Relevant bibliographies by topics / South African drama

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'South African drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "South African drama"

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Sirayi, Mzo. "Oral African Drama in South Africa: The Xhosa Indigenous Drama Forms." South African Theatre Journal 10, no. 1 (January 1996): 49–61. http://dx.doi.org/10.1080/10137548.1996.9687647.

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Alessandro Cima, Gibson. "Loren Kruger, A Century of South African Theatre." Modern Drama 64, no. 1 (March 2021): 117–19. http://dx.doi.org/10.3138/md.64.1.br3.

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abstract: A Century of South African Theatre revises and updates Loren Kruger’s seminal book, The Drama of South Africa. Kruger rejects essentializing categories such as African or European, arguing that South African theatre mixes local and transnational forms. The book provides a useful survey of South Africa’s past century of theatre.
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PETERSON, BHEKIZIZWE. "Drama and the South African State." African Affairs 91, no. 365 (October 1992): 644–45. http://dx.doi.org/10.1093/oxfordjournals.afraf.a098575.

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Waters, Harold A., and Martin Orkin. "Drama and the South African State." World Literature Today 66, no. 3 (1992): 570. http://dx.doi.org/10.2307/40148560.

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Sirayi, Mzo. "Contemporary African drama: the intercultural trend in South Africa." South African Journal of African Languages 22, no. 4 (January 2002): 249–61. http://dx.doi.org/10.1080/02572117.2002.10587514.

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Walder, Dennis. "Resituating Fugard: South African Drama as Witness." New Theatre Quarterly 8, no. 32 (November 1992): 343–61. http://dx.doi.org/10.1017/s0266464x00007132.

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The recent work of the South African dramatist Athol Fugard has addressed the present realities of a country undergoing traumatic change. But on whose behalf does it speak today? The common claim of critics has been that his work ‘bears witness’: but what does this claim amount to in the context of current debates about culture in South Africa? Central to these debates is the contextualizing work which has arisen out of the neo-Marxist emphasis on previously marginalized black dramatic forms: tending to supplant the liberal, universalizing approach which helped promote Fugard, this is fast becoming a new orthodoxy, diminishing his contribution and historic influence alike. In this article, Dennis Walder looks more closely at the European origins among the liberal-left of the idea of ‘bearing witness’, and considers its continuing potential as taken up by Fugard himself at a turning-point in the development of his plays – the moment from which sprang both Boesman and Lena and the collaborative Sizwe Bansi and The Island. These plays can still be understood to offer a voice to the voiceless – above all to Lena, the ‘Hotnot’ woman, an outcast among outcasts, who affirms her identity through her body and her language. Dennis Walder, who was born and brought up in South Africa and educated at the Universities of Cape Town and Edinburgh, is now Senior Lecturer in Literature at the Open University: a Dickens scholar, whose Dickens and Religion appeared in 1981, he also wrote the first book-length study of Athol Fugard (Macmillan, 1984), and is currently editing Fugard's plays for Oxford University Press.
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Ho, P. Sai-wing, and Geoffrey Schneider. "African Drama: Myrdal and Progressive Institutional Change in South Africa." Journal of Economic Issues 36, no. 2 (June 2002): 507–15. http://dx.doi.org/10.1080/00213624.2002.11506495.

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Amkpa, Awam. "Review: Drama and the South African State." Literature & History 2, no. 1 (March 1993): 133–35. http://dx.doi.org/10.1177/030619739300200135.

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Bodomo, Adams, and Eun-Sook Chabal. "Africa – Asia Relations through the Prism of Television Drama." African and Asian Studies 13, no. 4 (December 10, 2014): 504–29. http://dx.doi.org/10.1163/15692108-12341319.

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Even though many African and Asian countries share a common history of European colonialism and thus a model of economic development shaped within the aegis of center-periphery analysis, many Asian countries have been able to ride through the burden of center-periphery economics and built more successful political economies than most African countries. This state of affairs has often led many African analysts to point to Asian success stories like China and South Korea for comparative analysis and often see these Asian countries as models of socio-economic and socio-cultural success to emulate. In particular, Africans in the Diaspora, especially Africans in China, tend to compare very frequently the socio-economic and socio-cultural conditions of their host countries with those of their source countries. This paper outlines and discusses how a group of Africans living in Hong Kong and other parts of Asia see Korea and Korean culture through the prism of Korean television dramas, which constitute a popular cultural phenomenon among Hong Kong/Asian youths. Through qualitative and quantitative survey methods, participant-observation, and questionnaire surveys, the paper reports on how African community members of Hong Kong and others think of Koreans. We show that Africans draw a lot of comparisons between Korean and African ways of conceptualizing the world.
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Drwal, Malgorzata. "The Garment Workers’ Union’s Pageant of Unity (1940) as manifestation of transnational working-class culture." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 75–87. http://dx.doi.org/10.17159/tl.v59i1.8842.

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In this article, I examine the Garment Workers’ Union’s theatre as a manifestation of transnational working-class culture in the 1940s. Analysing Pageant of Unity (1940), a play in which Afrikaans and English alternate to express the equality of Afrikaans- and English-speaking workers in the face of exploitation, I offer an attempt to escape the confines of a national literature as linked to a single language. I demonstrate how the political pageant—a genre typical of socialist propaganda and international trade unionism—was adapted to a South African context. This drama is, therefore, viewed as a product of cultural mobility between Europe, the United States, and South Africa. Assuming the ‘follow the actor’ approach of Bruno Latour’s Actor-Network Theory, I identify a network of interconnections between the nodes formed by human (drama practitioners and theoreticians, socialist organisers) and nonhuman actors (texts representing socialist drama conventions, in particular agitprop techniques). Tracing the inspirations and adaptations of conventions, I argue that Pageant of Unity most evidently realises the prescriptions outlined by the Russian drama theoretician Vsevolod Meyerhold whose approach influenced Guy Routh, one of the pageant’s creators. Thus, I focus on how this propaganda production utilises certain features of the Soviet avant-garde theatre, which testifies to the transnational character of South African working-class culture.
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Dissertations / Theses on the topic "South African drama"

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Oloruntoba, Albert Olatunde. "The Negotiation of Gender and Patriarchy in Selected Nigerian and South African Plays." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/81371.

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Of all human identity categories such as race, religion, culture, class and gender that a person might belong to, race and gender are arguably two of the most contentious in the world. This study takes gender as its main focus, exploring how gender, gender oppression, patriarchy and resistance are negotiated in selected dramatic literary works emanating from Africa’s two literary giants, Nigeria and South Africa. It thus aims to bring two distinct literary traditions into dialogue with one another in order to clarify our understanding of how gender is articulated and inscribed across different contexts. Selected works from Nigeria include Aetu (2006), Little Drops (2011), Abobaku (2015) all by a single playwright, Ahmed Yerima, who has been described as one of the most outspoken feminist playwrights in the country. Other plays from South African context include So What’s New? (1993) by Fatima Dike, Weemen (1996) by Mthali Thulani, Flight from the Mahabarath (1998) by Muthal Naidoo and At Her Feet by Nadia Davids (2006). Of particular interest in this study is the question of how these plays explore the specific forms of gender discrimination which arise in the context of religious, traditional and cultural practices such as domestic violence against women, child marriage, wife inheritance, polygamy and property-sharing after the death of a husband or father. These texts, all written from a feminist perspective, foreground different understandings of what a woman and a mother is in the African context. They also offer differing articulations of gender-based resistance. The study employs an eclectic blend of western and African feminist/womanist frameworks in order to decipher how these plays comment, and reflect, on the issue of gender inequality. In so doing, the aim is to bring these distinct theoretical and ideological traditions into dialogue with one another. A further aim is to assess to what extent these plays draw on, or are aligned with, various strands of western and African feminist theorizing whilst also offering an understanding of literary texts as sites of theory-making in their own right. The study further explores the echoes, conjunctions, entanglements and disparities that are revealed by bringing these texts from different contexts into dialogue with one another. In this process, the chapter also explores the extent to which these plays can be aligned with the often polarized discourses of western and African feminist theories, thus contributing to a broader understanding of gender, gendered societies and gender-based oppression in African contexts. Finally, this study seeks to arrive at a new theoretical feminist framework for reading these texts: what I have called ‘Consequentialist feminism’ is an approach which seeks to transcend the binaries between western and African feminist theorizing by focusing on the consequences of women’s choices in particular contexts of engagement and response.
Thesis (DLitt (English))--University of Pretoria, 2019.
English
DLitt (English)
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Picardie, Michael. "The drama and theatre of two South African plays under apartheid." Link to the Internet, 2009. http://cadair.aber.ac.uk/dspace/handle/2160/3102.

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Naicker, Kivithra. "Questions for Amma: Tracing the manifestations of violence on the South African Indian Female body." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29586.

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“[i]n the eyes of the law, a woman is both Eve and Eva. As a pure, fragile female she must be specially protected; as a seductive object, from whom men must be protected. In both cases women are the victims” (Navi Pillay in Gqola, 2015: 36). This research investigates performance as a medium through which the South African Indian female body transgresses and transcends the limitations and barriers of identity, culture and society. As this study positions the brown female body as a site for violence and codification, it challenges the mythical and stereotypically gendered representations of brown females in media and culture. In examining the performance of gender through the performative case studies supporting this research, this study critically engages with the fluid and shifting territory of identity and culture, tracing a feminist tradition beyond western notions, challenging overlooked cultural and domestic injustices which perpetuate a culture of patriarchy. Rape culture thrives on manufacturing power and fear, with rape being “sexualised violence” that has “survived as long as it has because it works to keep patriarchy intact” (Gqola, 2015: 21). Through performance, this study documents the manifestations of violence on the brown female body, theoretically engaging with how subtle and surreptitious forms of violence work to reinforce patriarchy playing into rape culture, perpetuating a cycle of oppression. In examining the 'tradition’ of Indian theatre in South Africa, this research examines the theatrical devices used to express anxieties, crisis of identity and representation, focusing on the South African Indian female experience through an auto-ethnographical study interrogating my identity and position as a South African Indian (Hindu-Tamil) female, artist, and feminist scholar. This study also unpacks the complexities and contradictions embedded within the representations of the brown female body in theatre, 'Indian’ and Hindu culture through a feminist lens, arguing that gender stereotypes perpetuate a cycle of oppression; highlighting ways in which the brown female body is trained and disciplined into performing as an Indian woman.
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Carklin, Michael Larry. "Drama in South African secondary schools meeting the challenges of educational change." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002365.

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South Africa is undergoing fundamental transformation at all levels of government and civil society, requiring a firm commitment to redressing the legacy of apartheid and to the development of South Africa's people. Part of this commitment is to undertake research which complements transformation processes, investigating the most appropriate ways to meet the challenges posed by such change. This study examines the potential of drama in the secondary school to meet key educational challenges, motivating strongly for the inclusion of drama as part of the formal curriculum in all schools. Social transformation has been greatly influenced by policy such as the Reconstruction & Development Programme (RDP) and subsequent Government White Papers which identify the need to develop South Africa's human resources as crucial. It is in this light, arid in the context of great disparity that exists across the education spectrum, that learning experiences of high quality must be provided in schools. It is argued that drama, as an lift form and an educational medium, is able to provide such qualitatively sound learning experiences because it is essentially learner-centered, experiential and holistic, offering unique ways of knowing, understanding and gaining insights. However, the classroom drama experience needs careful conceptualisation itself, particularly in view of the fact that life experiences of pupils are characteriseg by multiplicity and diversity within a new era of social and cultural mixing, as well as increased global interaction through, for example, the mass media and the internet. This study thus argues from a post-structuralist perspective, which embraces notions of multiplicity, proposing a reconceptualisation of the classroom drama experience that challenges the oppositional or binary perspectives that have previously characterised the way we think about drama and education. Example~ include art versus utilitarianism; process versus product; drama versus theatre. Investigating the classroom drama experierice in the light of developments in postmodern theatre, this study proposes that classroom drama should be seen as a form of theatre itself and suggests the term theatricalisaction to describe this classroom-theatre process which is based on action, reflection, experience and creative expression. It becomes a theatre of activity or an activating theatre. In this light classroom drama is considered in a specifically South Mrican context. In particular, this study examines the ways in which the following contexts impact upon the drama experience: the education system, the place of the arts within that system, and cultural and linguistic diversity in the classroom. Drawing on policy documentation, conference proceedings and studies that have been carried out in multiculturalism and multilingualism, the specific educational challenges facing South Africans are identified. In further exploring the potential of drama to meeting these challenges, this study documents the results of surveys conducted with drama teachers and with ~students who have studied drama as one of their formal subjects, highlighting in particular their perceptions, perspectives and experiences regarding the aims and value of drama education. Finally, in light of the information gained from teachers and learners, and of the concepts and contexts investigated, this thesis considers the ways in which the drama experience can contribute to meeting three primary educational challenges: the building of a culture of learning; the development and empowerment of pupils; and the embracing of cultural and linguistic diversity. This study concludes that drama is able to contribute significantly to educational change because of the teaching and learning processes it offers as an art form, and in particular, a theatre form. It is such a participatory, democratic classroom-theatre which provides a teaching and learning approach that should be at the core of transformation.
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Van, Heerden Johann. "Theatre in a new democracy : some major trends in South African theatre from 1994 to 2003." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/917.

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Brelage, Elna. "Die radiodrama in isiZulu met verwysing na die werk van D.B.Z. Ntuli." Diss., Pretoria : [s.n.], 2002. http://upetd.up.ac.za/thesis/available/etd-10132005-085945/.

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Tshikovhi, Vhangani Richard. "Tragedy in N.A. Milubi's drama." Thesis, xiii, 198 leaves, 1997. http://hdl.handle.net/10386/2123.

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Mahali, Alude. "A Museum of Bottled Sentiments: the ‘beautiful pain syndrome’ in twenty-first century Black South African theatre making." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13350.

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This study is about contemporary black theatre makers and theatre making in the 'now moment'; this moment of recovery and gradual transition after the fall of apartheid in South Africa. The 'now moment', for these theatre makers, is characterized by a deliberate journey inward, in a struggle towards self-determination. The 'now moment' is the impulse prompting the 'beautiful pain syndrome', and through performances of uncomfortable attachments and rites of passage, generates and dwells in the syndrome. Uncomfortable attachments are unsettlement and anxiety wrought by the difficulty of the 'now moment'. These manifest in the work of Black South African-based contemporary theatre makers, Mandla Mbothwe, Awelani Moyo, Mamela Nyamza and Asanda Phewa, within the duality of the 'beautiful pain syndrome'. The 'beautiful pain syndrome' is a cultural dis-ease revealed by the individual theatre makers through the aesthetic interpretation, or beautiful consideration of inherently painful material – a condition or predicament that best contains and yet attempts to unpack this shifting impulse of the 'now' moment. The works around which this study revolves, namely Mbothwe's Ingcwaba lendoda lise cankwe ndlela (the grave of the man is next to the road) (2009), Moyo's Huroyi Hwang – De/Re Composition (2007), Nyamza's Hatched (2009) and Phewa's A Face Like Mine (2008) are rites of passage works, representing a passage or transition from one phase of life to another, which occurs on multiple levels. Through guiding thinking tools, which include intuition, my own positioning, observation and comparative and cultural performance analysis, the four selected works are described, probed and, interrogated; with their purposes and poetics investigated and articulated in different ways. The study does not complete the assignment of unpacking the four works but continues to wonder and worry at them, while investigating a particular aesthetic of dis-ease through the artistic assemblage of symbolic categories. These rites of passage works reflect or echo the transitions in the country's shifting identity, along with the identities of the individuals who inhabit it.
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Scholtz, Brink. "'The Most Amazing Show': performative interactions with postelection South African society and culture." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/57527.

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This research investigates contemporary South African performance within the context of prominent social and cultural change following the political transition from an apartheid state to democracy. Specifically, it looks at the relationship between a popular comic variety show The Most Amazing Show (TMAS), and aspects of contemporary South African society and culture, particularly relating to prominent efforts to affect post-election transformation of South African society and culture through the construction of a South African 'rainbow nation'. By analysing TMAS in terms of broader historical, performative and discursive contexts, it engages a relational reading of the performance. The study argues that TMAS both challenges and participates in the manner in which rainbow nation discourse constructs South African society and culture. Firstly, it considers the performance's construction of hybrid South African identities, including white Afrikaans, white English and white masculine identities. It argues that these reconstructions undermine the tendency within rainbow nation discourse to construct cultural hybridity in terms of stereotypically distinct identities. Secondly, it considers TMAS' construction of collective experience and social integration, which subvet1s the often glamorised and superficial representations of social healing and integration that are constructed within rainbow nation discourse. The analysis makes prominent reference to the notion of 'liminality' in order to describe the manner in which TMAS constructs significance within the tension that it establishes between oppositional, and often contradictory, positions. Furthermore, it attempts to establish a link between this notion of liminality and no6ons of theatrical syncretism that are prominent in contemporary South African theatre scholarship, and emphasise processes of signification that are constantly shifting and unstable.
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Huisman, Rhonda. "Visual music : a study on the role of music in South African children’s television programmes from 1976 − 1994." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80289.

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Thesis (MDram)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.
AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.
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Books on the topic "South African drama"

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Zakes, Mda, ed. Four South African plays. Trenton, NJ: Afria World Press, 1999.

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Orkin, Martin. Drama and the South African state. Manchester, UK: Manchester University Press, 1991.

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Govender, Ronnie. Interplay: A collection of South African plays. Pretoria: MANX, 2007.

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Malan, Robin. South African plays for TV, radio and stage. Cape Town: Oxford University Press Southern Africa, 2007.

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Duma, Ndlovu, ed. Woza Afrika!: An anthology of South African plays. New York: G. Braziller, 1986.

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Martin, Orkin, and Junction Avenue Theatre Company, eds. At the Junction: Four plays by the Junction Avenue Theatre Company. Johannesburg: Witwatersrand University Press, 1995.

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1954-, Perkins Kathy A., ed. Black South African women: An anthology of plays. London: Routledge, 1998.

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Exploring the labyrinth: Athol Fugard's approach to South African drama. Essen: Blaue Eule, 1986.

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Daniels, Carlo. Onweer (Gathering storm). Pinelands, [South Africa]: Junkets Publisher, 2019.

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Hinterland. Mowbray, South Africa: Junkets Publisher, 2014.

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Book chapters on the topic "South African drama"

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Fuchs, Anne. "The New South African Theatre: Beyond Fugard." In Post-Colonial English Drama, 165–80. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22436-4_11.

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Seeff, Adele. "The African Theatre, Cape Town, 1801." In South Africa's Shakespeare and the Drama of Language and Identity, 15–50. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78148-8_2.

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Braund, Martin, and Logamurthie Athiemoolam. "South Africa – struggling on." In International Perspectives on Drama and Citizenship Education, 100–109. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003058144-10.

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Modisane, Litheko. "Orchestration of Debate through Television Drama: Yizo Yizo (1999, 2001)." In South Africa’s Renegade Reels, 157–74. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137027030_6.

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Braund, Martin. "Crossing Borders. Studies with Student Teachers Using Physical Role-plays in South Africa." In Learning Science Through Drama, 89–101. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-17350-9_6.

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Divala, Joseph, Martin Braund, and Logamurthie Athiemoolam. "Against the odds: community citizenship education and drama in South Africa." In International Perspectives on Drama and Citizenship Education, 162–71. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003058144-16.

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Kruger, Loren. "Democratic Actors and Post-Apartheid Drama: Contesting Performance in Contemporary South Africa." In Contesting Performance, 236–54. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230279421_15.

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Seeff, Adele. "Introduction." In South Africa's Shakespeare and the Drama of Language and Identity, 1–13. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78148-8_1.

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Seeff, Adele. "The Shakespeare Diaspora." In South Africa's Shakespeare and the Drama of Language and Identity, 51–104. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78148-8_3.

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Seeff, Adele. "André Brink’s Kinkels innie Kabel: Political Vision and Linguistic Virtuosity." In South Africa's Shakespeare and the Drama of Language and Identity, 105–46. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78148-8_4.

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