South African government lacks the political will to practically implement the language policies. The gab is in the lack of monitoring the process of language policy and implementation. Some South African higher education institutions have clear plans to implement the language policies, and some do not. The English language dominance in the higher education system has negatively impacted the indigenous students and denigrated the indigenous language use and intellectualization. There is also a gap between the indigenous speakers and the language policy implementers. This study focused on youth from the indigenous speaking background. This study was carried out to get the voices of the indigenous youth regarding lack of implementation of language policies that are placed to develop and uplift the status and use of indigenous languages all domains and how that disadvantaged them from their point of view. This study has applied the qualitative methodology to collect the data. This study also applied the Critical Discourse Analysis and Critical Language Awareness theories to analyse the findings. These theories have awakened the indigenous speakers about the power dynamics that influences the lack of implementation of language policies. This study utilized the Interpretation-focus coding strategy to analyse the data. This study explored whether languages could provide access to change, social and material conditions of its speakers and the study found that the lack of implementation of indigenous languages correlates to the delay in development of the material conditions of the indigenous speakers and languages provide access to economic, social, material, and economic changes. Multilingualism is a way forward in resolving the language issue as South Arica is a multi-lingual nation. The limitations of the study were that it was carried out during the COVID-19 era and the hard South African lockdown.

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Moon, Jihie. "Die verhouding tussen geskiedenis en literatuur in post-apartheid Suid-Afrika, met spesifieke verwysing na Verliesfontein deur Karel Schoeman en Op soek na Generaal Mannetjies Mentz deur Christoffel Coetzee." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53390.

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Thesis (MA)--Stellenbosch University, 2003.
ENGLISH ABSTRACT: This study examines the relationship between history and literature, with specific reference to the Afrikaans novels Verliesfontein (1998) by Karel Schoeman and Op soek na generaal Mannetjies Mentz (1998) by Christoffel Coetzee. Both novels are framed against the background of the Anglo Boer War and both take a postmodern approach to that history, amongst other things. First, Chapter 2 reviews the historical background to the relationship between history and literature through the ages (the classical era, and the eighteenth, nineteenth and twentieth centuries), with a view to indicating how this tradition adheres to the postmodern spirit of contemporary times. Thereafter, Chapter 3 presents a theoretical investigation into the postmodern view of historiography and historical fiction. Special reference is made to Hutcheon's theory of historiographic metafiction as an important theoretical point of departure in the discussion of historical fiction. Political and ideological meaning implicit in historiography is discussed. Chapter 4 explores the current trend in South Africa of rereading and reappraising the past, of questioning traditional historiography in a postapartheid South African context (both in Afrikaans fiction and in historical writing). The revisiting of the Anglo Boer War in contemporary South Africa and in Afrikaans fiction is investigated, and an attempt is made to establish the significance of its reappraisal. Against this background the two texts, Verliesfontein and Op soek na generaal Manntjies Mentz, are discussed in Chapter 5. The two novels amply illustrate the possibility for interaction between history and literature, fact and fiction. How may these texts be read in view of postmodern theory? What lessons for present-day South Africans did Schoeman and Coetzee have in mind with their postmodern questioning of traditional historiography and their unconventional reconstruction of the past? Reappraising conventional accounts of history and exploring personal histories as these texts do, Verliesfontein and Op soek na generaal Mannetjies Mentz are part of the dominant discourse that is taking form in the multicultural society of a postapartheid South Africa today.
AFRIKAANSE OPSOMMING: In hierdie studie is 'n ondersoek onderneem na die verhouding tussen geskiedenis en literatuur, met spesifieke verwysing na Karel Schoeman se roman Verliesfontein (1998) en Christoffel Coetzee se roman Op soek na generaal Mannetjies Mentz (1998). In hierdie twee tekste, wat die Anglo-Boereoorlog as hul raamwerk het, is onder andere 'n postmodernistiese benadering tot die geskiedenis benut. Eerstens word in hoofstuk 2 oorsigtelik gekyk na die historiese agtergrond van die verhouding tussen geskiedenis en literatuur met verloop van die tyd (die klassieke tyd, agtiende eeu, negentiende eeu en twintigste eeu), om aan te dui hoe dié tradisie by die heersende tydsgees van die postmodernisme aansluit. Hierna verskaf hoofstuk 3 'n teoretiese ondersoek na die postmodernistiese manier waarop geskiedskrywing en historiese fiksie gesien word. Die teorie van Hutcheon se historiografiese metafiksie word veral in die bespreking van historiese fiksie betrek as 'n belangrike teoretiese uitgangspunt. Vervolgens kom politieke en ideologiese implikasies in geskiedskrywing onder bespreking. Daarna (hoofstuk 4) word die Suid-Afrikaanse kontemporêre tendens om die verlede te herlees en te herwaardeer uiteengesit, en die ondermyning van die tradisionele geskiedskrywing in die post-apartheid Suid-Afrikaanse konteks (sowel in Afrikaanse fiksie as in geskiedskrywing) word ondersoek. Daar word gefokus op die her-bedenking van die Anglo-Boereoorlog in die hedendaagse Suid-Afrika en in Afrikaanse fiksie, en daar word ook probeer om die betekenis van dié herwaardering te soek. Teen bostaande agtergrond kom die twee tekste, Verliesfontein en Op soek na generaal Manntjies Mentz onder bespreking (hoofstuk 5). Die romans is goeie voorbeelde van die interaksie-moontlikhede tussen geskiedenis en literatuur, feit en fiksie, en daar word ondersoek hoe hierdie twee tekste aan die hand van postmodernistiese teorieë gelees kan word. Uiteindelik word daar besin oor watter lesse Schoeman en Coetzee met die postmodernistiese problematisering van geskiedskrywing en die onkonvensionele rekonstruksie van die verlede aan kontemporêre Suid-Afrikaners wou oordra. Met die herbesinning van die konvensionele weergawe van die geskiedenis en veral deur die verkenning van persoonlike geskiedenisse, vorm Verliesfontein en Op soek na generaal Mannetjies Mentz deel van die heersende diskoers wat vandag in 'n multikulturele samelewing van die post-apartheid Suid-Afrika aan die ontwikkel is.

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Migoyan, Janet. "Sexual Domination: Colonial Guilt and Postcolonial Hatred in J. M. Coetzee's Disgrace." Thesis, Umeå universitet, Institutionen för språkstudier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184168.

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J.M. Coetzee’s Disgrace was published during a defining moment in South African history in 1999. Five years earlier Nelson Mandela had been elected president after the first general election. The healing process in a country divided by race and a history marked by racial crimes, committed under long time by collective actions of many generations of colonizers, was a decisive historical necessity. Disgrace illustrates the economical and emotional mechanisms of sexual exploitation of women in post-apartheid South African society. Those socioeconomic mechanisms are fueled by postcolonial hate, making the reconciliation process difficult in the new democracy. The aim of this bachelor project is to show how Coetzee’s Disgrace contextualizes the collective humanitarian guilt and disgrace caused by sexual oppression of woman and illustrates the challenges that post-apartheid South Africa faces to reconcile with the racial crimes committed during apartheid when sexual crimes continue under the historical shadow of colonial power and postcolonial hatred.

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West, Mary Eileen. "White women writing white : a study of identity and representation in (post-)apartheid literatures of South Africa." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/442.

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This thesis examines aspects of identity and representation using contemporary theories and definitions emerging out of a growing body of work known as whiteness studies. The condition of whiteness as it continues to inform identity politics in post-apartheid South Africa is explored in an analysis of selected texts written by white women, to demonstrate the ways in which whiteness continues to suggest normativity. In reading a representative selection of literatures produced in contemporary South Africa by white women writers, this study aims to illustrate the ambivalence apparent in the interstitial manifestations of emergent reconciliatory gestures that are at odds with residual traces of superiority. A sampling of disparate texts is examined to explore the representations of race and belonging in post-apartheid South Africa in the light of contemporary theories of whiteness which posit it as a powerful and invisible identification. The analysis attempts to plot a continuum from writers who are least, through to those who are most, aware of whiteness as a cultural construct and of their own positionality in relation to the discursive dynamics that inform South African racial politics. A contextualising overview of the terrain of whiteness studies is provided in Chapter One, marking the ideological and theoretical affiliations of this project, and foregrounding the construction of whiteness as an imagined identity in contemporary cultural criticism. It also provides a justification for the selection of the textual material under scrutiny. Chapter Two explores a genre that has been identified as a growing trend in South African fiction: the production of pulp fiction written by white middle-class women. Two such texts are the focus of this chapter, namely, Pamela Jooste’s People like Ourselves (2004) and Susan Mann’s One Tongue Singing (2005), and the complicities and clichés that are characteristic of popular literature are examined. Antjie Krog’s A Change of Tongue (2003) is the focus of Chapter Three. It is examined as a book offering the writer’s personal response to the difficulties of transformation within the first decade of South African democracy. Krog confronts her own defensiveness, her sense of normalcy, and her sense of alienation in relation to multiple encounters with different people. Chapter Four focuses on the journalism of Marianne Thamm. Her role as columnist for the popular women’s magazine, Fairlady is explored, particularly in relation to the inclusion of a contending voice writing against the general tenets of Fairlady. Thamm’s critique of the mores governing bourgeois white womanhood is read in relation to her role as officially sanctioned Court Jester. Her Fairlady columns have been collected in Mental Floss (2002) but the analysis includes selected columns from 2003 to 2005. Echo Location: A Guide to Sea Point for Residents and Visitors (1998) by Karen Press is the focus of Chapter Five. Her work is read as examining a white South African crisis of belonging in relation to the implications of mapping the co-ordinates of whiteness in South Africa. Chapter Six offers a reading of four short stories, written by Nadine Gordimer and Marlene van Niekerk. These stories are juxtaposed to trace an anxious impasse in white responses to suburbia, the place of enactment of white bourgeois mores, which both writers interrogate.

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Ndlovu, Isaac. "An examination of prison, criminality and power in selected contemporary Kenyan and South African narratives." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5159.

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Thesis (PhD (English))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: This thesis undertakes a comparative examination of South African and Kenyan auto/biographical narratives of crime and imprisonment. Although some attention is paid to narratives of political imprisonment, the study focuses primarily on autobiographical accounts by criminals, confessional narratives, popular fiction about crime and prison experience, and journalistic accounts of prison life. There is very little critical work at this moment that refers to these forms of prison writing in South Africa and Kenya. Popular prison narratives and to a certain extent the autobiographical in general are characterised by an under-theorised dialecticism. As academic concepts, both the popular and the autobiographical form are characterised by an unstable duality. While the popular has been theorised as being both a field of resistance to power and of consent to its demands, the autobiographical occupies a similar precariously divided position, in this case between fact and fiction, a place where the „I‟ that narrates is simultaneously the subject and object of the narrative. In examining an eclectic body of texts that share the prison as common denominator, my study problematises the tension between self and world, popular and canonical, political and criminal, factual and fictional. In both settings, South Africa and Kenya, the prison as a material and discursive space does not only mirror society but effects shifts and changes in society, and becomes a space of dynamic adaptation and also a locus that disturbs certain hegemonic relations. The way in which the experience of prison opens up to a fundamentally unsettling ambiguity resonates with the ambivalence that characterises both autobiography as genre and the popular as a theoretical concept. My thesis argues that during the entire historical period covered by the narratives that I examine there is a certain excess that attends on the social production of criminality and the practice of imprisonment, both as material realities and as discursive concepts, which allows them to have a haunting effect both on individuals‟ notions of „the self‟ and the constitution of national identities and nationhoods. I argue that the distinction between the colonial and the postcolonial prison is hazy. Therefore a comparative study of Kenyan and South African prison literature helps us understand how modern prisons and notions of criminality in contemporary Africa are intertwined with the broad European colonial project, reflecting larger issues of state power and control over the populace. In relation to South Africa, my study begins with Ruth First‟s 117 Days (1963), and makes a selection of other prisons narratives throughout the apartheid era up to the post-apartheid period which was ushered in by Mandela‟s Long Walk to Freedom (1994). Moving beyond Mandela, I examine other forms of South African crime and prison narratives which have emerged since the publication of Pumla Gobodo-Madikizela‟s A Human Being Died that Night (2003) and Jonny Steinberg‟s The Number (2004). In Kenya, I begin with Ngugi wa Thiongo‟s Detained (1981). I then focus on popular narratives of crime and imprisonment which began with the publication of John Kiriamiti‟s My Life in Crime (1984) up to the first decade of the 21st century, marked yet again by the publication of Kiriamiti‟s My Life in Prison (2004). Besides Kiriamiti‟s two narratives, the other Kenyan texts which I examine are John Kiggia Kimani‟s Life and Times of a Bank Robber (1988) and Prison is not a Holiday Camp (1994), Benjamin Garth Bundeh‟s Birds of Kamiti (1991), and Charles Githae‟s, Comrade Inmate (1994).
AFRIKAANSE OPSOMMING: My proefskrif onderneem ‟n vergelykende studie van Suid-Afrikaanse en Keniaanse auto/biografiese narratiewe van misdaad en gevangeneskap. Hoewel aandag tot ‟n mate geskenk word aan verhale van politieke gevangeneskap, is die primêre fokus van die studie eerder op autobiografiese narratiewe deur misdadigers, konfessionele narratiewe, populêre fiksie met betrekking tot misdaad en gevangenis-ondervindinge, sowel as joernalistieke verslae oor gevangenes se lewens agter tralies. Min kritiese werk is tot dusver in verband met hierdie vorme van gevangenis-narratiewe in Suid-Afrika en Kenia gedoen. Populêre prisoniers-narratiewe, en tot ‟n mate autobiografieë oor die algemeen, word deur ‟n onder-geteoriseerde dialektisisme gekenmerk. As akademiese konsepte word beide die populêre en die autobiografiese vorme deur ‟n onstabiele dualisme gekenmerk. Terwyl die populêre tipe geteoretiseer word as sowel ‟n vorm van weerstand teen mag as van toegee daaraan, word aan die autobiografiese tipe ‟n soortgelyke onstabiele, verdeelde rol toegeskryf – in hierdie geval, tussen feitelikheid en fiksie, ‟n plek waar die “ek” wat vertel terselfdertyd die subjek en objek van die verhaal is. Deur middel van ‟n eklektiese versameling van tekste wat die gevangenis as verwysingspunt deel, problematiseer my verhandeling die spanning tussen self en wêreld, die populêre en die gekanoniseerde, die politieke en die kriminele, die feitelike en die fiktiewe. In beide kontekste, Suid-Afrika en Kenia, weerspieël die gevangenis as diskursiewe spasie nie alleenlik die gemeenskapsomgewing nie, maar veroorsaak dit ook veranderings en verskuiwings in die gemeenskap – sodoende word die gevangenis self ‟n ruimte van dinamiese verandering en ‟n plek wat sekere hegemoniese verhoudings versteur. Die manier waarop die ondervinding van gevangeneskap lei tot ‟n fundamentele versteurende dubbelsinningheid resoneer met die dubbelsinnigheid wat beide die autobiografiese as genre en die populêre as teoretiese konsep karakteriseer. My tesis voer aan dat, gedurende die ganse historiese tydperk wat gedek word deur die narratiewe wat ek hier betrag, daar ‟n sekere oormaat is wat die sosiale produksie van misdaad en die toepassing van gevangesetting begelei, beide as stoflike werklikhede en as diskursiewe konsepte, wat hulle toelaat om ‟n kwellende effek uit te oefen beide of individuele mense se sin van „self‟ en die samestelling van nasionale identiteite en nasionaliteite. Ek voer aan dat die onderskeid tussen die koloniale en die postkoloniale gevangenis onduidelik is, en dat ‟n vergelykende studie van Keniaanse en Suid-Afrikaanse gevangenes-narratiewe ons dus help om te verstaan hoe moderne tronke en idees oor misdaad in Afrika deureengevleg is met die breë Europese koloniale projek, en groter kwessies van staatsmag en beheer oor die bevolking weerspieël. In Suid Afrika begin my studie met Ruth First se 117 Days (1963), en maak dan ‟n seleksie van ander gevangenes-narratiewe van die apartheid-era tot en met die post-apartheid oomblik wat deur Mandela se Long Walk to Freedom ingelui word. Ek vestig dan my aandag op ander vorme van Suid-Afrikaanse misdaad- en gevangenes-narratiewe wat sedert die publikasie van Pumla Gobodo-Madikizela se A Human Being Died that Night (2003) en Jonny Steinberg se The Number (2004) verskyn het. In Kenia begin ek met Ngugi wa Thiongo se Detained (1981), en kyk dan ten slotte na populêre narratiewe van misdaad en gevangeneskap wat hulle aanvang vind met die publikasie van John Kiriamiti se My Life in Crime (1984) tot en met die eerste dekade van die 21ste eeu, nogmaals gemerk deur die publikasie van Kiriamiti se My Life in Prison (2004).

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Stobie, Cheryl. "Somewhere in the double rainbow : representations of bisexuality in post-apartheid novels." Thesis, 2005. http://hdl.handle.net/10413/2723.

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This thesis examines the middle ground between dual strands of sexuality/gender and race/ethnicity, which I refer to metaphorically as a fluid space of possibility between the rainbows of the pride flag, which celebrates sexual diversity, and the image of the rainbow nation, which celebrates multiculturalism. I discuss ways in which lesbian, gay, bisexual and transgender issues and rights have been discursively treated in the West as well as Africa, most particularly South Africa. I note that a substantial number of novels which appeared after 1994 and have a South African setting or were authored by South Africans, employ the trope of bisexuality. This new preoccupation with bisexuality is parallel to attitudes towards change, the future, and progressive politics, including gender politics. Representations of bisexuality in each of the texts I examine vary; however, together they form a crucial cartography of a liberalization of the imagination in post-apartheid South Africa: a space of anxiety and hope, a space particularly revealing the ongoing evolution of a national identity, and newly part of a global community. Reading bisexuality accurately contributes to the disruption of binaries and illumination of the interstitial associated with the post-apartheid moment in general, and contemporary South African literature and literary criticism in particular. This method of reading, which I call "biopia," allows for a fresh understanding of sexuality, gender, race, citizenship and authority.
Thesis (Ph.D.)-University of KwaZulu-Natal, 2005.

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Schultz, Clea. "Reading affect in post-apartheid literature: Compassion and other difficult feelings in Ivan Vladislavić." Thesis, 2014.

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I aim to explore compassion and affect in South African literature because there is a remarkable dearth of criticism on both compassion and affect in this field. I hope this thesis will be a small remedying contribution. As I wish to explore material conceptions of compassion and affect, this study will also engage in commentary on everyday South African society as reflected by the “web cracked mirror” (Titlestad and Gaylard, 7) held up to it: its literature. My case study is Ivan Vladislavić because he is a writer intricately engaged with everyday South African society, particularly the material realities and lived experiences of the people living within it. He never uses the word “compassion” in his texts, excepting in the mouth of Merle in The Restless Supermarket. (192) Nevertheless, the way in which he chooses and portrays his subject matter is infused with compassion, albeit in his aloof style. I have come to this conclusion through close reading of three of his texts – The Restless Supermarket, The Exploded View and Portrait with Keys – and intend to make close reading a large part of this thesis. I must also state this thesis will be my own personal enquiry and research, not an empirical project. The nature of affect is such that a study of affect must always be deeply subjective and, in fact, affected.

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Putter, Anne. "Reinventing and reimagining Johannesburg in three post-apartheid South African texts." Thesis, 2012. http://hdl.handle.net/10210/8143.

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M.A.
'Writing the city'‘, particularly writing the city of Johannesburg, in post-apartheid South African fiction can be considered as a new approach to interpreting South African culture; a new approach that takes into consideration and reflects the changes taking place in present-day South African society. By means of close textual analysis, this study examines the ways in which the city of Johannesburg is in the process of being re-imagined and reinvented in post-apartheid South African fiction and, therefore, in the post-apartheid memory. Particular attention is paid to narrative techniques utilised in the primary material as a means of not only re-writing the space of the city, but the space of South Africa as well. This is essential in order to reveal how transformation is narrated in post-apartheid, transitional texts and how this narration changes in post-transitional South African fiction. The chosen texts are read and interpreted as a type of cultural history or memory – as a means of constructing South African culture and history through textual production. In particular, this dissertation illustrates how texts written on Johannesburg, such as Phaswane Mpe‘s Welcome To Our Hillbrow (2001), Ivan Vladislavić‘s The Restless Supermarket (2001) and Kgebetli Moele‘s Room 207 (2006) are utilising the subject matter and every day life of the city as an 'idea‘; as a means of expressing societal concerns and other important changes taking place in the country as a whole. This study focuses on how each of the three chosen novels contributes to South African culture and history by narrating its transformative history. Topics such as the depiction of Johannesburg as a palimpsest and as a cultural archive of historical moments in present-day South Africa are explored. In this regard, themes and representations of movement, transition and transformation in the city of Johannesburg, as well as attempts to memorialise this space, are dealt with. In addition, the representation of a 'gendered‘ city as a means of narrating such transformation is also discussed. Here, reference is made to concerns such as the shifting position of men and women in the city, changing gender-related city consciousness, and altered gender discourse surrounding the city. This dissertation identifies and considers how depictions of the city of Johannesburg are being altered and modified in contemporary South African literature and contemplates the ways in which the narratives reveal how transformation is narrated via the Johannesburg landscape.

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Thela, Bongani Clearance. "Examining morality and corruption in South African post apartheid contemporary drama : a case of three dramas." Thesis, 2018. http://hdl.handle.net/10386/2408.

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Thesis (M.A. (English Studies)) --University of Limpopo, 2018
The purpose of this study was to examine South Africa’s Post-Apartheid contemporary drama. Three dramas were used in order to examine three primary themes namely morality, corruption and class - the selected plays were John Kani’s Nothing but the Truth, Zakes Mda’s Our Lady of Benoni and Mike van Graan’s Some Mother’s Sons. The ideology carried out in this study was that there is a possible reinvention of Apartheid issues in Post-Apartheid South African drama, exchanging themes of protest and race for morality and corruption, while reflecting real events in the works of playwrights. Also, the study aimed at finding out whether there are connections between class issues and morality as presented in the selected plays. The study found that there is indeed a reinvention of Apartheid issues in Post-Apartheid South Africa, and that there are connections between class issues and morality, including corruption. Lastly, the study concluded that the current South Africa requires a serious intervention regarding moral regeneration as reflected in the selected plays.

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Mhlambi, Innocentia Jabulisile. "'African discourses' : the old and the new in post-apartheid isiZulu literature and South African black television dramas." Thesis, 2009. http://hdl.handle.net/10539/5995.

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ABSTARCT This thesis sets out to explore the problematic perceptions regarding African indigenous language literature. The general view regarding this literature is that it is immature, irrelevant school-market driven and shows no artistic complexities and ingenuity.1 These disparaging remarks resonated persistently after the first democratic elections in 1994. Both local and international critics expected marked shifts in post-apartheid isiZulu literary productions because factors that hampered its development have been removed. The dominant Western and postcolonial critical approaches from which these critics articulated their views, operated on assumptions that failed to look at the role and centrality of the broader concerns usually covered by this literature. Barber (1994: 3) points out that these Western and postcolonial critical approaches, block a properly historical localized understanding of any scene of colonial and postindependence literary production in Africa. Instead it selects and overemphasized one sliver of literary and cultural production…and this is experience’. Furthermore it is the contention of this thesis that these critics used critical tools that are fundamentally mismatched for the types of narratives with which isiZulu literature and African-language literatures in general are engaged. It is the view of the author of this thesis that if a new set of critical tools are used, a paradigm shift may result which allows for revisiting creative conceptualisations involved in the production of these literatures. The primary aim of this thesis is to read post-apartheid isiZulu novels and the black television dramas using theoretical tenets postulated by Karin Barber. Barber’s research on African everyday culture is the key epistemological and cosmological framework with which to study post-apartheid literary and film productions that narrate the everyday life experiences of ordinary South Africans. The basic assumption is that orality which is the maximal point of reference for 1 See Mpahlele, 1992; Kunene, D. P. 1992 and 1994; Kunene, M. 1976 and 1991; and Chapman, 1996 any African work of imagination continues to thrive in black everyday popular culture as manifest in both print and broadcast media. The first part of this thesis deals with the use of oral genres in print media. Six novels are selected to explore the uses of proverbs, folktale motifs and naming as strategies for reading post-apartheid contemporary South African society. The thesis proceeds from an analysis of what these oral forms aim to achieve in the post-apartheid context. It is argued that through these oral verbal art forms the narratives transpose the traditional episteme and re-inscribe it for modern contemporary African society, where traditional morality is made to continue to shape and animate contemporary morality. The second section deals with the implications of some of these traditional epistemologies in broadcast media texts. Four post-apartheid black television dramas are selected. With Ifa LakwaMthethwa and Hlala Kwabafileyo, the thesis, demonstrates how these films position the middle-class as a solution to post-apartheid leadership challenges. The discussion of Gaz’ Lam and Yizo Yizo demonstrates the nature of orality, where oral texts are seen to be endlessly recycling similar themes in different media forms. The emphasis is on how renditions of texts always bring in new elements and topical issues, fresh and precise photographic capturing of key moments in society. In view of the nature of Barber’s theoretical model and that of isiZulu fiction and film, this thesis argues that it is the most appropriate to use for the analysis of Africanlanguages literatures. Barber’s theoretical model has intertextual links with the Black Film theoretical traditions in the Diaspora and the Third Cinema in Africa. These black film traditions, like Barber’s model, centralise the black experience, everyday culture and orality as the basic reference for African work of imagination and aesthetics.

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Ezeliora, Nathan Osita. "The movement of transition: trends in the post-apartheid South African novels of English expression." Thesis, 2009. http://hdl.handle.net/10539/6614.

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Abstract The period of South Africa’s political transition in the late 1980s and 1990s also saw a number of interesting developments in the field of cultural production, especially within the province of literature. A number of literary scholars, critics of all realms, writers, some enthusiasts and adventurers all showed interest in the direction of literature after the repressive years of apartheid. The dominant academic question at the time centred on the possible transition in the thematic and formalistic dimension of the literature of the new South Africa. Scholars and cultural commentators that include Es’kia Mphahlele, Njabulo Ndebele, Albie Sachs, Guy Butler, Elleke Boehmer, Michael Chapman, Mbulelo Mzamane, Andries Walter Oliphant, amongst others, all contributed immensely in the debates that attempted to define the possible direction of the literature after apartheid. This research is concerned with the developments in the Post-Apartheid South African Novels of English expression. Its focus is on how temporal mobility has impacted on cultural production especially as witnessed in the many transformations in the field of literature, particularly the novel as a genre. Using the tropes of memory, violence, and otherness, it examines the novels of writers as varying as André Brink, J.M. Coetzee, Zakes Mda, Zoë Wicomb, and Jo-Anne Richards. At the level of form, the fantastical and the confessional modes of narration are discussed as significant manifestations of the post-apartheid narratives using the novels of André Brink and Jo-Anne Richards respectively. It suggests that, among other things, the post-apartheid novels of English expression are marked by some interesting thematic blocs that include the fascination with land, the artistic display of remorse through the confessional mode, the rekindling of memory and its representation in narrative, the peculiar interest in violence and alterity, the continuing reportage of the urban space and the implications of urbanity on the ordinary citizenry, the recourse to gangsterism, miscegenation and the dilemma of a humankind confined to the psychological spaces of the interstices. Efforts were made in this research to avoid the ‘intellectual apartheid’ often associated with the hermeneutic engagements of the literati previously devoted to South Africa’s literary scholarship. It is for this reason that a more elaborate introductory chapter highlights aspects of the contributions of novelists and scholars that include Nadine Gordimer, Mongane Wally Serote, Lewis Nkosi, Njabulo Ndebele, and the ‘emergent’ ones such as Phaswane Mpe, K. Sello Duiker, Pamela Jooste, among others. An important dimension to this study is that it situates the Post-Apartheid narratives not only within relevant historical contexts, but also develops its argument by drawing immensely from the intellectual culture dominant in South Africa before, during, and after the notorious era of racial separatism. It concludes on the suggestive note that South African writers and literary scholars should attempt to demonstrate a more rigorous interest in locating the creative points of convergence between the aesthetic and social ideals.

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Thomas, Stuart. "This land is us : aspects of the Plaasroman and hospitality in five post-apartheid Karoo novels." Thesis, 2011. http://hdl.handle.net/10413/7923.

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This dissertation investigates five texts: Damon Galgut‟s The Imposter (2008), Anne Landsman‟s The Devil’s Chimney (1998), Eben Venter‟s My Beautiful Death (1998) and Trencherman (2008) and Zoë Wicomb‟s David’s Story (2000). In addition to being written in the post-apartheid era, these five texts are all set wholly or partially in the Karoo, a semi-desert landscape unique to South Africa. The Karoo is, however, more than just a common setting onto which their individual stories have been transposed. It is part of the literary imagination of each text. Within these texts are a number of fluid interactions between the consciousnesses and the landscapes they portray. Of course, to attempt to examine these interactions as occurring purely between landscape and consciousness would be foolhardy. As such, this project investigates these links by comparing the texts under investigation to the historical literary form of the plaasroman and by scrutinising them through the theoretical concept of hospitality, as outlined by Jacques Derrida. According to J.M. Coetzee term „plaasroman‟ refers to the type of early twentiethcentury Afrikaans novel which “concerned itself almost exclusively with the farm and platteland (rural society) and with the Afrikaner‟s painful transition from farmer to townsman” (1988: 63). This project investigates all five texts in relation to a number of the concerns common to the plaasroman, including the idea of the farm as a patriarchal idyll, its valorisation of near-mythical ancestral values and the pushing of black labour to the peripheries of narrative consciousness. These concerns, along with the fact that the plaasroman marks out the farm as a fenced off area surrounded by threatening forces, means that it is an ideal form to include in an investigation involving hospitality Derrida outlines hospitality, at its most basic level as “the right of a stranger not to be treated with hostility when he arrives on someone else‟s territory” (Derrida 2007: 246). This relationship, however, goes further than a simple binary. Both host and guest give and receive hospitality. From Derrida‟s meditations on the subject come two forms of hospitality: Conditional and unconditional. The primary distinction between these two kinds of hospitality is a distinction “between a form of subjectivity constituted through a hostile process of inclusion and exclusion and one that comes into being in the self‟s pre-reflective and traumatic exposure, without inhibition, to otherness” (Marais 2009: 275). Unconditional hospitality is the latter and morally preferable. In linking the two concepts, this dissertation illustrates the degrees to which each text, through subverting, or conforming to the conventions of the plaasroman, achieves instances of unconditional hospitality.
Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.

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"A post-apartheid Zulu novels : a critical analysis of didactic elements in J C Buthelezi's novels." Thesis, 2007. http://hdl.handle.net/10413/1448.

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The study addresses the reasons why Buthelezi is regarded as a post-apartheid writer. Among other reasons that are discussed in this study is that in his novels, he touches on some of the issues that were not dealt with in the apartheid period. It also looks at the didactic elements that are conveyed in Buthelezi's novels as far as the post-apartheid period is concerned. Advantages and disadvantages of the post-apartheid period to South Africans are also examined, one of the very important disadvantages being the loss of the spirit of ubuntu among the African people while they try to move on with times.
Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.

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De, Bock Charles. "Le trauma, la ville et le langage dans deux romans post-apartheid et post-guerre civile libanaise : Triomf de Marlene van Niekerk et Hārith et Miyāh de Hoda Barakat." Thèse, 2008. http://hdl.handle.net/1866/7920.

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Buthelezi, Mbongiseni Patrick. "Sifuna umlando wethu (We are Searching for Our History): Oral Literature and the Meanings of the Past in Post-apartheid South Africa." Thesis, 2012. https://doi.org/10.7916/D87D2S69.

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In post-apartheid South Africa, working through the distortions of identity and history of the formerly colonized, as well as the traumas suffered by black South Africans as a result of the alienation of land by European settlers is an ongoing project of the state. The state's attempts to formulate an appropriate national myth with founding heroes and significant events that resonate with the majority has resulted in the promotion of certain figures as heroes. Not all black South Africans who are exhorted to identify with these figures consider them heroes. Some trace the beginnings of the fragmentation of their historical identities to the conquest actions of these figures. Shaka kaSenzangakhona, founder of the Zulu kingdom, is one such figure who is being promoted as the heritage of all Zulus by the state, especially at the level of the province of KwaZulu-Natal, for purposes of constructing a heritage for the province and of encouraging tourism. This promotion of Shaka is seen by some as the perpetuation under the post-1994 dispensation of the suppression of their histories and the disallowing of engagement with a longer history than the reorganization of chieftainship from 1927 and the seizure of land belonging to Africans from 1913. Hence has sprung up groups convening around pre-Zulu kinship identities since the early 1990's in which people attempt to find answers to the question "Who am I?" For most people, this question is driven by a sense that their conceptions of the country's past and of their historical selves (i.e. of the experiences of their predecessors that have brought them to where they are in the present) have been either influenced, mis(in)formed or distorted by the national master narratives that crystallized under European colonial rule and apartheid, even as they were simultaneously being resisted. Informed in part the Truth and Reconciliation Commission of the late 1990's and the state's attempts to "redress the imbalances of the past," many feel they need to work through the meanings of the past in their personal lives in order to inhabit the present with a fuller sense of how they have come to be who they are and so that they can imagine and create different futures for themselves. In this project I examine the attempt of people who trace their history to the Ndwandwe kingdom that was destroyed by Shaka's Zulu forces in the 1820's who have organized themselves into an association named the uBumbano lwamaZwide (Unity Association of the Zwides) to engage with questions of identity and the meanings of the past. The association comprises a group of activists in different parts of KwaZulu-Natal and Gauteng provinces who have been meeting since 2003 to attempt to bring together on a large scale people of Ndwandwe, Nxumalo and other historically-associated clans to recall and/or construct a heroic past in post-apartheid South Africa. Implicitly, and sometimes explicitly, the assembly of the Ndwandwe calls into question the definition as Zulu of those Ndwandwe whose forebears were incorporated into the Zulu kingdom in the 1820's.I analyze the use of the idiom of heritage as well as a traditional idiom of kinship that has come to be handed down as a Zulu language for mediating social relations by the uBumbano in ways that challenge the centrality given to Shaka in narrations of the past. I argue that the uBumbano is using these idioms against how they are commonly understood - heritage as a mode of engaging with the past for its feel-good features and kinship as a Zulu idiom in KwaZulu-Natal province. Through an analysis of three closely related oral artistic forms - the izibongo (personal praises) of Shaka in his promotion and the ihubo lesizwe (`national' hymn), izithakazelo (kinship group or clan address names) of the Ndwandwe as well as the personal praises of Zwide, the last Ndwandwe ruler before the fall of the kingdom - I argue that the uBumbano is deploying these forms in subtle ways to overturn the dominance of Shaka in public discourse. Moreover, I contend, the uBumbano is turning on its head the permission to recall their ancestors under the authority of the Zulu ruling elite that Ndwandwe people who were incorporated into the Zulu kingdom have been permitted for almost two centuries. I demonstrate how the language of being an isizwe (`nation') was permitted and perpetuated a Ndwandwe identity that has held the potential to be asserted more forcefully to overturn its secondary position to an overarching Zulu identity.

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Nudelman, Jill. "Waking the White Goddess: a novel." Thesis, 2010. http://hdl.handle.net/10539/8551.

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Abstract (Jill Nudelman) This dissertation presents a novel that charts the progress of the white protagonist, Rose, whose mysterious origins have rendered her disconnected and alienated. In addition, moulded by her sheltered and privileged lifestyle she experiences guilt faced with the suffering and poverty that she encounters in post-apartheid South Africa, but lacks the strength to act. The novel opens with Rose, now 30, bereft and alone. When she discovers a box of mysterious objects which hint at her origins, she is lead to Oberon, a fictional village in the southern uKhahlamba-Drakensberg. Here, Rose’s search becomes more than a search for her biological parents as she experiences events that lead her to an identity beyond whiteness and help her to find rootedness in African soil. A reflexive essay follows. The essay is a personal reflection of the writing process, and includes the inspiration and development of the story line, problems encountered around the narrative voice and the contribution of the Masters programme workshops to the project. It also explores and expounds on the theoretical underpinnings of the novel, such as white identity in post-apartheid South Africa, the use of Western mythologies in an African context, and a discussion of San culture, including concerns around its inclusion in the text. The use of the heavily-loaded signifier, “White Goddess” as in the title, is also touched upon.

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Nudelman, Jill. "CONTESTED DOMESTIC SPACES: ANNE LANDSMAN'S "THE DEVIL'S CHIMNEY"." Thesis, 2006. http://hdl.handle.net/10539/1736.

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Student Number : 7805464 - MA dissertation - School of SLLS - Faculty of Arts
This dissertation interrogates Anne Landsman’s The Devil’s Chimney. The novel is narrated by the poor-white alcoholic, Connie, who imagines a story about Beatrice, an English colonist living on a farm in the Little Karoo. Connie, who is a product of the apartheid era, interweaves her own story with that of Beatrice’s and, in this way, comes to terms with her own memories, her abusive husband and the new South Africa. Connie deploys the genre of magical realism to create a defamiliarised farm setting for Beatrice’s narrative. She thus challenges the stereotypes associated with the traditional plaasroman and its patriarchal codes. These codes are also subverted in Connie’s representation of Beatrice, who contests her identity as the authoritative Englishwoman, as constructed by colonial discourse. In addition, Beatrice’s black domestic, Nomsa, is given voice and agency: facilities denied to her counterparts in colonial and apartheid fiction. Nomsa’s relationship with Beatrice is also characterised by subversion as it blurs the boundaries between colonised and coloniser. In this regard, the text demands a postcolonial reading. Connie, in narrating Beatrice’s and Nomsa’s stories, reinvents their invisible lives and, by doing so, is able to rewrite herself. In this, she tentatively envisions a future for herself and also potentially ‘narrates’ the nation, thus contributing to the new national literature. The nation is inscribed in the Cango caves, whose spaces witness the seminal episodes in Beatrice’s narrative. In these events, the caves ‘write’ the female body and women’s sexuality and the text thus calls for an engagement with feminism. The caves also inscribe South African history, the Western literary canon, the imagination and Landsman’s own voice. Hence, the caves assume the characteristics of a palimpsest. This, together with the metafictive elements of the novel, invites an encounter with postmodernism.

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Foster, Sue-Ann Anita. "Violence,fantasy,memory and testimony in MDA's ways of dying and she plays with the darkness." Thesis, 2007. http://hdl.handle.net/10539/2015.

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Student Number : 0401052V - MA research report - School of Literature and Language Studies - Faculty of Humanities
This research report analyzes the representation of violence in Zakes Mda’s Ways of Dying and She Plays with the Darkness. Ways of Dying questions whether social stability and democracy would be fully realized in post-apartheid South Africa as is predicted in Black South African literature written between 1970 and 1994. Mda’s disillusionment is shown in his examination of undemocratic and violent practices committed within the liberation movement against the oppressed and of “black-on-black” violence in South Africa. She Plays with Darkness posits that political corruption and repression in Lesotho occurred as a result of the erosion of African values and traditions, which caused political leaders and the middleclass to dismiss the well-being of their society for personal gains. For Mda, however, societies and individuals can be redeemed from violence through memory, testimony, fantasy and art. Both novels reveal his endeavor to creatively narrate the experience of violence.

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Krueger, Anton Robert. "Experiments in freedom : representations of identity in new South African drama : an investigation into identity formations in some post-apartheid play-texts published in English by South African writers, from 1994 - 2007." Thesis, 2008. http://hdl.handle.net/2263/29095.

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This thesis examines ways in which identities have been represented in new South African play texts. It begins by exploring various ways in which identity has been described from various philosophical, psychological and anthropological perspectives. In particular, the thesis describes its methodology in terms of Gilles Deleuze's definition of "rhizomatic" structures. The introduction also elaborates ways in which drama is uniquely suited to represent ¨C as well as to effect ¨C transformations of identity. The thesis then moves on to an examination of specific texts in terms of four broad areas of investigation ¨C gender, political affiliation, ethnicity and syncretism. In these chapters a number of play texts are investigated from different points of view. Firstly, in a chapter on gender, the thesis focuses specifically on issues of masculinity and exile in plays by Athol Fugard, Anthony Akerman and Zakes Mda. This chapter explores orientations of the masculine which have become embedded within notions of nationalism and patriotism. In terms of political affiliations, the thesis looks at what Loren Kruger has called "post-anti-apartheid theatre" (2002: 233) and considers the trend away from protest theatre. With reference to the plays of Mike van Graan it also examines new forms of protest theatre. This chapter also explores plays which were inspired by the Truth and Reconciliation Commission (TRC) and looks in more detail at Ubu and the Truth Commission by Jane Taylor. When considering ethnicities, the thesis reflects on how identity in terms of an ethnic collective is most often premised on laws of exclusion, and on the construction of what Benedict Anderson refers to as an "imagined community" (1991: 15). Representations of ethnic identities are then analysed in Happy Natives by Greig Coetzee. Syncretism seems to present a preferable description of how South African identities can be constructed and the thesis then elaborates attempts to forge a new identity in terms of amalgamation and a creative fusion of cultural resources, with particular reference to the plays of Brett Bailey and Reza de Wet. In the conclusion of this thesis, the thorny issue of racial identities is considered, and in particular the trope of the "rainbow nation", which many writers regard as a problematic blanketing description which cancels out difference. Instead, Ashraf Jamal's "radical syncretism", which does not seek to subsume heterogeneous identities, is suggested as a viable means of approaching definitions of identity. The final chapter also briefly touches on the development of physical theatre in South Africa and describes how the body can be used as a tool for transformation, relying principally on the writings of Mark Fleishman and Eugenio Barba in this regard. Finally, again resorting to a Deleuzian vocabulary which describes identity as constructed in terms of lines operating on particular planes, the thesis considers whether it may not be more beneficial in the post-apartheid context to favour paradoxical processes which relinquish identities, instead of those which attempt to consolidate them. @ 2008 Author Please cite as follows: Krueger, AR 2008, Experiments in freedom : representations of identity in new South African drama : an investigation into identity formations in some post-apartheid play-texts published in English by South African writers, from 1994 - 2007, DLitt thesis, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-10282008-141823/ > D497/gm
Thesis (DLitt)--University of Pretoria, 2008.
English
unrestricted

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Pragrová, Anna. "Role zvířat ve vybraných dílech J.M. Coetzee." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-368130.

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The aim of the thesis is to examine the way in which J. M. Coetzee employs animal imagery in his three fictional works - the novel Disgrace, the novella The Lives of Animals and the short story "The Old Woman and the Cats". A historical overview of the development of the human-animal relationship is provided as the theoretical basis for the practical part, along with an explanation of the term speciesism. The overview will help to comprehend why and how has the relationship of humans to animals changed throughout time and what is the reason of its contemporary shape. It will also serve as a theoretical basis for the interpretation of the portrayal of animals in the selected works. A description of the author's life and the analysed works will be given along with a brief presentation of the situation in post-apartheid South Africa and its historical events which will serve as a basis for a later analysis of the portrayal of animals in connection with political issues. The analytical part will therefore be based on the interpretation of the role of animals in the selected works and will examine its connection with both ethical and political issues, and its function as a language and educational tool. KEY WORDS literature, South-African literature, Coetzee, speciesism, human-animal relationship, human...

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Joubert, Christiaan Johannes. "Die verhouding tussen ruimte en identiteit in Eben Venter se prosakuns : ballingkapliteratuur en die postkoloniale diskoers." Thesis, 2017. http://hdl.handle.net/10500/22690.

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Hierdie proefskrif bied ŉ nie-empiriese ondersoek en ŉ konseptuele analise van die verhouding tussen ruimte en identiteit in Eben Venter (1954-) se oeuvre binne die konteks van ballingskapliteratuur die postkoloniale diskoers. Die manifestasie van die ruimte- identiteitdialektiek, soos wat dit uitgebeeld word in Venter se skryfkuns, word beskryf aan die hand van postkoloniale teorieë en insigte wat verband hou met aspekte soos ruimte, plek, ballingskap, diaspora, ruimtelike verplasing, seksuele migrasie, intra-nasionale migrasie, internasionale migrasie, empiriese en kulturele landskappe, identiteit as sosio-kulturele konstruksie en Suid-Afrikaanse outobiografieë. Vir die doel van hierdie ondersoek is die volgende vertellings geselekteer: Ek stamel ek sterwe (1996), Twaalf (2000), Horrelpoot(2006) en Brouhaha (2010). In ŉ tydsgewrig van grootskaalse migrasie, globale onsekerheid, transnasionale kapitalisme en radikale dekolonisering in die vorm van geweldsmisdaad, gewelddadige betogings by universiteite, plaasmoorde, grondhervorming, haatspraak, arbeidsonrus, xenofobie en die aftakeling van minderheidsregte, sny Venter in sy verhale en outobiografie ŉ verskeidenheid van kwessies aan. Dit sluit in: die naweë van apartheid, die Afrikaner-diaspora, grondeienaarskap, die ideologiese toeëiening van grond, rassisme, homofobie, queer-migrasie, die haalbaarheid van ŉ inklusiewe Afrika-identiteit en die veranderde rol, plek en identiteit van Afrikaners sedert 1994. Die outobiografiese inslag van Venter se skryfkuns is opvallend en word bespreek deur te verwys na die verhouding tussen fiksionele en reële ruimtes en na outobiografie as hibridiese genre en kreatiewe projek. Hierdie studie bied ook ŉ krities-analitiese besinning van Venter se bemoeienis met skryftemas soos selfopgelegde ballingskap, die vervreemding tussen plek en self, globale plekloosheid en “exile as a discontinous state of being” (Said 2000: 177). Een van die belangrikste insigte wat Venter in sy skryfkuns demonstreer, is dat ruimte, soos identiteit, nie ŉ essensialistiese konsep is nie, maar ’n onvoltooide en vloeibare konstruksie wat voortdurend verander na gelang van sosio-politieke ingrepe, internasionale migrasiepatrone en die individu se subjektiewe gewaarwording van plekke,
This dissertation presents a non-empirical and a conceptual analysis of the relationship between space and identity in the works of prose of Eben Venter (1954) within the context of the postcolonial discourse and exile literature. The manifestation of the space-identity dialectic, as portrayed in Venter’s writing, is described on the basis of postcolonial theories and insights related to terms and concepts like space, place, exile, diaspora, spatial displacement, sexual migration, intra-national migration, international migration, empirical and cultural landscapes and identity as a social-cultural construction. For the purpose of this study the following narratives were selected: Ek stamel ek sterwe (1996), Twaalf (2000), Horrelpoot en Brouhaha (2010). At a juncture of mass migration, global uncertainty, transnational capitalism and radical decolonization in the form of violent crime, violent protests at universities, hate speech, farm murders, land reform, labour unrest, xenophobia and the dismantling of minority rights, Venter addresses an assortment of social issues. This include: the aftermath of apartheid, the Afrikaner-diaspora, landownership, the ideological appropriation of land, racism, homophobia, queer-migration, the viability of an inclusive African-identity and the altered role, place and identity of Afrikaners since 1994. The autobiographical element is evident in Venter’s writing and is discussed by referring to the relationship between fictional and real spaces and to autobiography as a hybrid genre and creative project. This study also presents a critical-analytical reflection of Venter’s involvement with writing topics such as self-imposed exile, estrangement between place and self, global displacement/non-belongingness and “exile as a discontinuous state of being” (Said: 2000: 177). One of the key insights Venter demonstrates in his writing, is that space, like identity, is not an essentialist concept, but an incomplete and diffuse construction that is constantly changing depending on socio-political interventions, international migration patterns and the individual's subjective perception of places.
Afrikaans and Theory of Literature
D. Litt. et Phil. (Afrikaans)

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Vogt, Isabelle [Verfasser]. ""Born in Africa but..." : women's poetry of post-apartheid South Africa in English / vorgelegt von Isabelle Vogt." 2008. http://d-nb.info/995733368/34.

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Nyete, L. T. "The depiction of female experiences in selected post-2000 South African narratives written by women." Diss., 2016. http://hdl.handle.net/11602/825.

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Dissertations / Theses on the topic 'Post-apartheid literature'

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