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Journal articles on the topic 'South African fiction (English)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Okuhata, Yutaka. "Inheriting the “Unfinished Business”: An Introductory Study of the Dictator Novel Set in Africa." East-West Cultural Passage 22, no. 2 (December 1, 2022): 87–106. http://dx.doi.org/10.2478/ewcp-2022-0017.

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Abstract Whereas so-called dictator fiction in Latin America is already established as a significant literary subgenre, it is only recently that an increasing number of studies have started to deal with its counterpart set in Africa. In fact, both inside and outside the postcolonial African continent, dictator novels have been written in several languages, including English, French, Arabic, and Kikuyu. One of the most outstanding achievements among recent studies of this kind of fiction is Magali Armillas-Tiseyra’s The Dictator Novel: Writers and Politics in the Global South (2019), which examines dictator novels in two different regions – Africa and Latin America – by using the keyword “Global South” to connect them with each other. After taking a genealogical overview of some dictator novels by both African and non-African authors, the present essay will critically investigate Armillas-Tiseyra’s argument in order to reconsider fictional African dictators depicted in contemporary novels, especially those written in English, from a global and transborder perspective. The aim of this essay is to clarify both the challenges and prospects of the current studies of this literary subgenre in/about Africa.
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2

Inggs, Judith. "Transgressing Boundaries? Romance, Power and Sexuality in Contemporary South African English Young Adult Fiction." International Research in Children's Literature 2, no. 1 (July 2009): 101–14. http://dx.doi.org/10.3366/e1755619809000519.

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Although sexuality is now regarded as one of the dominant ways of representing access to power in young adult fictions, adolescent sexuality, and even teenage romance, has remained relatively unexplored in South African examples of the genre. Works that do depict sexual relationships have generally worked to deliver didactic warnings of the potential dangers of engaging in any form of sexual activity. This article explores and examines whether, and how, adolescent sexuality is depicted and portrayed in contemporary South African young adult fiction written in English. The focus is on a range of works published during the years of the transition to democracy in South Africa, beginning in 1989. The article posits three broad categories of the genre, and concludes that the third of these at last gives evidence of a welcome move towards more openness and innovation.
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3

Kearney, J. A. "The Boer Rebellion in South African English Fiction." Journal of Literary Studies 14, no. 3-4 (December 1998): 375–91. http://dx.doi.org/10.1080/02564719808530208.

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4

Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.

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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
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5

Kearney, J. A. "Reading the Bambata rebellion in South African English fiction." Journal of Literary Studies 10, no. 3-4 (December 1994): 400–424. http://dx.doi.org/10.1080/02564719408530091.

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6

Ngom, Dr Mamadou Abdou Babou. "The Shadow of the Past Hangs Over Post-Apartheid South African Fiction in English." Scholars Journal of Arts, Humanities and Social Sciences 10, no. 3 (March 14, 2022): 78–82. http://dx.doi.org/10.36347/sjahss.2022.v10i03.001.

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This paper sets out to rake stock of how the demons of apartheid-era South Africa impact the new dispensation over twenty-five years after the first democratic elections ever held in South Africa. Also, through a methodological approach predicated upon an fictional opus made up of different novelists, and upon perspectives drawn the social sciences, not least philosophy, history, sociology, the paper seeks to highlight the invaluable contribution of South African writers-black and white alike- to the demise of was later known as institutionalized racism. The article argues that protest literature’s unyielding resolve to grittily spotlight the materiality of the black condition in South Africa from 1948-when the National Party came to power with a racist agenda-to 1990 was crucial to raising international awareness about the horrors of apartheid, and, accordingly, the overarching need to call time on it. For all that, the paper explains, the racial chickens are coming home to roost since the downtrodden of yesteryear are perceived by their former oppressors as being driven by a vengeful agenda. With the end of institutionalized racism, the paper contends, Postapartheid South African novelists tend to move away from racial determinism that hallmarked apartheid-era writing to embrace novelistic themes appertaining to the concerns and challenges that plague modern-day South Africa.
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7

Minter, Lobke. "Translation and South African English Literature: van Niekerk and Heyns' Agaat." English Today 29, no. 1 (February 27, 2013): 53–57. http://dx.doi.org/10.1017/s026607841200051x.

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English is in many ways the language that is assumed to be the giant in the South African literary field. The mere mention of South African literature has a different nuance to, let's say, African literature, since African literature has a vast array of national, colonial and post-colonial contexts, whereas South African literature is focused on one nation and one historical context. This difference in context is important when evaluating the use of English in South African Literature. In many ways, the South African literary field has grown, not only in number of contributors, and the diversity represented there, but also in genre or style. South African literature is becoming more fluid, more energetic, and more democratic in all the ways that the word implies. Writers like Lauren Beukes and Lily Herne are writing science fiction worlds where Cape Town is controlled by autocratic fascists or zombie wastelands that stretch from Table Mountain to Ratanga Junction; Deon Meyer writes crime thrillers, and Renesh Lakhan plumbs the depths of what it means to be South African after democracy. In many ways, the entire field of literature has changed in South Africa in the last twenty or so years. But one aspect has remained the same: the expectation, that while anyone who has anything to say at all, creatively, politically or otherwise, can by all means write it in their mother tongue, if the author wants to be read by more than a very specific fraction of society, then they need to embark on the perilous journey that is translation, and above all, translation into English.
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8

Attridge, Derek. "Contemporary Afrikaans Fiction in the World: The Englishing of Marlene van Niekerk." Tekstualia 3, no. 46 (July 4, 2016): 129–42. http://dx.doi.org/10.5604/01.3001.0013.4213.

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Many of the most ambitious and important South African novels of the past fi fty years have been written in Afrikaans, but in order to reach a global audience the authors have had to turn to translators. Focusing on Marlene van Niekerk’s novels Triomf (1994; English translation by Leon de Kock, 2000) and Agaat (2004; English translation by Michiel Heyns, 2007), this article examines the challenges that this fi ction, and the particular character and social status of different varieties of Afrikaans, present to the translator, and discusses the signifi cance of the differences between versions addressed to an English-speaking South African readership and versions addressed to a global readership. Derrida’s claim that the only thing to be translated is the untranslatable is discussed, and the untranslatability of Triomf and Agaat, it is suggested, also means that they can only be translated and retranslated.
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9

Slocum, Leah. "South African Allegories in Richard Jefferies’s After London; or Wild England (1885)." Victoriographies 14, no. 2 (July 2024): 156–75. http://dx.doi.org/10.3366/vic.2024.0531.

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This paper argues that Richard Jefferies’s After London (1885), often praised as a pioneering work of speculative fiction, has not been sufficiently understood within the context of late-Victorian imperial expansion. While After London is frequently read in tandem with Jefferies’s nature essays and speculative fiction like H. G. Wells’s The Time Machine (1895), I locate the novel within the generic conventions of lost world fiction, a subgenre of the imperial romance associated with masculine adventure tales. Analysing After London’s parallels with, and potential influences on, H. Rider Haggard’s King Solomon’s Mines (1885), published later that same year, I argue that Jefferies’s unflattering portrayal of English ‘Bushmen’, coupled with the geography of Wild England, gesture emphatically to South Africa. In turn, the motif of a ‘relapse into barbarism’ serves to rationalise the fantasies of terra nullius [‘nobody’s land’] and extractive treasure hunting that Felix Aquila, the quixotic hero, enacts. By connecting After London to Haggard’s highly influential fiction and drawing on Jefferies’s writings about British colonialism in South Africa and the conventions of travel literature, cartography, and ethnography, this paper provides a more complete understanding of Jefferies’s contributions to the canon of lost world fiction.
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10

Zabus, Chantal. "Emerging Traditions: Toward a Postcolonial Stylistics of Black South African Fiction in English." Journal of Southern African Studies 38, no. 4 (December 2012): 1013–14. http://dx.doi.org/10.1080/03057070.2012.749614.

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11

le Roux, Elizabeth. "South African Crime and Detective Fiction in English: A Bibliography and Publishing History." Current Writing 25, no. 2 (October 2013): 136–52. http://dx.doi.org/10.1080/1013929x.2013.833417.

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12

Baderoon, Gabeba. "The Ghost in the House: Women, Race, and Domesticity in South Africa." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (June 17, 2014): 173–88. http://dx.doi.org/10.1017/pli.2014.17.

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AbstractIn South Africa, the house is a haunted place. Apartheid’s separate publics also required separate private lives and separate leisures in which to practice ways of living apartheid’s ideological partitions into reality. This essay analyzes the compulsive interest in black domesticity that has characterized South Africa since the colonial period and shows that domestic labor in white homes has historically shaped the entry of black women into public space in South Africa. In fact, so strong is the latter association that theDictionary of South African English on Historical Principlesreveals that in South African English the wordmaiddenotes both “black woman” and “servant.” This conflation has generated fraught relations of domesticity, race, and subjectivity in South Africa. Contemporary art about domestic labor by Zanele Muholi and Mary Sibande engages with this history. In their art, the house is a place of silences, ghosts, and secrets. Precursors to these recent works can be found in fiction, including Sindiwe Magona’s short stories about domestic workers in her collectionLiving, Loving and Lying Awake at Night(1994) and Zoë Wicomb’s novelPlaying in the Light(2006), in which a woman passing for white allows her mother into her house only under the pretense that she is a family servant. Muholi and Sibande have engaged the legacy of black women in white households by revisiting the ghosts of the house through performance, sculpture, and photography. Both were inspired by the intimate reality of their mothers’ experiences as domestic servants, and in both cases the artist’s body is central to the pieces, through installations based on body casts, performance, embodied memories, and the themes of haunted absences, abandonment, and longing.
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13

Deng, Clement Aturjong Kuot. "Is English Literature dying in South Sudan, if so, what is the way forward? A case study of Juba City Council in Four Selected schools South Sudan (CES) – Juba." European Journal of English Language and Literature Studies 12, no. 1 (January 15, 2024): 52–74. http://dx.doi.org/10.37745/ejells.2013/vol12n15274.

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The English Language has been an official Language Since British ruled settle in Sudan. It argued that it is rooted early 18th century. English language came to existence in Sudan through British Colony and Christian missionaries. It said that it was a tool of evangelizing in Sudan. Some claimed it is a tool of colonization, therefore, Muslim Brotherhood rejected the English Language and Literature because they misinterpreted that it carries soul and ideology of the west which is based on Christianity, Secularism, Capitalism and Mixed ideology of Capitalism and Socialism. It explored that the English Language came through Egypt. The Christianity and Islam were reported and spread through Egypt. The Socialism, Radicalization of Moslem brotherhood and Marxism came from Egypt. In Sudan, there is mixed relation about the issue of English Literature and Language. It observed that English language and Literature is hardly to die in Sudan and South Sudan because since English Language remains a language of Science, there is possibility of English Language to die. Literary writers, literary critics, linguists, educationists and policy makers argued that the life of English Literature is jeopardized. It believed that the challenges of any given country are beautifully reveal through Literature. Literature is expressed in poetry, drama, fiction and non-fiction. The second group think that English is not dying because English Language is an official language of South Sudan. Literature experts stressed that English Language and Literature must be supported in order to improve its qualities to compete with African countries. The majority of respondents said English Literature is dead.
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14

Zabus, Chantal, André Viola, Jacqueline Bardolph, and Denise Coussy. "New Fiction in English from Africa: West, East, and South." World Literature Today 74, no. 2 (2000): 339. http://dx.doi.org/10.2307/40155586.

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15

Jenkins, Elwyn. "ROY CAMPBELL’S CHILDREN’S NOVEL, THE MAMBA’S PRECIPICE." Mousaion: South African Journal of Information Studies 34, no. 2 (October 26, 2016): 83–97. http://dx.doi.org/10.25159/0027-2639/895.

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Roy Campbell’s The mamba’s precipice (1953), a novel for children, is his only prose work of fiction. This article examines three aspects of the book, namely its autobigraphical elements; its echoes of Campbell’s friendship with the writers Laurie Lee and Laurens van der Post; and its parallels with other English children’s literature. Campbell based the story on the holidays his family spent on the then Natal South Coast, and he writes evocative descriptions of the sea and the bush. The accounts of feats achieved by the boy protagonist recall Campbell’s self-mythologising memoirs. There are similarities and differences between The mamba’s precipice and the way Van der Post wrote about Natal in The hunter and the whale (1967). Campbell’s novel in some respects resembles nineteenth-century children’s adventure stories set in South Africa, and it also has elements of the humour typical of school stories of the ‘Billy Bunter’ era and the cosy, mundane activities and dialogue common to other mid-century South African and English children’s books.
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16

Gray, S. "Some notes on further readings of Wilma Stockenström’s slave narrative, The Expedition to the Baobab Tree." Literator 12, no. 1 (May 6, 1991): 51–59. http://dx.doi.org/10.4102/lit.v12i1.745.

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This article considers some aspects of Wilma Stockenström’s novella of 1981, Die Kremetartekspedisie, in its English translation by J.M. Coetzee of 1983, The Expedition to the Baobab Tree. After isolating the formal aspects which are characteristic of the structure of the work, as explained by the author in the text, it reviews and identifies a general reluctance in the responses to date to engage with the text in terms it sets for itself. Arising out of this deadlock situation, the article suggests some approaches which could more appropriately be applied in further readings of the work. These are with regard to the author’s use of: (a) received South African history and (b) narrative mode, both of which contribute to the beginnings of the formation of a new, particularly female, consciousness and scope in South African fiction.
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17

Rossouw, Ronel, and Bertus van Rooy. "Diachronic changes in modality in South African English." English World-Wide 33, no. 1 (February 13, 2012): 1–26. http://dx.doi.org/10.1075/eww.33.1.01ros.

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In this paper we aim to contribute to both the synchronic and diachronic description of the grammar of South African English (SAfE) in its written register. In the handful of previous studies on the variety’s grammar (e.g. Bowerman 2004b) the traditional method of pointing out peculiarities has restricted its research potential to a great extent, whereas we now endeavour to move in the opposite direction of full description in the hope of creating a comparative platform with other Southern Hemisphere Englishes (SHEs). A historical corpus of written SAfE is used to trace the path of modality from the 19th to the late 20th century as preserved in letters, newspapers and fictional writing. The findings are, firstly, that modals decline only in the second half of the 20th century, after remaining relatively stable throughout the 19th and first half of the 20th century, and, secondly, that semi-modals do not increase in usage to the same extent as observed for other varieties of English. These patterns are attributed to a number of forces: trade-off relations between different modals to move away from excessive politeness to more direct forms, and developments within particular registers that favoured or disfavoured the use of specific modals.
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18

Mohammed Abdullah, Mustafa, Hardev Kaur, Ida Baizura Bt Bahar, and Manimangai Mani. "XENOPHOBIA AND CITIZENSHIP IN MEG VANDERMERWE’S ZEBRA CROSSING." Humanities & Social Sciences Reviews 8, no. 2 (May 3, 2020): 756–64. http://dx.doi.org/10.18510/hssr.2020.8284.

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Purpose of the study: In the past two decades several researchers have explored the concern of xenophobia in South African fiction. Studies sought to determine the reasons behind the prevalence of xenophobic violence in South Africa. Previous research on xenophobia claims that xenophobic violence is prevalent in the state is, in fact, due to economic and social reasons only. Yet, this article aims to correct the misconception of the Rainbow Nation that South Africa was supposed to have been achieved after 1994. Methodology: The text Zebra Crossing (2013) by the South African novelist Meg Vandermerwe is under the focus. The concept of Michael Neocosmos of Citizenship from the postcolonial theory is applied to the selected text. A close reading of the text and qualitative research is the method of my analysis. The article will focus on the acts of violence reflected in the text in an attempt to find the reasons behind such acts. Neocosmos' valid conceptualization about the outbreaks of xenophobia in South Africa in the post-apartheid is applied to the selected text. Main Findings: the article will conclude that the notion of the rainbow nation in South Africa is no more than a dream due to the outbreaks of xenophobia and the ongoing violence against foreigners. It will also prove that the continuous xenophobic violence in South Africa is not because of social or economic reasons only yet, there is a political discourse that engenders and triggers the natives to be more xenophobic. Thus, the state politics of exclusion, indigeneity, and citizenship are the stimuli for citizens to be more aggressive and violent against foreigners. Applications of this study: the study will add new insight to the domain of English literature generally and the South African literature specifically. The study will be valuable in immigration literature as it deals with the plights of migrants in South Africa and their suffering from xenophobic violence. The study is located in the postcolonial approach. Novelty/Originality of this study: the study offers new insight towards xenophobia in South Africa. The concept applied in the study has not been explored so far in the selected text. Previous research claimed that xenophobia in South Africa is due to economic and social reasons but did not focus on the legacies of postcolonialism nor the new political system. The study is original and new as it discusses an ongoing and worldwide phenomenon utilizing a new concept.
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19

Rafapa, Lesibana. "Indigeneity in modernity. The cases of Kgebetli Moele and Niq Mhlongo." Tydskrif vir Letterkunde 55, no. 1 (February 2, 2018): 90–109. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i1.3038.

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The study of South African English literature written by black people in the postapartheid period has focused, among others, on the so-called Hillbrow novels of Phaswane Mpe and Niq Mhlongo, and narratives such as Kgebetli Moele's Book of the Dead (2009) set in Pretoria. A number of studies show how the fiction of these writers handles black concerns that some critics believe to have replaced a thematic preoccupation with apartheid, as soon as political freedom was attained in 1994. However, adequate analyses are yet to be made of works produced by some of these black writers in their more rounded scrutiny of the first decade of democracy, apart from what one may describe as an indigenous/traditional weaning from preoccupation with the theme of apartheid. This study intends to fill this gap, as well as examine how such a richer social commentary is refracted in its imaginative critique of South African democratic life beyond its first decade of existence. I consider Mhlongo's novels Dog Eat Dog (2004) and After Tears (2007); together with Moele's narratives reflecting on the same epoch Room 207 (2006) and The Book of the Dead (2009). For the portrayal of black lives after ten years of democracy, I unpack the discursive content of Mhlongo's and Moele's novels Way Back Home (2013) and Untitled (2013) respectively. I probe new ways in which these postapartheid writers critique the new living conditions of blacks in their novelistic discourses. I argue that their evolving approaches interrogate literary imaginaries, presumed modernities and visions on socio-political freedom of a postapartheid South Africa, in ways deserving critical attention.  I demonstrate how Moele and Mhlongo in their novels progressively assert a self-determining indigeneity in a postapartheid modernity unfolding in the context of some pertinent discursive views around ideas such as colourblindness and transnationalism. I show how the discourses of the author's novels enable a comparison both their individual handling of the concepts of persisting institutional racism and the hegemonic silencing of white privilege; and distinguishable ways in which each of the two authors grapples with such issues in their fiction depicting black conditions in the first decade of South African democratic rule, differently from the way they do with portrayals of the socio-economic challenges faced by black people beyond the first ten years of South African democracy.
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Wenzel, M. "The many 'faces' of history: Manly Pursuits and Op soek na generaal Mannetjies Mentz at the interface of confrontation and reconciliation." Literator 23, no. 3 (August 6, 2002): 17–32. http://dx.doi.org/10.4102/lit.v23i3.341.

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Several English and Afrikaans novels written during the nineties focus on confrontation with the past by exposing past injustices and undermining various myths and legends constructed in support of ideological beliefs. This commitment has gradually assumed the proportions of a Truth and Reconciliation Commission. A comparison of two recent novels dealing with events preceding and during the Anglo-Boer War, Manly Pursuits by Ann Harries and Op soek na generaal Mannetjies Mentz (In search of General Mannetjies Mentz) by Christoffel Coetzee provides an interesting angle to this debate. This article is an attempt to contextualise these novels within the larger framework of a contemporary South African reality; to acknowledge and reconcile, or assemble, disparate “faces” of a South African historical event at a specific moment in time. In Manly Pursuits, Ann Harries focuses on the arch imperialist, the “colossus of Africa”, Cecil John Rhodes, to expose the machinations behind the scenes in the “take over” of southern Africa, while in the Afrikaans novel, Op soek na generaal Mannetjies Mentz, the General becomes the embodiment of collective guilt. Written within a postmodern paradigm, both texts problematize the relationship between history and fiction by revealing deviations from “historic data” suggesting alternate versions of such "documentation" and by juxtaposing the private lives of historical personages with their public images.
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21

Bekker, Thino. "Die Moontlike Regshervorming van die Integrasiereël in die Suid-Afrikaanse Kontraktereg deur middel van die Leerstuk van Rektifikasie." Potchefstroom Electronic Law Journal/Potchefstroomse Elektroniese Regsblad 17, no. 3 (April 24, 2017): 1165. http://dx.doi.org/10.17159/1727-3781/2014/v17i3a2290.

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As far back as the early twentieth century the Appellate Division in Cassiem v Standard Bank of SA Ltd, held that:“We are bound by the English rules of evidence and the question has therefore to be decided according to English law, the rule being that parol evidence is not allowed to alter, vary, or contradict a written instrument.”The integration rule has always been an integral part of the South African law of contract where the admissibility of the presentation of extrinsic evidence of previous or collateral agreements was considered. In 1998 an extensive report was brought out by the South African Law Commission wherein certain recommendations were made to the Minister of Justice pertaining to, inter alia, the application of the integration rule in the South African law of contract. The Law Commission was of the opinion that the disadvantages of the integration rule outweighed the advantages of legal certainty and finality and recoomended that the rule be abolished and that more subjective evidence should be allowed to ascertain the true intention of the parties. The recommendations by the Law Commission however apparently died a slow death and there has been no attempt since to abolish or modify the rule in the South African legal system.In 'n previous article the view was held that the integration rule is based on a legal rule or legal fiction and that it can therefore be validly abolished or modified by legislation. Legislation is however a drastic step which should only serve as a last resort and other alternatives should first be considered. This article considers one such a possible alternative, namely the remedy of rectification. The focus will be in particular on a brief discussion of the application of the integration rule in the South African law of contract, the field of application and scope of rectification, the relation between rectification and the integration rule, and, lastly, if rectification can be utilised to avoid the strict application of the integration rule and consequently serve as an instrument for the (indirect) abolition or modification of the rule in the South-African law of contract. The conclusion is that the remedy of rectification would in all probability not in all instances be able to avoid the strict application of the integration rule and that legislation seems to be the only workable alternative to abolish or modify the integration rule in the South African law of contract.
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22

Chapman. "Emerging Traditions: Toward a Postcolonial Stylistics of Black South African Fiction in English, by Vicki Briault Manus." Research in African Literatures 42, no. 4 (2011): 152. http://dx.doi.org/10.2979/reseafrilite.42.4.152.

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23

Oliphant, Andries Walter. "Fictions of Anticipation: Perspectives on Some Recent South African Short Stories in English." World Literature Today 70, no. 1 (1996): 59. http://dx.doi.org/10.2307/40151853.

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24

Brown, David Maughan. "Images of war: Popular fiction in English and the war on South Africa's borders." English Academy Review 4, no. 1 (January 1987): 53–66. http://dx.doi.org/10.1080/10131758785310051.

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25

Romanova, N. "National peculiarities of a traumatic experience in H. Mantel’s novel “A Change of Climate”." Philology and Culture, no. 2 (June 25, 2024): 181–87. http://dx.doi.org/10.26907/2782-4756-2024-76-2-181-187.

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This article examines the problem of depicting traumatic experiences in modern British literature based on H. Mantel’s novel “A Change of Climate” (1994). In the course of the trauma literature development and its research (trauma studies), new opportunities and ways of depicting a traumatic event in fiction appear, for example, the attention of writers shifts from a large-scale description of historical trauma to the private lives of certain people and individual traumas. Mantel’s work presents several traumatic events at once, but only one is actual – the loss of a child by the Eldred family during their missionary trip to South African. In addition to the “standard” devices of trauma literature (unreliable narrator, lacunae, etc.), H. Mantel also introduces a national component into the novel, which determines the specifics of the main characters’ traumatic experience. So, such concepts as family, religion, virtue, good manners and missionary work become important for the characters born and raised by English society, through the prism of these concepts they perceive reality and try to overcome their trauma. However, this trauma is not only a personal experience, but also a cultural one in a certain sense, since leaving Africa after the child’s death at the hands of aborigines shows the failure of their mission. Thus, in his novel, H. Mantel demonstrates how deeply English national character traits are rooted in people’s lives, and how they become an obstacle in overcoming a traumatic event.
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Willenberg, Ingrid. "‘Once upon a time in Bearland’: Longitudinal development of fictional narratives in South African children." First Language 37, no. 2 (December 14, 2016): 150–67. http://dx.doi.org/10.1177/0142723716679798.

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Children’s narrative skills have been widely studied in North America, but there is a paucity of African research. Within South Africa’s diverse socio-cultural context, this study of mixed-race children explored the development of narrative production and the influence of home background variables. Using the Bear Story picture prompt, this longitudinal study investigated the fictional oral narrative skills of 70 English-speaking children in kindergarten and Grade 3. Four key findings emerged: first, with age, narratives increased in lexical diversity, macrostructure elements and written discourse features. However, there was no increase in evaluation, thus highlighting the complexity and nonlinear nature of narrative development. Second, early book reading experiences in the home were positively associated with Grade 3 narrative macrostructure. Third, there were no associations between narrative abilities and maternal education or mothers speaking a first language other than English, underscoring the importance of parental behaviours above factors such as education and language background. Finally, contrary to expectations, the findings suggest more similarities than differences between these children and their peers in other contexts.
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Drwal, Malgorzata. "Discourses of transnational feminism in Marie du Toit’s Vrou en feminist (1921)." Tydskrif vir Letterkunde 57, no. 2 (July 22, 2020): 14–25. http://dx.doi.org/10.17159/tl.v57i2.7765.

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In this article I investigate transtextuality in Vrou en feminist (Woman and Feminist, 1921) by Marie du Toit in order to demonstrate how she grafted first-wave transnational feminism onto the Afrikaans context. Du Toit’s book is approached as a space of contact between progressive European and North American thought and a South African, particularly Afrikaner, mindset. Du Toit relied on a multiplicity of late nineteenth and early twentieth centuries discourses to support her argument that Afrikaner women become part of the feminist movement. Due to the numerous quotations from scientific papers and literary fiction, mostly English but also Dutch, her book can be described as a heteroglot text. Utilizing the histoire croisée approach, I discuss Du Toit’s text on the macro and micro scale: I locate it in a historical perspective as a literary document and focus on the ways in which diverse voices intersect and converse with one another. I argue that the book was an unsuccessful attempt at inviting the Afrikaans reader into a transnational imagined community of suffragettes because of prejudice against the English language and culture. English sources, which Du Toit extensively quoted, deterred potential Afrikaans supporters, and consequently prevented transfer of feminist thought. Even though she also supported her views with some texts in Dutch in wanting to appeal to her reader’s associations with a more familiar Dutch culture, this tactic was insufficient to tip the balance.
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Pillay, Pravina, and Thayabaran Pillay. "Students’ experiences with black South African protest fiction in the fourth year English language classroom at a comprehensive rural-based university: a case study." Journal of Gender, Information and Development in Africa S1, no. 1 (March 20, 2019): 181–92. http://dx.doi.org/10.31920/2050-4284/2019/s1n1a11.

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29

Ezeliora, Osita. "Rethinking the Idiom of Transition." Matatu 48, no. 1 (2016): 61–87. http://dx.doi.org/10.1163/18757421-04801006.

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A dilemma facing those exploring the post-apartheid novel in English is how to group white and black writers in a single box, given that previous scholarship often focused on racial binaries. Debates anticipating the post-apartheid liberal order attempted to highlight areas to be privileged without equal regard for the historical reality of pain inflicted on the population. This is probably why some white academics have invoked a defacement of history in the discourse of recent fiction. Others, however, have argued that literary scholarship should remain a search for ‘social justice’. Michael Chapman, for one, appeals for “a humanism of reconstruction” and “a hermeneutics of suspicion”—a position confirmed by the work of several black scholars. This essay explores the views of Mphahlele, Mzamane, and Oliphant with respect to the emerging tradition of writing in post-apartheid South Africa. It takes into account the fact that South Africa is still a ‘transitional state’—a ‘nation’ undergoing immense transformation not only in the political arena but also in practically every facet of its social imaginary.
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30

Karakaҫi, Dalila. "Discourse analysis in Ulysses and The Sound and the Fury." Academic Journal of Business, Administration, Law and Social Sciences 10, no. 1 (March 1, 2024): 51–65. http://dx.doi.org/10.2478/ajbals-2024-0006.

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Abstract The literary style of modernist authors like James Joyce (1882-1941) and William Faulkner (1897-1962) is deeply experimental. Their complexity is intertwined with the desire to retell local, national stories as seen through the eyes of losers from which small literary cosmoses are the desires result to re-adapt domestic spaces. This research does not leave a path for the use of language as a transparent means of expression, but at the same time makes it impossible to express fiction through more linear and elaborative methods, leaving the direct elaboration subordinate, shown from the viewpoint of the marginalized, the oppressed. Their speaking variety is conveyed through repetitions, fixations, alienations, and disturbing endings. The two authors create neologisms that signal dissatisfaction with the limitations of conventional language. Joyce includes Hiberno-English in Ulysses (1920) as a means of cacophonous addition to the voices and styles, just as Faulkner includes the African American speech of the American South. They operate on the differences of their traditions. Joyce attacks the use of syntax, being more interested in the order of words within the sentence, the same concern with syntactic structure that we also see in Faulkner.
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31

Möller, Jana, and Samantha Buitendach. "ONE TITLE, TWO LANGUAGES: INVESTIGAT ING THE TREND OF PUBLISHING ADULT NON-FICTION TITLES IN ENGLISH AND AFRIKAANS DURING 2010–2014 IN THE SOUTH AFRICAN TRADE MARKET." Communicatio 41, no. 2 (April 3, 2015): 153–74. http://dx.doi.org/10.1080/02500167.2015.1070187.

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32

Frenkel. "Reconsidering South African Indian Fiction Postapartheid." Research in African Literatures 42, no. 3 (2011): 1. http://dx.doi.org/10.2979/reseafrilite.42.3.1.

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33

Attwell, David, and Barbara Harlow. "Introduction: South African Fiction after Apartheid." MFS Modern Fiction Studies 46, no. 1 (2000): 1–9. http://dx.doi.org/10.1353/mfs.2000.0006.

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34

CARAIVAN, LUIZA. "21st Century South African Science Fiction." Gender Studies 13, no. 1 (December 1, 2014): 93–105. http://dx.doi.org/10.1515/genst-2015-0007.

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Abstract The paper analyses some aspects of South African science fiction, starting with its beginnings in the 1920s and focusing on some 21st century writings. Thus Lauren Beukes’ novels Moxyland (2008) and Zoo City (2010) are taken into consideration in order to present new trends in South African literature and the way science fiction has been marked by Apartheid. The second South African science fiction writer whose writings are examined is Henrietta Rose-Innes (with her novel Nineveh, published in 2011) as this consolidates women's presence in the SF world.
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35

Walder, Dennis. "Disappointment and contemporary South African fiction." Journal of Southern African Studies 46, no. 1 (December 3, 2019): 191–94. http://dx.doi.org/10.1080/03057070.2020.1696035.

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36

Cancel, Robert. "South African Fiction after Apartheid (review)." Research in African Literatures 33, no. 1 (2002): 182–83. http://dx.doi.org/10.1353/ral.2002.0010.

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37

Khorana, Meena. "Apartheid in South African Children's Fiction." Children's Literature Association Quarterly 13, no. 2 (1988): 52–56. http://dx.doi.org/10.1353/chq.0.0521.

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38

MUFWENE, SALIKOKO S. "SOUTH AFRICAN INDIAN ENGLISH." World Englishes 13, no. 3 (November 1994): 425–30. http://dx.doi.org/10.1111/j.1467-971x.1994.tb00328.x.

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39

Mesthire, Rajend. "South African Indian English." English Today 9, no. 2 (April 1993): 12–16. http://dx.doi.org/10.1017/s0266078400000286.

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40

Buxbaum, Lara. "Risking intimacy in contemporary South African fiction." Textual Practice 31, no. 3 (March 7, 2017): 523–36. http://dx.doi.org/10.1080/0950236x.2017.1295613.

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41

Gagiano, Annie. "Diaspora and identity in South African fiction." Critical Arts 31, no. 1 (January 2, 2017): 119–21. http://dx.doi.org/10.1080/02560046.2017.1300826.

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42

Tagwirei, Cuthbeth. "Diaspora and Identity in South African Fiction." English Academy Review 34, no. 1 (January 2, 2017): 115–17. http://dx.doi.org/10.1080/10131752.2017.1333233.

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43

Jeffery, Chris. "Standards in South African English." English Academy Review 10, no. 1 (December 1993): 14–25. http://dx.doi.org/10.1080/10131759385310041.

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44

Sil, Esha. "South-Asian fiction in English: Contemporary transformations." Journal of Postcolonial Writing 53, no. 5 (January 31, 2017): 626–27. http://dx.doi.org/10.1080/17449855.2017.1283726.

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45

Murray, Jeffrey. "Homer the South African." English Today 29, no. 1 (February 27, 2013): 58–61. http://dx.doi.org/10.1017/s0266078412000521.

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When reviewing a much-translated canonical text such as Homer's Iliad, it has become something of a topos to question the need for yet another translation of it. In the twenty-first century alone, Homer's Iliad has benefited from at least six published English translations already: Rodney Merrill (2007), Herbert Jordan (2008), Anthony Verity (2011), Stephen Mitchell (2011), Edward McCrorie (2012) and James Muirden (2012). Richard Whitaker adds his translation to the list with a slight variation on the standard Anglo-American English translations already available, presenting his readers instead with a ‘Southern African English’ version. With such a variety of Standard English prose and poetic translations already on offer, is there really a need for yet another Iliad? Will the novelty of its subtitle, as a ‘Southern African English’ Iliad, justify its publication, and what will prevent it from being judged merely as a postcolonial curiosity?
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46

Bernsten, Jan. "English in South Africa." Language Problems and Language Planning 25, no. 3 (December 31, 2001): 219–35. http://dx.doi.org/10.1075/lplp.25.3.02ber.

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In a departure from language policy in most other African countries, the 1996 South African Constitution added nine indigenous languages to join English and Afrikaans as official languages. This policy was meant to provide equal status to the indigenous languages and promote their use in power domains such as education, government, media and business. However, recent studies show that English has been expanding its domains at the expense of the other ten languages. At the same time, the expanded use of English has had an impact on the varieties of English used in South Africa. As the number of speakers and the domains of language use increase, the importance of Black South African English is also expanding. The purpose of this paper is to analyze current studies on South African Englishes, examining the way in which expanded use and domains for BSAE speakers will have a significant impact on the variety of English which will ultimately take center stage in South Africa.
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47

Hibbert, Liesel. "English in South Africa: parallels with African American vernacular English." English Today 18, no. 1 (January 2002): 31–36. http://dx.doi.org/10.1017/s0266078402001037.

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A comparison between Black English usage in South Africa and the United StatesThere has been a long tradition of resistance in South African politics, as there has been for African-Americans in the United States. The historical links between African Americans and their counterparts on the African continent prompt one to draw a comparison between the groups in terms of linguistic and social status. This comparison demonstrates that Black South African English (BSAfE) is a distinctive form with its own stable conventions, as representative in its own context as African American Vernacular English (AAVE) is in the United States.
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Naidu, Sam. "Fears and Desires in South African Crime Fiction." Journal of Southern African Studies 39, no. 3 (September 2013): 727–38. http://dx.doi.org/10.1080/03057070.2013.826070.

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Murray, Sally Ann. "Queerying examples of contemporary South African short fiction." Journal of Commonwealth Literature 55, no. 1 (September 3, 2018): 77–95. http://dx.doi.org/10.1177/0021989418788909.

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With a view to imagining the forms and foci of something that might be persuaded to manifest as post-2000 “queer South African short fiction”, I queery the possibilities of queerness as category of analysis. Using a necessarily limited, illustrative selection of stories, I discuss aspects of queer in relation to such issues as generic scope, the erotic, futurity, and queerings of the canon. The approach inclines towards queer as a deliberately blurred lens, hoping to enable not precise sightlines but an obliqueness that, in conjunction with the identifier “South African”, brings into view partial glimpses of possibility for queer understandings of local short fiction. This investigation of relationality between queer as sexuality and queer as a more broadly disruptive optic is speculative, and necessarily imprecise. The method is appropriate to thinking queerly about how to disorientate local short stories in their encounters with forms of the normative.
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Mansoor, Asma. "Exploring Alternativism: South Asian Muslim Women's English Fiction." South Asian Review 35, no. 2 (October 2014): 47–65. http://dx.doi.org/10.1080/02759527.2014.11932970.

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