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Journal articles on the topic 'South African Pastoral fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Smit-Marais, S., and M. Wenzel. "Subverting the pastoral: the transcendence of space and place in J.M. Coetzee’s Disgrace." Literator 27, no. 1 (2006): 23–38. http://dx.doi.org/10.4102/lit.v27i1.177.

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This article investigates how J.M. Coetzee’s “Disgrace” (1999) – portrayed as a postcolonial and postmodern fictional event – embodies, problematises and subverts the vision of the pastoral farm novel tradition by transcending traditional configurations of space and place. The novel offers a rather bleak apocalyptic vision of gender roles, racial relationships and family relations in post-apartheid South Africa and expresses the socio-political tensions pertaining to the South African landscape in terms of personal relationships. As a fictional reworking of the farm novel, “Disgrace” draws on

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2

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.

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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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3

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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4

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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5

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

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6

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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7

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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8

de Jongh van Arkel, Jan T. "Teaching Pastoral Care and Counseling in an African Context: A Problem of Contextual Relevancy." Journal of Pastoral Care 49, no. 2 (1995): 189–99. http://dx.doi.org/10.1177/002234099504900208.

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Summarizes the current status of pastoral care and counseling in South Africa and notes the variety of implications resulting from the uncritical acceptance of the Western Europe and North American styles of pastoral care and counseling. Outlines and details the necessary project of contextualizing which now faces pastoral caregivers in South Africa as it attempts to integrate its unique cultural and religious heritages into developing a relevant pastoral theology that will serve pastoral practice and pedagogical necessity.

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9

Ashby, Homer U. "Book Review: Pastoral Care to Black South Africans: African-American Pastoral Care." Journal of Pastoral Care 47, no. 2 (1993): 197–98. http://dx.doi.org/10.1177/002234099304700216.

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10

VOSS, A. E. "THE WANING SWAIN: PROLEGOMENA TO SOUTH AFRICAN PASTORAL." English Studies in Africa 34, no. 2 (1991): 65–75. http://dx.doi.org/10.1080/00138399108690881.

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11

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

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12

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

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13

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

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14

Barnard, Rita, and J. M. Coetzee. "J. M. Coetzee's "Disgrace" and the South African Pastoral." Contemporary Literature 44, no. 2 (2003): 199. http://dx.doi.org/10.2307/1209095.

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15

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.

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16

Naidu, Sam. "Fears and Desires in South African Crime Fiction." Journal of Southern African Studies 39, no. 3 (2013): 727–38. http://dx.doi.org/10.1080/03057070.2013.826070.

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17

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.

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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 part

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18

Nanthambwe, Patrick, and Vhumani Magezi. "The African Pastor as a Public Figure in Response to Gender-Based Violence in South Africa: A Public Pastoral Intervention." Religions 15, no. 5 (2024): 609. http://dx.doi.org/10.3390/rel15050609.

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The burgeoning field of public theology has garnered significant scholarly attention. Amidst its multifaceted discussions, a recurring theme asserts that theology plays a vital and irreplaceable role in public discourse. This perspective contends that engaging with matters of public concern from a theological standpoint not only contributes meaningfully to public discourse but also shapes our understanding of the world, human existence, and the divine. Within the African context, particularly in South Africa, gender-based violence (GBV) remains a pressing societal issue despite government and

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19

Joseph-Vilain, Mélanie. "Cartographies génériques, spatiales et identitaires en Afrique du Sud : Margie Orford, Lauren Beukes, Henrietta Rose-Innes." Études littéraires africaines, no. 38 (February 16, 2015): 69–82. http://dx.doi.org/10.7202/1028675ar.

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This article examines how three South African novelists, Margie Orford, Lauren Beukes and Henrietta Rose-Innes, use crime fiction to write their country. After a brief survey of the rapid development of crime fiction in South Africa and of the critical response it received, the article proposes a reading of Like Clockwork, Zoo City and Nineveh, whereby their respective contribution to crime fiction displays three major features : first, Orford’s novel chimes in with generic conventions ; second, Beukes’s novel combines features borrowed from both crime fiction and science fiction ; and last, R

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20

Barnard, Rita. "Dream Topographies: J. M. Coetzee and the South African Pastoral." South Atlantic Quarterly 93, no. 1 (1994): 33–58. http://dx.doi.org/10.1215/00382876-93-1-33.

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21

Magezi, Vhumani. "Towards Effective Pastoral Caregiving within Contemporary Post-Colonial Praxis in Africa: A Discernment of Care Needs for ‘Now’ and ‘Intervention’ Propositions." Religions 15, no. 7 (2024): 789. http://dx.doi.org/10.3390/rel15070789.

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Post-colonial Africa and its attendant challenges, including disillusionment during democratic dispensation and racial tensions among black and white people, constitute a problem that calls for interventions from all social actors. Theology, especially pastoral care, is challenged to broaden its vision and focus on health, healing, and human flourishing by adopting a public dimension. Thus, public pastoral care can emerge as a critical approach through which to make a meaningful contribution to fostering holistic personal care. This assumption prompts an examination of the place and role of pa

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22

Mbao, Wamuwi. "Feeling towards the Contemporary: Judging New South African Fiction." Current Writing: Text and Reception in Southern Africa 34, no. 1 (2022): 88–95. http://dx.doi.org/10.1080/1013929x.2022.2035078.

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23

Naidu, Samantha, and Elizabeth le Roux. "South African crime fiction: sleuthing the State post-1994." African Identities 12, no. 3-4 (2014): 283–94. http://dx.doi.org/10.1080/14725843.2015.1009621.

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24

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.

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25

Hyslop, Jonathan. "South African Social History and the New Non‐Fiction." Safundi 13, no. 1-2 (2012): 59–71. http://dx.doi.org/10.1080/17533171.2011.642590.

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26

Titlestad, Michael. "Future Tense: The Problem of South African Apocalyptic Fiction." English Studies in Africa 58, no. 1 (2015): 30–41. http://dx.doi.org/10.1080/00138398.2015.1045159.

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27

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.

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28

Drawe, Claudia. "Cape Town, City of Crime in South African Fiction." Current Writing 25, no. 2 (2013): 186–95. http://dx.doi.org/10.1080/1013929x.2013.833422.

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29

Hestenes, Mark. "Pastoral Counsellors' Value Systems and Moral Development – A South African Study." Journal of Empirical Theology 17, no. 1 (2004): 60–75. http://dx.doi.org/10.1163/1570925041208907.

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30

Slocum, Leah. "South African Allegories in Richard Jefferies’s After London; or Wild England (1885)." Victoriographies 14, no. 2 (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 Haggar

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31

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.

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32

Muller, Alan. "Futures Forestalled … for Now: South African Science Fiction and Futurism." Current Writing: Text and Reception in Southern Africa 34, no. 1 (2022): 75–87. http://dx.doi.org/10.1080/1013929x.2022.2035076.

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33

Naidu, Sam. "Crimes against nature: Ecocritical discourse in south african crime fiction." Scrutiny2 19, no. 2 (2014): 59–70. http://dx.doi.org/10.1080/18125441.2014.950599.

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34

Davis, Emily S. "New Directions in Post-Apartheid South African Fiction and Scholarship." Literature Compass 10, no. 10 (2013): 797–804. http://dx.doi.org/10.1111/lic3.12098.

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35

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.

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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.

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36

Bollig, Michael. "The colonial encapsulation of the north-western Namibian pastoral economy." Africa 68, no. 4 (1998): 506–36. http://dx.doi.org/10.2307/1161164.

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The inhabitants of Kaokoland, Himba and Herero, have recently gained prominence in the discussions concerning a controversial hydro-electric power scheme in their region. They are depicted as southern Africa's ‘most traditional pastoralists’ by groups opposing the dam and those demanding it. The article describes how Kaokoland's pastoralists suffered tremendously from the politics of encapsulation the South African government adopted against them. Having been enmeshed in interregional trade networks, commodity production and wage labour around 1900, they were isolated by the South African gove

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37

Gulick, Anne W. "Campus Fiction and Critical University Studies from Below: Disgrace, Welcome to Our Hillbrow, and the Postcolonial University at the Millennium." Cambridge Journal of Postcolonial Literary Inquiry 9, no. 2 (2022): 177–97. http://dx.doi.org/10.1017/pli.2021.52.

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AbstractTwo of South African literature’s best-known titles from the turn of the twenty-first century are works of campus fiction that rarely get recognized as such. In this article I read J. M. Coetzee’s Disgrace (1999) and Phaswane Mpe’s Welcome to Our Hillbrow (2001) as novels whose figuration of the university is far more central to their treatment of the contradictions and ambiguities that characterize postapartheid South Africa than is generally acknowledged. In the course of narratives that seem largely focused on other things, these texts offer up a distinctly South African but also di

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38

Gulick, Anne W. "Campus Fiction and Critical University Studies from Below: Disgrace, Welcome to Our Hillbrow, and the Postcolonial University at the Millennium." Cambridge Journal of Postcolonial Literary Inquiry 9, no. 2 (2022): 177–97. http://dx.doi.org/10.1017/pli.2021.52.

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AbstractTwo of South African literature’s best-known titles from the turn of the twenty-first century are works of campus fiction that rarely get recognized as such. In this article I read J. M. Coetzee’s Disgrace (1999) and Phaswane Mpe’s Welcome to Our Hillbrow (2001) as novels whose figuration of the university is far more central to their treatment of the contradictions and ambiguities that characterize postapartheid South Africa than is generally acknowledged. In the course of narratives that seem largely focused on other things, these texts offer up a distinctly South African but also di

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39

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.

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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,

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40

Hall, Leila, Ronit Frenkel, and Andy Carolin. "Intersectional (In)visibility in the 21st-Century South African Queer-Themed Short Story." Research in African Literatures 54, no. 3 (2024): 20–39. http://dx.doi.org/10.2979/ral.00014.

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ABSTRACT: Through a comparative reading of four queer-themed South African short stories published in the 2010s, this article argues that recent South African short fiction brings new subtleties and nuances to the straightforward and often-unproblematized valorization of queer "visibility." The article contends that the stories foreground the intersectionality of queer visibility in post-apartheid South Africa—pointing to some of the ways in which the contemporary South African moment continues to be defined by hetero-patriarchal norms, class disparities, and racialized divisions. The article

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41

Caraivan, Luiza. "Portraits of South African Women in Lauren Beukes’ Writings." Gender Studies 15, no. 1 (2016): 214–28. http://dx.doi.org/10.1515/genst-2017-0014.

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Abstract The aim of this paper is to study some of Lauren Beukes’ feminine characters and to draw a parallel between them and some famous South African personalities presented in her non-fiction work Maverick: Extraordinary Women from South Africa’s Past. To this end, I will analyse three of her novels, Moxyland (2008), Zoo City (2010) and The Shining Girls (2012), in order to draw attention to the part played by South African women in Apartheid and post-Apartheid society.

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42

Fasselt, Rebecca. "Making and Unmaking ‘African Foreignness’: African Settings, African Migrants and the Migrant Detective in Contemporary South African Crime Fiction." Journal of Southern African Studies 42, no. 6 (2016): 1109–24. http://dx.doi.org/10.1080/03057070.2016.1253925.

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43

Masumbe, Charity Besingi. "Courting The Id in Dystopian Fiction: A Freudian Study of J.M. Coetzee’s Disgrace." Global Academic Journal of Humanities and Social Sciences 6, no. 03 (2024): 98–103. http://dx.doi.org/10.36348/gajhss.2024.v06i03.001.

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This article explored the moral decadence in post-Apartheid South Africa and examined the injuries that such immorality had on the psyche of the post-apartheid South African woman. It further analysed the necessary shifts in perception and interpretation that depressed South African woman had to grapple with in the face of the immoralities that ensued and identified the new vision of self, art and the world which women invent to liberate themselves from the shackles of morally decay societies. From this perspective, the work anchors on the hypothesis that most post-colonial African societies b

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44

Manase, Irikidzayi. "Mapping the city space in current Zimbabwean and South African fiction." Transformation: Critical Perspectives on Southern Africa 57, no. 1 (2005): 88–105. http://dx.doi.org/10.1353/trn.2005.0032.

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45

Wessels, Michael. "Representations of Revolutionary Violence in Recent Indian and South African Fiction." Journal of Southern African Studies 43, no. 5 (2017): 1031–47. http://dx.doi.org/10.1080/03057070.2017.1337361.

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46

du Preez, Jenny Boźena. "‘Rediscovering the Erotic as Ordinary’ in South African Women’s Short Fiction." Journal of Southern African Studies 46, no. 4 (2020): 689–702. http://dx.doi.org/10.1080/03057070.2020.1792123.

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47

Murray, Jessica. "The Layered Gaze: Reading Lesbian Desire in Selected South African Fiction." Current Writing 24, no. 1 (2012): 88–97. http://dx.doi.org/10.1080/1013929x.2012.645363.

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48

Eatough, Matthew. "Planning the Future: Scenario Planning, Infrastructural Time, and South African Fiction." MFS Modern Fiction Studies 61, no. 4 (2015): 690–714. http://dx.doi.org/10.1353/mfs.2015.0048.

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49

Baloyi, Magezi Elijah. "THE “VAT-EN-SIT” UNIONS AS A THREAT TO THE STABILITY OF AFRICAN MARRIAGE IN SOUTH AFRICA: AFRICAN THEOLOGICAL PASTORAL PERSPECTIVE." Phronimon 17, no. 2 (2017): 1–16. http://dx.doi.org/10.25159/2413-3086/1955.

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A serious issue, that needs to be addressed if we wish to achieve moral regeneration in South Africa, is the devaluation of the institution of marriage in the African community in South Africa. Attempts to inculcate the upcoming generation with norms and values are hampered because marriage is not regularised among black people and can, therefore, not solve African problems. This paper identifies the so-called “vat-en-sit” custom or cohabitation as a factor that threatens and violates marriage. Although other factors also undermine marriage, this paper focuses on vat-en-sit because it puts Afr

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50

Nnyagu, Uche, Jacinta Ngozi Ozoh, and Benedette Ngozi Onunkwo. "History as a Central Focus of South African Fiction: A Study of Peter Abrahams’ Mine Boy." International Journal of African Society, Cultures and Traditions 10, no. 2 (2022): 39–46. http://dx.doi.org/10.37745/ijasct.2014/vol10n23946.

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Among the popular South African novelists whose novels are read with every seriousness is Peter Abraham. His novels not only entertain but also profusely enlighten. Basically, literature writers are inspired by what happens around them so they mirror societal facts in their works and subtly craft them in a way that such works entertains the reader. However, if the sole aim of the writer in a particular work of art is to entertain, then such work should not be taken very seriously. Works of imagination are usually the author’s weapon to fight certain abnormalities in a given society. This is wh

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