Academic literature on the topic 'South African poetry'
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Journal articles on the topic "South African poetry"
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Lewis, Simon. "“This Land South Africa”: Rewriting Time and Space in Postapartheid Poetry and Property." Environment and Planning A: Economy and Space 33, no. 12 (December 2001): 2095–108. http://dx.doi.org/10.1068/a33186.
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The widespread concern in recent South African poetry with landscape and the question of what place the poet occupies in that landscape arises less as a response to the turn of the millennium than to the historical end of formal apartheid, but nonetheless marks an epochal shift in sensibility. Whereas much poetry of the 1980s evoked a sense of extreme dislocation in recent time and local space (marked by references to a precarious present of forced removal and migrancy, and unspecified, unsettled futures), some significant recent work has been marked by a desire to relocate the human presence in South Africa in terms of geological time and continental space. This generalization needs to be qualified by reference to racial and political positioning within South Africa, and in this paper I distinguish between the work of committed white writers such as ex-political-prisoner Jeremy Cronin (now Secretary of the South African Communist Party) and Barry Feinberg (now curator of the Mayibuye Centre), and the work of black writers such as Don Mattera, Seitlhamo Motsapi, Lesego Rampolokeng, and Daniel P Kunene. The regrounding of the human presence in South Africa by white writers such as Cronin and Feinberg attempts a radical remapping of South African cultural identity in utopianly unraced terms, while the reclamation of continental African and local South African place names by black writers such as Mattera, Motsapi, Rampolokeng, and Kunene draws attention to the material reality of a postapartheid heterotopia in which South Africa's postmodern landscape is being divided up and sold off in ways that combine a very old-fashioned rhetoric of class and space with a new/old racial coding.
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D’Abdon, R. "RESISTANCE POETRY IN POST-APARTHEID SOUTH AFRICA: AN ANALYSIS OF THE POETIC WORKS AND CULTURAL ACTIVISM OF VANONI BILA." Southern African Journal for Folklore Studies 24, no. 1 (September 30, 2016): 98–121. http://dx.doi.org/10.25159/1016-8427/1675.
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The article explores selected works of Vonani Bila, one of the most influential wordsmiths of post-apartheid South Africa. It outlines the difference between “protest poetry” and “resistance poetry”, and contextualises the contemporary expression(s) of the latter within today’s South Africa’s poetry scene. Focusing on Bila’s “politically engaged” poems and cultural activism, this article maintains that resistance poetry has re-invented itself in the post-94 cultural scenario, and still represents a valid tool in the hands of poets to creatively expose and criticize the enduring contradictions of South African society
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Levey, David. "South African poetry - the inward gaze." Scrutiny2 6, no. 1 (January 2001): 75–77. http://dx.doi.org/10.1080/18125440108565987.
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Conn, Stewart. "South African poetry: a personal view." Scrutiny2 3, no. 1 (January 1998): 58–63. http://dx.doi.org/10.1080/18125441.1998.10877335.
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HARESNAPE, GEOFFREY. "SOUTH AFRICAN ENGLISH POETRY AND JERUSALEM." English Studies in Africa 46, no. 2 (January 2003): 13–26. http://dx.doi.org/10.1080/00138390308691008.
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Joffe, Sharon L. "African American and South African Poetry of the Oppressed." Peace Review 13, no. 2 (June 2001): 201–8. http://dx.doi.org/10.1080/10402650120060382.
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Kotlerman, Ber. "SOUTH AFRICAN WRITINGS OF MORRIS HOFFMAN: BETWEEN YIDDISH AND HEBREW." Journal for Semitics 23, no. 2 (November 21, 2017): 569–82. http://dx.doi.org/10.25159/1013-8471/3506.
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Morris Hoffman (1885-1940), who was born in a Latvian township and emigrated to South Africa in 1906, was a brilliant example of the Eastern European Jewish maskil writing with equal fluency in both Yiddish and Hebrew. He published poetry and prose in South African Yiddish and Hebrew periodicals. His long Yiddish poem under the title Afrikaner epopeyen (African epics) was considered to be the best Yiddish poetry written in South Africa. In 1939, a selection of his Yiddish stories under the title Unter afrikaner zun (Under the African sun) was prepared for publishing in De Aar, Cape Province (which is now in the Northern Cape Province), and published after his death in 1951 in Johannesburg. The Hebrew version of the stories was published in Israel in 1949 under the title Taḥat shmey afrikah (Under the skies of Africa). The article deals with certain differences between the versions using the example of one of the bilingual stories. The comparison between the versions illuminates Hoffman’s reflections on the relations between Jews and Afrikaners with a rather new perspective which underlines their religious background
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Mabunda, Magezi, and Cindy Ramhurry. "An analysis of the effects of history in the Truth and Reconciliation Commission poetry." South African Journal of Education 43, no. 4 (November 30, 2023): 1–8. http://dx.doi.org/10.15700/saje.v43n4a2236.
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Scholars raise 2 salient questions regarding poetry in post-apartheid South Africa. One is whether new poetry emerged in the post-apartheid South Africa, and the other is whether poetry produced during and after the Truth and Reconciliation Commission is capable of capturing the imagination of the reading public without resorting to the bigotry of Black versus White. Literature highlights the need for South African poets to move away from using historical facts as the basis for making literary representation. We acknowledge that the use of historical facts as the basis for literary representation of societies may be seen as insensitive to the victims of the injustices of the past practices in highly politically polarised communities. At the same time, we argue that historical narratives with positive ideological intent can heal wounds and unite a nation. To justify this position, we adopted a 2-fold perspective: firstly, we investigated the effects of using history as the basis for literary representation and, secondly, we examined the extent to which post-apartheid South African poets may use history as a necessary tool to enforce unity and a sense of forgiveness.
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Van der Elst, J. "Regional and current problems in South Africa and their impact on literature with remarks on the evaluation of the Afrikaans Novel." Literator 6, no. 1 (May 9, 1985): 1–9. http://dx.doi.org/10.4102/lit.v6i1.893.
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My paper centres round a specific situation and its impact on literature in South Africa with special reference to the modern novel in the Afrikaans language and the literary evaluation of the novel. This does not mean that I exclude references to the other genres, poetry and dram a and to literatures in other languages within the South African context. Many of you might know but to clarify I would like to point out that I refer to Afrikaans as the Germanic language originating from the 17th century Dutch mother tongue of approximately 3 ½ million South Africans.
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Lockett, Cecily. "South African Women's Poetry: A Gynocritical Perspective." Tulsa Studies in Women's Literature 11, no. 1 (1992): 51. http://dx.doi.org/10.2307/463781.
Full textDissertations / Theses on the topic "South African poetry"
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Devereux, Stephen. "Post–exilic an old South African returns to the new South Africa." University of Western Cape, 2020. http://hdl.handle.net/11394/7934.
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Magister Artium - MAThis portfolio of poems, prose poems and short fiction pieces is quasi-autobiographical and tracks the trajectory of my life, from childhood in Cape Town (‘pre-exilic’) to emigration abroad (‘exilic’) and return to Cape Town in late middle age (‘post-exilic’). Themes explored include the deceptive nature of memory and the risk of imbuing a childhood recollected in later life with affective or narrative nostalgia; the psychologically dislocating nature of exile on personal identity and notions of home; and Cape Town as both an imaginary construct and a multi-layered reality: specifically, ‘my’ Cape Town – now as well as half a century ago – and ‘other’ Cape Towns, reflecting a diversity of highly unequal experiences within this city. The dominant mode of expression chosen to explore these largely personal themes is confessional.
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MacDonald, T. Spreelin. "Steve Biko and Black Consciousness in Post-Apartheid South African Poetry." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1273169552.
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Bokoda, Alfred Telelé. "The poetry of David Livingstone Phakamile Yali-Manisi." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/17400.
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Bibliography: pages 217-232.Yali-Manisi, a Xhosa writer, performs and writes traditional praise poetry (izibongo) and modern poems (isihobe) and can, therefore, be regarded as a bard because he also performs his poetry. One can safely place him in the interphase as he combines performance and writing. The influence of oral poems and other oral genres can be perceived in his works as some of his works are a product of performances which were recorded, transcribed and translated into English. The dissertation, among other things, examines the way in which Yali-Manisi's work has been influenced by such manipulations. In this study we examine lzibongo Zeenkosi ZamaXhosa, lmfazwe kaMianjeni, Yaphum'igqina and other individually recorded poems. His poetry is characterised by an interaction between tradition and innovation. The impact of traditional poetic canon on the poet, the way of exploiting traditional devices are the most outstanding characteristics concerning his poetry. His optimistic disposition towards the future of the South African political situation leaves one with the impression that he envisages an end to the Black-White political dichotomy. Yali-Manisi manipulates literary forms to articulate specific socio-political and cultural attitudes which are dominant among the majority of South Africans. His writings coincide with some of the major political changes in South Africa. In his recent works, he is explicit and protests against Apartheid structures especially in Transkei and Ciskei. In his earlier works he could not articulate the feelings of his people as an imbongi because of the fear of censorship and themes of protests had to be handled with extreme caution if one's manuscripts were to be published at all. He often alludes to national oppression of the majority by the minority and instigates the former to be politically conscious. In some instances (e.g. in his historical poems) he seeks to correct inaccuracies which are presented in history books. Thus showing the listener/reader another side of the coin. He displays very keen interest and deep knowledge of natural phenomena such as seasons of the year and the behaviour of animals during each period. Poems about historical figures are characterised by certain allusions which refer to realities and events in the life of the 'praised one' or his forefathers. This helps to shed light on the present situation. Although fictitious adaptations of genuine events have been done, an element of reality is still prevalent.
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Karassellos, Michael Anthony. "Critical approaches to Soweto poetry : dilemmas in an emergent literature." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/18830.
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A review of contemporary South African and European critical approaches 'to "Soweto poetry" is undertaken to evaluate their efficacy in addressing the diverse and complex dynamics evident in the poetry. A wide selection of poetry from the 1970's and early 1980's is used to argue that none of the critical models provide an adequate methodology free from both pseudo-cultural or ideological assumptions, and "reader-grid"(imposition of external categories upon the poems).From this point of entry, three groups of critics with similar approaches are assessed in relation to Soweto poetry. The second chapter illustrates the deficiency in critical method- ology of the first group of critics, who rely on a politicizing approach. Their critique presupposes a coherent shift in the nature of Black Consciousness poetry in the 1970's, which is shown to be vague and problematic, especially when they attempt to categorize Soweto poetry into "consistently thematic" divisions. In the third chapter, it is argued that ideological approaches to Soweto poetry are impressionistic assessments that depend heavily on the subordination of aesthetic determinants to materialistic concerns. The critics in this second group draw a dubious distinction between bourgeois and "worker poetry" and ignore the inter- play between the two styles. Pluralized mergings within other epistemological spectrums are also ignored, showing an obsessive materialist bias. The fourth chapter examines the linguistic approach of the third group of critics. It is argued that they evaluate the poetry in terms of a defined critical terminology which assumes an established set of evaluative criteria exist. This is seen to be empiricist and deficient in wider social concerns. In the final chapter, it is submitted that each of the critical approaches examined foregrounds its own methodology, often ignoring the cohabitation of different systems of thought. In conclusion it is argued that a critical approach can only aspire to the formulation of a "black aesthetic" if it traces the mosaic of cultural borrowings, detours and connections that permeate Soweto poetry. Michel Serres, with his post-deconstructionist "approach", is presented as the closest aspirant. Bibliography: pages 117-123.
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Nolutshungu, Simphiwe. "Sunrays in a chilly winter." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017777.
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In both my English and IsiXhosa poetry, my themes are love, politics, and the social issues of rural communities, and include my own life experiences, both good and bad. My poems are mainly short narrative accounts of township life. Although they do have a broad educational purpose, they do not preach to the reader. In IsiXhosa, my poetic forms are influenced by the works of J J R Jolobe, W N Mbovane, P T Mtuze, and my English poems by Pablo Neruda, Mafika Pascal Gwala, Garcia Lorca and others.Intliziyo yona izimele gxebe ifihlakele Iyimfihlo, kumagumbi omphefumlo. Iyafunxa, ifukame kulo magumbi amxinwa. Iingcango, mba! Zivaliwe! Maxa wambi zide zixel’ isisila senkukhu, sona sibonwa mhla ligquthayo. Vul’ amehlo ubaz’ iindlebe uchul’ ukunyathela. Yiza ndikubambe ngesandla, sivul’ iingcango! Masivul’ iingcango zentliziyo yam, sikrobe ngaphakathi! Masithi ntla‐ntla kumagumb’ amathathu kuphela! Masithi ntla‐ntla, kwelepolitiki yakwaXhosa, Kaloku nam ndingumXhosa! Masithi ntla‐ntla kwelifukame, i.z.i.x.i.n.g.a.x.i n.o.b.u.n.c.w.a.n.e. b.o.t.h.a.n.d.o, kaloku nam ndinemithamb’ ebalek’ igaz’ eliqhumayo! Ucango lokugqibela lukungenisa kwigumbi elinezidl’ umzi, Kaloku nam ndizalwa kulo mzi wakwaXhoooooosa!
This thesis is presented in two parts: English and isiXhosa.
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Tait, Charles Norman. "Die verjaardagvers-ritueel in Breyten Breytenbach se oeuvre." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/5076.
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This study investigates the subgenre of the birthday poem within Breyten Breytenbach’s poetical oeuvre. Throughout the now half a century of his poetic production the writer has repeatedly written poems for himself on his birthday on 16 September of each new year (as well as a smaller number to his wife and close friends) The writing of birthday poems becomes a ritualist poetical act throughout the poet’s life and poetical oeuvre, one that has served many purposes over the years of Breytenbach’s increasingly nomadic existence. This study’s scope spans fifty years of poetical output, starting with the poet’s debut anthology, Die ysterkoei moet sweet (1964), including all the anthologies up to the publication of vyf-en-veertig skemeraandsange uit die eenbeendanser se werkruimte (2014). A small literary history is offered at the outset of the tradition of the birthday poem, based in classical Roman times (Argetsinger,K 1992) and following through to modern times. After describing the reasons for the sometimes challenging task of identifying birthday poems (unmarked by dates, having to rely on inference deduced from the content, and the like), the poems are analyzed with a particular focus on their nature and function within the larger context of the poet’s oeuvre. The research is organized according to the separate phases traceable in Breyten Breytenbach’s oeuvre (Van Vuuren 2011: 46–56), describing the steadily shifting themes and motifs of the subgenre throughout each of the four phases (pre-prison, prison, post-prison and late work phases). It was found that the birthday poems cohere as a subgenre within the oeuvre. Breytenbach’s birthday poems have a distinctive character and certain identifiable qualities (ritualistic characteristics such as reflection on the self within the present, reflection on time past, evaluating the situation and self on the particular birthday. Placed against the specific context in which the poet finds himself, with a poetical and autobiographical way forward implied in the given milieu and context, psychological insights are utilized where applicable, especially in the prison birthday poems and the late work birthday poems. A remarkable new insight gained through this study is the nature of he “reminiscence bump” (Janssen, Haque 2014) which older people experience, and is identified also in Breytenbach’s late work birthday poems. This adds to and refines the understanding of the nature of late work in Breytenbach’s poetical oeuvre. A final insight gained from the research is that description and comprehension of this smaller corpus of birthday poems (roughly thirty identified at present) may also be used as an entry into understanding of the nature of the poet’s large oeuvre (comprising twenty collections of poetry, containing around 1,600 poems between 1964 and 2014), as they represent each stage of development in Breyten Breytenbach’s oeuvre.
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Kaschula, Russell H. "The transitional role of the Xhosa oral poet in contemporary South African society." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002085.
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This thesis outlines the changing role of the Xhosa imbongi in contemporary South African society. The changing socio-economic and political scenario in South Africa, and the way in which the imbongi is adapting in order to accommodate new pressures created by these changes, form an integral part of this thesis. The effects of education and increasing literacy on the tradition are outlined. The interaction between oral and written forms is explored in chapter 2. The role of the imbongi within the religious sphere is included in chapter 3. Xhosa preachers within the independent churches often make use of the styles and techniques associated with oral poetry. Iimbongi who are not necessarily preachers also operate within this context. The relationship between the Congress of South African Trade Unions, the African National Congress and iimbongi has also been researched and forms part of chapters 4, 5, and the epilogue. The modern imbongi is drawn towards powerful organisations offering alternative leadership to many of the traditional chiefs. In the epilogue collected poetry is analysed in the context of Mandela's visit to Transkei in April 1990. Interviews have been conducted with chiefs, iimbongi attached to chiefs as well as those attached to different organisations. Poetry has been collected and analysed. In chapter 5, three case studies of modern iimbongi are included. The problems facing these iimbongi in their different contexts, as well as the power bases from which they draw, are outlined. Finally, an alternative definition of the imbongi is offered in the conclusion
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Birch, Alannah. "A study of Roy Campbell as a South African modernist poet." Thesis, University of the Western Cape, 2013. http://hdl.handle.net/11394/4823.
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>Doctor Literarum - DLitRoy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.
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Watson, Stephen. ""Bitten-off things protruding" : the limitations of South African English poetry post-1948." Doctoral thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/22545.
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Bibliography: p. 362-393.In this thesis, the discussion of South African English poetry is undertaken in terms of critical questions to which the body of work, to date, has not been subjected. In the nineteen-seventies and -eighties, several anthologies of South African English poetry were published which, despite their differing foci, attested to the strength, innovation, and international stature of the work. Their editors made claims which emphasised both the importance of Sowetan poetry and the emancipation of white poetry, particularly in the last three decades, from the legacy of a stultifying colonial past. This thesis sets out to examine the validity of these critical evaluations. The impetus for such an examination is threefold. Firstly, in comparison with a world literature, South African English poetry has had little impact on the kinds of aesthetic questions which have led to the radical work of international figures like Milosz, Walcott, Neruda. Secondly, South African English poetry tends to be bifurcated by critical analysis, both locally and internationally, into the work of black poets and the work of white poets. Despite the realities of social history which have indeed dichotomised the human experience of South Africa in racial terms, this dichotomy does not seem the most fertile assumption from which to approach the achievement of a nation's poetry. Thirdly, as a poet himself, the writer of this thesis embarked upon the scholarly analysis of a poetic ancestry to which his own work looked ,in vain for location. The re-examination of the roots and value of South African English poetry begins in the thesis with the dilemmas posed by a legacy of romanticism in its displaced relation to a British colony. From this point the discussion argues that this legacy is visible in the unsatisfactory work of liberal poets in the nineteen-seventies and eighties, and argues that such choices cannot be nourishing to a South African cultural originality. Turning to the work most forcefully emphasised as culturally original - i.e. the work of the Soweto poets in the nineteen-seventies and after - the thesis explores this poetry's claims to stylistic and conceptual innovation. The poetry of the late eighties is then examined in relation to its desire to support, and even to drive, anti-apartheid philosophy and practice. The conclusions of the final chapter, presaged throughout the entire argument, suggest that earlier critical estimations of South African English poetry ignore crucial aspects of what has usually been meant by a fully achieved poetic tradition and that such neglect amounts to the betrayal of the very meaning of the term "poem".
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Pinnock, William. ""To learn how to speak": a study of Jeremy Cronin's poetry." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1021038.
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In the chapters that follow, the porous boundary between the public and the private in Jeremy Cronin’s poetry is investigated in his three collections, Inside (1983), Even the Dead: Poems, Parables and a Jeremiad (1996) and More Than a Casual Contact (2006). I argue two particular Marxist theorists are central to reading Cronin’s poetry: Bertolt Brecht, and his notion of the Verfremdungseffekt, and Walter Benjamin and his work on historical materialism, primarily the essay On the Concept of History / Theses on the Philosophy of History (1940). Both theorists focus on the work of art in a historically contextualized manner, which extends the challenge to the boundary between the public and the private. Their work is underpinned by the desire to draw out hidden narratives occluded under the grand narratives of history and capitalist ideas of progress. I argue that these are the major preoccupations in Cronin’s oeuvre as well. As such Cronin’s poetry may be seen to write against a perspective that proposes a linear conceptualisation of history. The poetry therefore challenges the notion that art speaks of ‘universal truths.’ Such ideas of History and Truth, if viewed uncritically, allow for a tendency to conceive of the past as unchanging, which subconsciously promotes the idea that social and political realities are merely logical evolutionary steps. I argue that Cronin’s poetry is thus purposefully interruptive in the way that it confronts the damaging consequences of the linear conceptualisation of history and the universal truth it promotes. His work attempts to find new ways of connection and expression through learning from South Africa’s violent past. The significance of understanding each other and the historical environment as opposed to imposing perspectives that underwrite the symbolic order requires the transformation rather than the simple transferral of power, and is a central focus throughout Cronin’s oeuvre. This position suggests that while the struggle for political freedom may be over, the necessity to rethink how South Africans relate to each other is only beginning. Chapter One will focus on positioning Cronin, the poet and public figure, in South African literature and literary criticism. In this regard, two general trends have operated as critical paradigms in the study of South African poetry, namely Formalism (or ‘prac crit’) and a Marxist inflected materialism, which have in many ways perpetuated the division between the private and the public. This has resulted in poetry being read with an exclusive focus on either one of these two aspects, overlooking the possibilities of dialogue that may take place between them. Cronin’s perspective on these polarised responses will be discussed, which will illustrate the similarity of his position to Ndebele’s notion of the ‘ordinary’ which suggests a way beyond these binaries. This will lead to a discussion of how South African poets responded to the transition phase, suggesting that the elements of the polarisation still remained. Considering the major influences and paradigms when reading Cronin’s oeuvre provides a foundation for the following three chapters. These include Cronin’s use of Romanticism, Bertolt Brecht and the V-Effekt and Walter Benjamin’s perspectives on historical materialism. In addition to these three theoretical paradigms, the relevance of Pablo Neruda’s poetry to Cronin’s work is also foregrounded. In Chapter Two, the focus will be on Cronin’s first collection of poetry, Inside, concentrating on Cronin’s use of language as a way of constructing poetry in the sparseness of the prison experience. This will show an abiding preoccupation of learning to speak in a language that considers the material context out of which it emerges. In this regard, the poems “Poem-Shrike” “Prologue” and “Cave-site” are analysed. In addition, one of the central poems in Cronin’s oeuvre, “To learn how to speak […],” will be examined in order to illustrate how the poet extends this project on a meta-poetic level, asking for South African poets to ‘learn how to speak’ in the voices of South African experience and histories. I will show how this is linked to Cronin’s “Walking on Air” which illustrates how the V-Effeckt recovers the small private histories through re-telling the life story of James Matthews, a fellow prisoner incarcerated for his anti-apartheid activism, revealing how this story is intimately connected to the public sphere. In Chapter Three, Cronin’s second collection: Even the Dead: Poems, Parables and a Jeremiad will be examined. In the poem “Three Reasons for a Mixed, Umrabulo, Round-the-Corner Poetry” Cronin resists inherited Western poetic conventions by incorporating and subverting versions of the Romantic aesthetic, arguing for poetry to be immersed in South African multi-lingual and multi-cultural experiences. “Even the Dead” reveals how Cronin uses Walter Benjamin’s perspectives on historical materialism to confront amnesia. In terms of the themes established in “To learn how to speak […]”, the poem “Moorage” demonstrates how the public and private can never be separated in Cronin’s work. The final section of this chapter will examine how Cronin responds to Pablo Neruda’s poems “I am explaining a few things” and “The Education of a Chieftain,” and how these poems challenge narratives that privilege the ‘great leader’ instead of the so-called smaller individuals’ stories. Chapter Four examines selections from Cronin’s third collection, focusing on Cronin’s use of the automobile, charting an ambiguous trajectory through the ‘new’ South Africa. The examination of the poems “Where to begin?”, “Switchback” and “End of the century - which is why wipers,” all attempt to include individuals left on the margins of the narrative of global freeways and neo-liberal capitalist progress. The poems present an interrogation of how ‘vision’ is constructed. This will show that the poetry responds to the experiences of the marginalised under these grand narratives in a primarily fragmentary and interruptive manner. This in effect constitutes the culmination of Cronin’s poetic journey and the search for new ways of envisaging South Africa’s future and finding a new language with which to speak it.
Books on the topic "South African poetry"
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1973-, Schwartzman Adam, ed. Ten South African poets. Manchester [England]: Carcanet, 1999.
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1974-, Kota Nosipho, Finaly Alan, and Ngwenya Siphiwe Ka, eds. Insight: Six South African poets. Polokwane [South Africa]: Timbila Poetry Project, 2003.
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Cornwell, Gareth. South African English poets. Cape Town: Cape Provincial Library Service on behalf of the National English Literary Museum, Grahamstown, 1985.
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Michael, Chapman, ed. The new century of South African poetry. Johannesburg: Ad Donkers, 2002.
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Chapman, Michael. The paperback of South African English Poetry. Craighall sa: Paperbooks, 1986.
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Natalie, Railoun, Ntsoma Neo, Mako Thuto, and Horwitz Allan Kolski, eds. Sections of six: Contemporary South African poetry. Braamfontein, South Africa: Botsotso Pub., 2008.
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Natalie, Railoun, Ntsoma Neo, Mako Thuto, and Horwitz Allan Kolski, eds. Sections of six: Contemporary South African poetry. Braamfontein, South Africa: Botsotso Pub., 2008.
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1948-, Chapman Michael, ed. The Paperbook of South African English poetry. Craighall: Ad. Donker, 1986.
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Peters, Charles L. Down South poets. San Antonio, TX: C&K Collaborations Pub., 2000.
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M, Finn Stephen, and Gray Rosemary, eds. Broken strings: The politics of poetry in South Africa. Pinelands, Cape Town: Maskew Miller Longman, 1992.
Find full textBook chapters on the topic "South African poetry"
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Ellis, R. J. "African-American Fiction and Poetry." In A Companion to the Literature and Culture of the American South, 255–79. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756935.ch15.
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Atkin, Lara. "“The South African ‘Children of the Mist’”: The Bushman, the Highlander, and the Making of Colonial Identity in Thomas Pringle’s South African Poetry." In Writing the South African San, 89–114. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86226-8_4.
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Nopece, Unathi. "Linguistic (and Non-linguistic) Influences on Urban Performance Poetry in South African Contemporary Youth Culture." In African Youth Languages, 205–26. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-64562-9_10.
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Williams, Athol. "Prose and poetry." In The Contested Idea of South Africa, 153–68. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429340857-9.
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Chapman, Michael. "The Science of Poetry and the Poetry of Science." In On Literary Attachment in South Africa, 149–71. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003176237-10.
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Watts, Jane. "The Poetry of Mongane Serote." In Black Writers from South Africa, 153–209. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20244-7_5.
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Fanucchi, Sonia, and Anita Virga. "“Noi leggiavamo un giorno per diletto”: Reading Dante in South Africa." In Studi e saggi, 13–24. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.03.
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Since its conception in 2018, our Dante society has evolved to embrace a unique, South African engagement with the poet and his Commedia. This chapter provides an insight into the society’s origin and the conversations that first inspired our South African Convivio with Dante. Through a detailed description of the thinking behind the contributions of students and colleagues, we highlight the process of reading Dante as a powerful personal experience for us and our students. We argue that Dante provides us with a language through which to make sense of our vulnerable position in post-Apartheid South Africa. This is evident in the ways that student responses to Dante echo the Commedia’s Dante-Virgil dynamic - complex, and sometimes rebellious, yet always intimate and affectionate.
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Hena, Omaar. "Recomposing South Africa: Cosmopolitanism and Vulnerability in Ingrid de Kok." In Global Anglophone Poetry, 87–120. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137499615_4.
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Newfield, Denise. "Chapter 12. Literature and culture studies in classrooms." In Children’s Literature, Culture, and Cognition, 185–200. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.16.12new.
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This chapter is about pedagogy and research. It does two things: firstly, it tells an inspiring story of poetry and culture in a secondary school classroom in South Africa, depicting how the English Second Language classroom was sparked into life by the teacher’s challenge to official pedagogy. Secondly, the chapter analyses the story from postphilosophical and postqualitive perspectives. These enable central features of the pedagogy to be noticed and articulated in ways that are helpful for students, teachers, and researchers. The structure of the chapter follows, to some extent, the experimental approach encouraged by postqualitative inquiry, including a poem as the theory section.
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Scott, Jill. "Poetic and Performative Forgiveness in the South African Truth and Reconciliation Commission." In A Poetics of Forgiveness, 141–65. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106246_7.
Full textConference papers on the topic "South African poetry"
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Mangwegape, Bridget. "TEACHING SETSWANA PROVERBS AT THE INSTITUTION OF HIGHER LEARNING IN SOUTH AFRICA." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end118.
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The paper sought to investigate how first year University student’s-teachers understand and instil appreciation of the beauty of Setswana language. Since the proverbs are carriers of cultural values, practices, rituals, and traditional poetry, they are rich in meaning, they can be used to teach moral values for the sake of teaching character building among the students and teaching Setswana at the same time. Proverbs contain values of wisdom, discipline, fairness, preparedness, destiny, happiness, and efforts. Proverbs are short sayings that contain some wisdom or observation about life and or role-play and to use a few of the proverbs to reinforce the meaning, using proverbs as a pedagogical strategy, the researcher has observed that student teachers find it difficult to learn and teach learners at school. Students-teacher’s think and feel about how they conceptualize proverbs, how they define their knowledge and use of Setswana proverbs. The lecturer observed how the nature of proverbs are linked to the culture embedded in the language. In Setswana language there is a proverb that says, “Ngwana sejo o a tlhakanelwa” (A child is a food around which we all gather) which implies that the upbringing of a child is a communal responsibility and not an individual responsibility. Put in simple terms, a child is a child to all parents or adults, since a child’s success is not a family’s success but the success of the community. In doing so, the paper will explore on how student-teachers could make use of proverbs to keep the class interested in learning Setswana proverbs. As a means of gathering qualitative data, a questionnaire was designed and administered to student-teachers and semi-structured interviews were conducted with student teachers. The findings revealed that despite those students-teachers’ positive attitudes towards proverb instruction, they did not view their knowledge of Setswana proverbs as well as the teaching of proverbs. The paper displays that proverbs constitute an important repository of valid materials that can provide student-teachers with new instructional ideas and strategies in teaching Setswana proverbs and to teach different content, which includes Ubuntu and vocabulary and good behaviour. Proverbs must be taught and used by teachers and learners in their daily communication in class and outside the classroom in order to improve their language proficiency.
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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.
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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.