Journal articles: 'South African Literature (Fiction)'

1

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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 (2009): 101–14. http://dx.doi.org/10.3366/e1755619809000519.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

Roelofse-Campbell, Z. "Enlightened state versus millenarian vision: A comparison between two historical novels." Literator 18, no. 1 (1997): 83–92. http://dx.doi.org/10.4102/lit.v18i1.531.

Full text

Abstract:

Two millenarian events, one in Brazil (Canudos Rebellion, 1897) and the other in South Africa (Bulhoek Massacre, 1921) have inspired two works of narrative fiction: Mario Vargas Llosa's The War of the End of the World (1981) and Mike Nicol’s This Day and Age (1992). In both novels the events are presented from the perspectives of both the oppressed landless peasants and the oppressors, who were the ruling élites. In both instances, governments which purported to be models of enlightenment and modernity resorted to violence and repression in order to uphold their authority. Vargas Llosa's novel was written in the Latin American tradition where truth and fiction mingle indistinguishably while in the South African novel fictional elements override historical truth.

APA, Harvard, Vancouver, ISO, and other styles

9

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

de Kock, Leon. "Judging new ‘South African’ fiction in the transnational moment." Current Writing 21, no. 1-2 (2009): 24–58. http://dx.doi.org/10.1080/1013929x.2009.9678310.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Propst, Lisa. "Reconciliation and the “self-in-community” in post-transitional South African fiction." Journal of Commonwealth Literature 52, no. 1 (2016): 84–98. http://dx.doi.org/10.1177/0021989415592944.

Full text

Abstract:

Since the end of apartheid and South Africa’s first democratic elections in 1994, efforts at reconciliation have been dramatic, most notably in the form of the Truth and Reconciliation Commission (TRC), as well as deeply incomplete. In response, a great deal of post-transitional South African literature and criticism has taken up the question of how to effect reconciliation, particularly outside institutional forums like the TRC. A prominent strand of South African literary studies insists that reconciliation rests on a form of ethical responsibility in which the individual is displaced from him- or herself in order to enact hospitality toward others. This view draws on a Levinasian conception of ethics whereby responsibility entails radical vulnerability with no assurance of reciprocation. Yet a growing corpus of fiction complicates this vision of reconciliation, recognizing that for many South Africans, the violations of apartheid gave rise to what Annie Coombes refers to as a “dissolution of [the] self”, and any effort at building a more inclusive society must redress that dissolution. This article argues that Jo-Anne Richards’ My Brother’s Book (2008) and Achmat Dangor’s Bitter Fruit (2001) present reconciliation as a product of two opposing endeavours. On the one hand, it involves the willingness to give up a sense of self in taking on responsibilities for others. On the other hand, it requires reclaiming a sense of self by asserting one’s right to make affiliative choices and actively construct new spaces of belonging.

APA, Harvard, Vancouver, ISO, and other styles

13

Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.

Full text

Abstract:

The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature.

APA, Harvard, Vancouver, ISO, and other styles

14

Singh. "South African Indian Fiction: Transformations in Ahmed Essop's Political Ethos." Research in African Literatures 42, no. 3 (2011): 46. http://dx.doi.org/10.2979/reseafrilite.42.3.46.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Fasselt, Rebecca, Corinne Sandwith, and Khulukazi Soldati-Kahimbaara. "The short story in South Africa post-2000: Critical reflections on a genre in transition." Journal of Commonwealth Literature 55, no. 1 (2018): 4–21. http://dx.doi.org/10.1177/0021989418778080.

Full text

Abstract:

This editorial offers critical reflections on short story writing in South Africa post-2000. Against the background of critical scholarship on the short story form and thematic trends of short story anthologies since the late 1980s, we argue that short story criticism on apartheid as well as contemporary South African short story writing has consistently emphasized the genre’s disposition to capture the fragmented realities of socio-political transitions in the country. Critics have frequently observed a shift from the overtly politicized short story of the 1970s and 1980s to a return to a more literary and modernist aesthetics in the present. In this special issue, we intend to complicate this reading by mapping out other trajectories the short story has taken in recent years, which point toward the emergence of more popular subgenres such as speculative fiction, crime fiction, and erotic fiction. Short stories also increasingly examine and challenge conventional sexuality and/or gender-based norms.

APA, Harvard, Vancouver, ISO, and other styles

16

Blair, Peter. "Hyper-compressions: The rise of flash fiction in “post-transitional” South Africa." Journal of Commonwealth Literature 55, no. 1 (2018): 38–60. http://dx.doi.org/10.1177/0021989418780932.

Full text

Abstract:

This article begins with a survey of flash fiction in “post-transitional” South Africa, which it relates to the nation’s post-apartheid canon of short stories and short-short stories, to the international rise of flash fiction and “sudden fiction”, and to the historical particularities of South Africa’s “post-transition”. It then undertakes close readings of three flash fictions republished in the article, each less than 450 words: Tony Eprile’s “The Interpreter for the Tribunal” (2007), which evokes the psychological and ethical complexities, and long-term ramifications, of the Truth and Reconciliation Commission; Michael Cawood Green’s “Music for a New Society” (2008), a carjacking story that invokes discourses about violent crime and the “‘new’ South Africa”; and Stacy Hardy’s “Kisula” (2015), which maps the psychogeography of cross-racial sex and transnational identity-formation in an evolving urban environment. The article argues that these exemplary flashes are “hyper-compressions”, in that they compress and develop complex themes with a long literary history and a wide contemporary currency. It therefore contends that flash fiction of South Africa’s post-transition should be recognized as having literary–historical significance, not just as an inherently metonymic form that reflects, and alludes to, a broader literary culture, but as a genre in its own right.

APA, Harvard, Vancouver, ISO, and other styles

17

Byrne, Deirdre C. "Science Fiction in South Africa." PMLA/Publications of the Modern Language Association of America 119, no. 3 (2004): 522–25. http://dx.doi.org/10.1632/003081204x20596.

Full text

Abstract:

As has been said many times before, South Africa is a land of contrasts: Between races, landscapes, economic strata, political viewpoints, and lifestyles. A complex contrast, but one that is relevant to science fiction, is the disparity between levels of technological literacy. Some of the country's population have access to advanced technology, such as Internet connections and cell phones, but most citizens have a monthly income well below the comfort level. Illiteracy is extremely high, despite the efforts of a large number of educational organizations. The HIV/AIDS pandemic has reached crisis proportions; by 2010, approximately sixty-five percent of the country's adult population will have died of the disease if the current rate of infection continues unchecked. In this context, one cannot expect an advanced awareness of technological or scientific developments; neither can one assume even a basic acquaintance with published literature.

APA, Harvard, Vancouver, ISO, and other styles

18

Salih, Suadah Jasim, and Lajiman Janoory. "The Voice of the Black Female Other: A Post-Colonial Feminist Perspective in J. M. Coetzee’s Age of Iron." Malaysian Journal of Social Sciences and Humanities (MJSSH) 5, no. 10 (2020): 267–76. http://dx.doi.org/10.47405/mjssh.v5i10.524.

Full text

Abstract:

As a beacon in a storm, John Maxwell Coetzee has established himself through his intellectual contribution to the post-colonial feminism literature in general and South African slavery epoch in particular. Accordingly, this study has been devoted to critically reflect how Coetzee confined his pen to support the oppressed black South Africans against injustice, oppression and deprivation. Moreover, the paper reveals the South African inextricable components and haw the writer has deeply perceived both apartheid and post-apartheid history by his naked eyes. Coetzee’s Age of Iron reveals his unique ability to aptly penetrate his readers based on contradiction where pessimism is shifted to optimism and, therefore, the readers’ mindset is directly shifted from atrocity to love. The study then delves deeply to show how Coetzee provides a solution to bring two parted races, black and white South Africans, together through the role of women characters in his fiction based on both gender and racial schism. Specifically, this study critically scrutinizes Coetzee’s Age of Iron. The study applies the post-colonial feminism theory using discursive strategy based on sociological and anthropological analyses to reveal how colonization destroyed South Africans’ cultures resulting in a crisis of human segregation which is depicted through white women characters in the novel. By drawing the post-colonial black women’s treatment by the colonisers and the forms of resisting their hegemony, the findings of this study are expected to significantly contribute to the researchers whose concern is on black women in Coetzee’s fiction.

APA, Harvard, Vancouver, ISO, and other styles

19

Saunders, Chris. "Comparing the Namibian and South African Liberation Struggles." Matatu 50, no. 2 (2020): 280–98. http://dx.doi.org/10.1163/18757421-05002007.

Full text

Abstract:

Abstract This essay is a preliminary attempt to compare the ways in which the liberation struggles in Namibia and South Africa have been memorialised, both in non-fiction writing about the two struggles and in monuments, memorials and museums. Such a comparison needs to be undertaken through contextualising the two struggles. Though they have some similar features, the ways they have been memorialised are strikingly different, with the armed struggle having been given much greater emphasis in Namibia than in South Africa.

APA, Harvard, Vancouver, ISO, and other styles

20

Morton, Stephen. "States of emergency and the apartheid legal order in South African fiction." Journal of Postcolonial Writing 46, no. 5 (2010): 491–503. http://dx.doi.org/10.1080/17449855.2010.517054.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Driver, Dorothy. "Transformation through Art: Writing, Representation, and Subjectivity in Recent South African Fiction." World Literature Today 70, no. 1 (1996): 45. http://dx.doi.org/10.2307/40151851.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Steenberg, D. H. "Flitse van sosiale verandering in enkele postmodernistiese Afrikaanse romans." Literator 18, no. 3 (1997): 91–102. http://dx.doi.org/10.4102/lit.v18i3.551.

Full text

Abstract:

Glimpses of social change in some postmodernist Afrikaans novelsPostmodernist novels, and thus also Afrikaans postmodernist novels, are radically anti-traditional. In one respect, however, they maintain the tradition of Afrikaans fiction: they open perspectives on the development of the society from which they originate. Functioning in a multicultural community, the novelists' awareness often concerns the development of relations between different racial groupings in the South African society, which is seen as basically African. The breaking down of the (colonial) barriers between black and white by writers of historiographic metafiction - like John Miles and André Letoit - can perhaps be regarded the first step in the direction of social transition. Letoit hails Africa as the continent of promise, and authors like Berta Smit, Eben Venter and Etienne van Heerden present visions of a growing harmony between black and white in the new South Africa.

APA, Harvard, Vancouver, ISO, and other styles

23

Ratele, K. "The Interior Life of Mtutu: Psychological Fact or Fiction?" South African Journal of Psychology 35, no. 3 (2005): 555–73. http://dx.doi.org/10.1177/008124630503500310.

Full text

Abstract:

This article seeks to understand the routes to, and pasts, possibilities and forms of, the interior world of the African or black person in its relations to the politics and economy of superiority and separation. The world that is explored is primarily sexual, and therefore, incorporates embodied life, but of necessity widens to include affective, cognitive, and purposeful aspects. In the face of the scarcity of scholarly psychological literature in the area of the intimate lives of black individuals, particularly when seen against the backcloth of colonial and apartheid arrangements, the article begins by arguing for the importance of turning to other, imaginative, sources for help in trying to comprehend African interiors. It then turns to meanings of intimacy on which interiority is indexed, going on to discuss the notion in relation to the social, political and economic history of South Africa, while taking in the notion of soul along the way. Next, the interest of colonial and apartheid regimes in intimacy is traced, showing that this interest stretched beyond interpersonal relations to the very calculus of discrimination and domination. The article concludes by urging African scholars to take black inner life a little more seriously and without abandoning creativity, still locating such efforts within radical and ethical theoretical frameworks.

APA, Harvard, Vancouver, ISO, and other styles

24

Toolan, Michael. "The Significations of Representing Dialect in Writing." Language and Literature: International Journal of Stylistics 1, no. 1 (1992): 29–46. http://dx.doi.org/10.1177/096394709200100103.

Full text

Abstract:

This article reviews some of the constraints and implications involved in the reporting of speech in fiction and elsewhere, paying particular attention to some of the issues that attend the representation of dialect. A number of cases are discussed, but a specific focus is the apparent absence of rendering of urban black South African speech in the fiction of the pre-eminent contemporary white South African writers, J.M. Coetzee and N. Gordimer. This absence of ‘giving voice’ is interpreted as an avoidance strategy, seemingly necessary but certainly troubled, given the charged socio-political context, in which for these authors to represent the voices of those individuals could too easily be construed as appropriation. In this case; as in others discussed, questions of power, distance versus affinity, and rights of free expression and of silence are involved.

APA, Harvard, Vancouver, ISO, and other styles

25

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 (2020): 756–64. http://dx.doi.org/10.18510/hssr.2020.8284.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

26

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

Full text

Abstract:

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.Â 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. Â 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.

APA, Harvard, Vancouver, ISO, and other styles

27

Kruger, Loren. "In a minor key: narrative desire and minority discourses in some recent South African fiction." Scrutiny2 8, no. 1 (2003): 70–74. http://dx.doi.org/10.1080/18125440308565997.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Nabutanyi, Edgar. "Powerful Men and Boyhood Sexuality in K. Sello Duiker’s Thirteen Cents." Matatu 48, no. 1 (2016): 33–48. http://dx.doi.org/10.1163/18757421-04801004.

Full text

Abstract:

In Southern African postcolonial discourses, sexual violation is often deployed as an allegory for either patriarchal control or racial domination. This perhaps explains the huge archive of narratives of sexual violence in the Southern African literary canon. While this archive and its scholarship mainly concentrates on the experiences of women and girls, a substantial number of texts portraying the sexual abuse of boys from the region demand that scholarly attention is paid to this phenomenon. Does contemporary South African fiction’s privileging of the sexual violation of boys suggest that boys are as vulnerable to this form of violence in moments of national crisis as are girls and women? Reading K. Sello Duiker’s Thirteen Cents1 as a portrayal of the precarious intersection of post-apartheid familial dystopia on children’s bodies—articulated through under-age prostitution—I explore how fiction intervenes successfully to spotlight the susceptibility of boys to pederasty in moments of societal crisis. Additionally, I examine how homosexual prostitution is portrayed as a tool for survival for helpless boys, on the one hand, and exhibition of patriarchal power for the men that pay to have sex with these boys, on the other. I argue that the depiction of underage sex work of some boys in South African cities can help rescue these victims from being perceived as mere statistical footnotes to Southern African inequities and patriarchal power.

APA, Harvard, Vancouver, ISO, and other styles

29

Klopper, Dirk. "Uncanny ethnicities:The story of the Griqua in South African travel writing and narrative fiction." English Academy Review 25, no. 1 (2008): 104–11. http://dx.doi.org/10.1080/10131750802099532.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Evans, Rebecca. "Geomemory and Genre Friction: Infrastructural Violence and Plantation Afterlives in Contemporary African American Novels." American Literature 93, no. 3 (2021): 445–72. http://dx.doi.org/10.1215/00029831-9361265.

Full text

Abstract:

Abstract This essay argues that contemporary African American novels turn to the gothic in order to dramatize the uncanny infrastructural and spatial afterlives of the plantation through a literary strategy it identifies as geomemory: a genre friction between mimetic and gothic modes in which postplantation spaces in the US South are imbued with temporal slippages such that past and present meet through the built environment. Tracing the plantation’s environmental and infrastructural presence in the Gulf Coast and throughout the US South, this essay argues that the plantation’s presence is fundamentally gothic. Geomemory, a trope evident across the emerging canon of contemporary African American fiction, allows writers to address the representational challenge of infrastructural and spatial violence via a defamiliarizing chronotope in which past, present, and future come into uneasy contact. Further, geomemory’s particular enmeshment with spatial design and infrastructure means that it moves from identifying the modern afterlife of the plantation to situating the present in the long context of plantation modernity.

APA, Harvard, Vancouver, ISO, and other styles

31

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Mengel, Ewald. "The Contemporary South African Trauma Novel: Michiel Heyns’ Lost Ground (2011) and Marlene van Niekerk’s The Way of the Women (2008)." Anglia 138, no. 1 (2020): 144–65. http://dx.doi.org/10.1515/ang-2020-0007.

Full text

Abstract:

AbstractAfter the end of apartheid in 1990 and the new constitution of 1994, the genre of the contemporary South African novel is experiencing a heyday. One reason for this is that, with the end of censorship, the authors can go about unrestraint to take a critical look at the traumatized country and the state of a nation that shows a great need to come to terms with its past. In this context, trauma and narration prove to be a fertile combination, an observation that stands in marked contrast to the deconstructionist view of trauma as ‘unclaimed’ experience and the inability to speak about it. Michiel Heyns’ Lost Ground (2011) and Marlene van Niekerk’s The Way of the Women (2008) are prime examples of the contemporary South African trauma novel. As crime fiction, Lost Ground not only tells a thrilling story but is also deeply involved in South African politics. The novelist Heyns plays with postmodernist structures, but the real strength of the novel lies in its realistic milieu description and the analysis of the protagonist’s traumatic ‘entanglements’. The Way of the Women is mainly a farm novel but also shows elements of the historical novel and the marriage novel. It continues the process of the deconstruction of the farm as a former symbol of the Afrikaner’s pride and glory. Both novels’ meta-fictional self-reflections betray the self-consciousness of their authors who are aware of the symbolization compulsions in a traumatized country. They use narrative as a means of ‘working through’, coming to terms with trauma, and achieving reconciliation. Both novels’ complex narrative structures may be read as symbolic expressions of traumatic ‘entanglements’ that lie at the heart of the South African dilemma.

APA, Harvard, Vancouver, ISO, and other styles

33

Harpin, Tina. "La violence et la culpabilité en partage : le destin national du thème de l’inceste dans la fiction sud-africaine." Études littéraires africaines, no. 38 (February 16, 2015): 19–30. http://dx.doi.org/10.7202/1028671ar.

Full text

Abstract:

Twenty years after the end of Apartheid, violence is still a serious problem in South Africa, despite the prosperity and democratic stability of the state. Sexual violence, in particular, has become a major concern. During the decades of transition, secrets of sexual crimes were disclosed more than ever, and it was made patent that they were intertwined with political violence. Incest thus became a new important fictional theme in South African literature. Actually, the issue was already a tacit burning question for politicians and scientists at the end of the 20th century. Given the racist and eugenist background of the country, incest has long been written in the gothic mode to express White communities’ anxieties, until Doris Lessing, Reza de Wet and Marlene van Niekerk came along. They integrated irony into the gothic and rethought the question of taboo in such a way that it was made available for critical thinking beyond local or racial boundaries. Since the end of the 90s, writing fictions involving incest contributes more than ever to reflect on the possibility or the impossibility of strengthening an extended national community against violence, which I demonstrate through my reading of the novels by Achmat Dangor and of a recent play by Paul Grootboom and Presley Chweneyagae.

APA, Harvard, Vancouver, ISO, and other styles

34

de Villiers, Rick. "“What can you do with a Story Like This[?]”: The Expectations and Explicitations of South African Fiction." Current Writing: Text and Reception in Southern Africa 31, no. 2 (2019): 131–40. http://dx.doi.org/10.1080/1013929x.2019.1618091.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

36

van Niekerk, Annemarié. "Feminist aesthetics: Aspects of race, class and gender in the constitution of South African short fiction by women." Journal of Literary Studies 9, no. 1 (1993): 69–79. http://dx.doi.org/10.1080/02564719308530029.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

MacKenzie, C. "The skaz narrative mode in short stories by W. C. Scully, Percy FitzPatrick, Perceval Gibbon and Herman Charles Bosman." Literator 14, no. 3 (1993): 1–20. http://dx.doi.org/10.4102/lit.v14i3.708.

Full text

Abstract:

While an overwhelming amount of cultural activity worldwide has been (and is being) conducted in societies which had (or have) very little or no knowledge at all of writing, and which can therefore be described as predominantly ‘oral’ cultures, very little attempt has been made in the field of South African literature to examine how oral modes of cultural exchange influence and interpenetrate the more recent written (literary) modes. South Africa is a region which has several rich oral traditions and it is therefore important to explore how aspects of these traditions are incorporated into (written) literature. This paper looks at the use of the fictional narrator and skaz (the Russian Formalist term meaning 'speech') in some South African short stories by Scully, FitzPatrick, Gibbon and Bosman. It is argued that whereas Scully and FitzPatrick produce only partially successful narratives in the skaz style, Gibbon and Bosman introduce greater artistic and ideological complexity to the form.

APA, Harvard, Vancouver, ISO, and other styles

38

Jenkins, Elwyn. "ROY CAMPBELLâ€™S CHILDRENâ€™S NOVEL, THE MAMBAâ€™S PRECIPICE." Mousaion: South African Journal of Information Studies 34, no. 2 (2016): 83–97. http://dx.doi.org/10.25159/0027-2639/895.

Full text

Abstract:

Roy Campbellâ€™s The mambaâ€™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 Campbellâ€™s friendship with the writers Laurie Lee and Laurens van der Post; and its parallels with other English childrenâ€™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 Campbellâ€™s self-mythologising memoirs. There are similarities and differences between The mambaâ€™s precipice and the way Van der Post wrote about Natal in The hunter and the whale (1967). Campbellâ€™s novel in some respects resembles nineteenth-century childrenâ€™s adventure stories set in South Africa, and it also has elements of the humour typical of school stories of the â€˜Billy Bunterâ€™ era and the cosy, mundane activities and dialogue common to other mid-century South African and English childrenâ€™s books.

APA, Harvard, Vancouver, ISO, and other styles

39

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Murray, Jessica. "Constructions of Gender in Contemporary South African Crime Fiction: A Feminist Literary Analysis of the Novels of Angela Makholwa." English Studies in Africa 59, no. 2 (2016): 14–26. http://dx.doi.org/10.1080/00138398.2016.1239415.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Donawerth, Jane. "Body Parts: Twentieth-Century Science Fiction Short Stories by Women." PMLA/Publications of the Modern Language Association of America 119, no. 3 (2004): 474–81. http://dx.doi.org/10.1632/003081204x20532.

Full text

Abstract:

This essay is a feminist, historical exploration of body parts in short science fiction stories by women. In early-twentieth-century stories about prostheses, blood transfusion, and radioactive experiments, Clare Winger Harris, Kathleen Ludwick, and Judith Merril use body parts to explore fears of damage to masculine identity by war, of alienation of men from women, and of racial pollution. In stories from the last quarter of the twentieth century, the South American author Angélica Gorodischer depicts a housewife's escape from oppressive domestic technology through time travel in which she murders male leaders, while Eileen Gunn offers a critique of bioengineering and sociobiology, satirizing fears of women in modern business and of erasure of identity in global corporate structures. An end-of-the-century fiction by the African American Akua Lezli Hope imagines a black woman altered through cosmetic surgery to become a tenor sax and critiques technologies that transform women's bodies into cultural signifiers of social function and class.

APA, Harvard, Vancouver, ISO, and other styles

42

Gikandi, Simon. "Paule Marshall and the search for the African diaspora." New West Indian Guide / Nieuwe West-Indische Gids 73, no. 1-2 (1999): 83–88. http://dx.doi.org/10.1163/13822373-90002586.

Full text

Abstract:

[First paragraph]The Fiction of Paule Marshall: Reconstructions of History, Culture, and Gender. DOROTHY HAMER DENNISTON. Knoxville: University of Tennesee Press, 1995. xxii + 187 pp. (Paper US$ 15.00)Toward Wholeness in Paule Marshall's Fiction. JOYCE PETTIS.Charlottesville: University of Virginia Press, 1995. xi + 173 pp. (Cloth US$ 29.50)Black and Female: Essays on Writings by Black Women in the Diaspora. BRITA LINDBERG-SEYERSTED. Oslo: Scandinavian University Press, 1994. 164 pp. (Paper n.p.)Literary history has not been very kind to Paule Marshall. Even in the early 1980s when literature produced by African-American women was gaining prominence among general readers and drawing the attention of critics, Marshall was still considered to be an enigmatic literary figure, somehow important in the canon but not one of its trend setters. As Mary Helen Washington observed in an influential afterword to Brown Girl, Brownstones, although Marshall had been publishing novels and short stories since the early 1950s, and was indeed the key link between African-American writers of the 1940s and those of the 1960s, she was just being "discovered" in the 1980s. While there has always been a small group of scholars, most notably Kamau Brathwaite, who have called attention to the indispensable role Marshall has played in the shaping of the literary canon of the African Diaspora, and of her profound understanding of the issues that have affected the complex formation and survival of African-derived cultures in the New World, many critics have found it difficult to locate her within the American, African-American, and Caribbean traditions that are the sources of her imagination and the subject of her major works. Marshall has embraced all these cultures in more profound ways than her more famous contemporaries have, but she has not gotten the accolades that have gone to lesser writers like Alice Walker. It is indeed one of the greatest injustices of our time that Walker's limited understanding of the cultures and peoples of the African Diaspora has become the point of reference for North American scholars of Africa, the Caribbean, and South America while Marshall's scholastic engagement with questions of Diaspora has not drawn the same kind of interest.

APA, Harvard, Vancouver, ISO, and other styles

43

Mason, Bonita. "Review: Searching for the truth of book-length journalism." Pacific Journalism Review 21, no. 2 (2015): 200. http://dx.doi.org/10.24135/pjr.v21i2.134.

Full text

Abstract:

Mason, Bonita. (2015). Searching for the truth of book-length journalism. Pacific Journalism Review, 21(2): 200-203. Review of Telling True Stories: Navigating the challenges of writing narrative non-fiction, by Matthew Ricketson. Sydney: Allen & Unwin, 2014. 282pp. ISBN 978-1-742379-35-7Australian journalism academic and practitioner Matthew Ricketson’s new book opens with two quotes: one from South African writer Nadine Gordimer on the enduring presence of ‘beauty’ in the quest for truth; the other from US comparative literature professor Peter Brooks on the impossibility of separating our own humanity and imaginations from what we write. Gordimer has also written elsewhere of the writer’s responsibility, as a social being, to take part in their world through their writing—to become ‘more than a writer’ (1985, p. 141). The kind of writing Ricketson seeks to define, and describes, analyses and advocates in this book (much of which is also investigative), comes closest to meeting these roles and responsibilities for the non-fiction writer.

APA, Harvard, Vancouver, ISO, and other styles

44

Horn, P. "Parallels and contrasts - Wendezeit in South African and German literature." Literator 18, no. 3 (1997): 25–40. http://dx.doi.org/10.4102/lit.v18i3.547.

Full text

Abstract:

We live in the present, but our language is always the language of the past. Memory is fragile, evanescent and often distorted. Even where memories are vivid and subjectively compelling, there is no guarantee that they are correct. The documents which come down to us are riddled with lacunae, silences, and with outright lies. But these documents are the basis and the limit of our constant rewriting of history. Official history is an erasure of an alternative history. The truth, which surfaces in myths and stories, is the truth forgotten by history, or more precisely, the truth repressed by history. Not only the henchmen and the prison warders have a bad memory. The victims, too, have difficulties remembering. But not to want to know the truth about oneself is an attitude which always leads to catastrophe. Literature discovers the dark underworld beneath the glittering surface of this country, which considers itself to be happy. It is art, the novel, the poem, the image, which transcends the boundary of that area which is excluded from language. Fictional reports can, however, do that only because they lack the authority of official history writing, because that which is written fictionally has been called a lie since the time of Plato. There is, nevertheless, a silence underneath the rationality of the historical method, an unknown.

APA, Harvard, Vancouver, ISO, and other styles

45

Green, Michael. "Social history, literary history, and historical fiction in South Africa." Journal of African Cultural Studies 12, no. 2 (1999): 121–36. http://dx.doi.org/10.1080/13696819908717845.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Attwell, David. "JM Coetzee and South Africa: Thoughts on the social life of fiction." English Academy Review 21, no. 1 (2004): 105–17. http://dx.doi.org/10.1080/10131750485310111a.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Bowker, V. "The evolution of critical responses to Fugard’s work, culminating in a feminist reading of The Road to Mecca." Literator 11, no. 2 (1990): 1–16. http://dx.doi.org/10.4102/lit.v11i2.797.

Full text

Abstract:

An ongoing debate in South Africa today concerns the response of white writers, such as Athol Fugard, to the African/South African socio-historical context. As a major focus of this debate there is a relationship between history and literature, and selected critical responses to Fugard’s work of the past three decades are investigated in terms of their position regarding this relationship. All these responses, regardless of their political and/or Hterary affiliations were found to imply that some kind of truth, their truth can be represented in a fictional text. In response to this implied truth claim and in particular to certain critics’ demand for a “concrete” history, the founding insight of poststructuralism about the inability of language to reflect an already existing reality is used to justify the following approach to Fugard’s The Road to Mecca: history is merely one discourse among many without any privileged claim to primacy; Fugard’s texts, read as history, is therefore approached in the context of South African discourses competing in the game of power relations, thus justifying the feminist reading resulting from an analysis of the competing discourses in the text.

APA, Harvard, Vancouver, ISO, and other styles

48

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Binder, Sabine. "Female killers and gender politics in contemporary South African crime fiction: Conversations with crime writers Jassy Mackenzie, Angela Makholwa, and Mike Nicol." Journal of Commonwealth Literature 52, no. 2 (2015): 263–80. http://dx.doi.org/10.1177/0021989415619466.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Mosito, Phomolo. "MEMORY IN LIMBO: THE RECONSTRUCTION OF IDENTITY IN MATING BIRDS (1986) BY LEWIS NKOSI." Imbizo 6, no. 2 (2017): 49–56. http://dx.doi.org/10.25159/2078-9785/2806.

Full text

Abstract:

Lewis Nkosi’s novel, Mating birds (1986) offers a significant intervention in a history as dispersed and fragmented as South Africa’s, by focusing on those specific and critical episodes of South Africa’s past. This much-colonised country has had an extended history of perennial violence under colonialism and apartheid Some fiction by Black writers on this phenomenon may be seen to be reactive, what Njabulo Ndebele (South African writer) terms ‘Protest Literature’-and seeks to show black people as victims (Ndebele 1994). Nkosi’s novels, Mating birds (1986) in particular reverse this order through the narratives of different characters, illustrating that black people were not the passive victims of apartheid but played an active role towards its opposition and eradication. This is achieved through complex portrayal of the first-person narrative technique and interstices of memory and recall. This article explores how identity as a porous and fluid, and fragmented and fractured concept that could be used to describe the individual or communa traits of some characters, and space (prison) are portrayed in Lewis Nkosi’s Mating birds (1986).

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'South African Literature (Fiction)'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles