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Journal articles on the topic 'South African poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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 Taá¸¥at 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 Hoffmanâ€™s reflections on the relations between Jews and Afrikaners with a rather new perspective which underlines their religious background

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8

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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9

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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10

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.

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11

van WYK, JORAN. "Afrikaans Poetry and the South African Intertext." Matatu 15-16, no. 1 (April 26, 1996): 111–16. http://dx.doi.org/10.1163/18757421-90000172.

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12

Woeber, C. "‘Text’ and ‘voice’ in recent South African poetry." Literator 17, no. 2 (April 30, 1996): 131–43. http://dx.doi.org/10.4102/lit.v17i2.610.

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This article explores in some depth two volumes of poetry which are indicative of a tension between the poem as ‘text’ and the poem as ‘voice’, or the self-conscious (metaphoric) ‘reading' or ‘rewriting ’ of the world versus the outward (prophetic) ‘speaking' to the world. While neither book is hermetically sealed and, like all rich poetry, delights in transgressing categories, each is distinctive enough to lend itself to exploration in terms of ‘text’ and ‘voice’. The article argues that John Mateer, the self-avowed iconoclast yet to find an individual voice, is postmodern in his reading and rewriting of the fragmented world, while Joan Metelerkamp is closer to the modernists in her speaking to the hallowed world as poet-prophet, eschewing textual pyrotechnics while situating herself within poetic tradition.

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13

Meihuizen, Nicholas. "‘Shaping lines’: New South African poetry, 1994–1995." English Academy Review 12, no. 1 (December 1995): 84–98. http://dx.doi.org/10.1080/10131759585310101.

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14

Akingbe, Niyi. "Exploring ecofeminism, ecocriticism, aquapoetics, and environmental humanities in Gabeba Baderoon’s poetry." Tydskrif vir Letterkunde 61, no. 1 (June 28, 2024): 90–101. http://dx.doi.org/10.17159/tl.v61i1.16343.

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In this article I focus on Gabeba Baderoon’s engagement with nature and the ecological nuances in her poetry. Baderoon is an accomplished South African poet with four poetry collections to date: The Dream in the Next Body (2005), The Museum of Ordinary Life (2005), A hundred silences (2006), and The History of Intimacy (2018). These poetry collections sustain Baderoon’s ecofeminist sensibility as she engages with South Africa’s eco-environmental challenges. In expanding the scope of how ecology impacts on poetry, I strive to illustrate how Baderoon’s poetry is intimately bound up with the tropes of environmental humanities, ecofeminism, ecocriticism, and aquapoetics. I interrogate Baderoon’s engagement with ecological concerns in South Africa. Previous critical works about her poetry often discount how her poetry creatively harnesses ecopoetic tropes to illustrate the problematics of ecological concerns, climate change, and environmental crises. Rather, they often fixate on the portrayal of racial politics of apartheid as it culminated in the poverty of black people in her poetry. Interestingly, Baderoon does not enforce a strict and total division between these thematic concerns in her poetry collections. I argue in this article that, within the framework of commitment to ecological values, Baderoon explores the relationship between human and non-human agencies in her poetry. Arguably, the conception of human relations with the environment enables Baderoon to advocate for the protection of plants, animals, and water resources for a sustainable ecosystem.

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15

Barnard, Rita. "Speaking Places: Prison, Poetry, and the South African Nation." Research in African Literatures 32, no. 3 (September 2001): 155–76. http://dx.doi.org/10.2979/ral.2001.32.3.155.

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16

Lewis, Simon. "Conning the contours of South African poetry, 1970–2010." Journal of the African Literature Association 15, no. 1 (January 2, 2021): 13–29. http://dx.doi.org/10.1080/21674736.2020.1870374.

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17

Klopper, Dirk. "Ideology and the study of South African English poetry." Journal of Literary Studies 3, no. 4 (December 1987): 67–93. http://dx.doi.org/10.1080/02564718708529842.

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18

Foley, Andrew. "Anthologising South African poetry: historical trends and future directions." Scrutiny2 21, no. 2 (May 3, 2016): 71–84. http://dx.doi.org/10.1080/18125441.2016.1240150.

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19

RAMAKUELA, NDAVHE. "STEPPING WITH SEITLHAMO MOTSAPI: DIRECTION FOR SOUTH AFRICAN POETRY." English Studies in Africa 40, no. 2 (January 1997): 33–41. http://dx.doi.org/10.1080/00138399708691257.

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20

RETIEF, GLEN. "IMAGISM AND BLACK SOUTH AFRICAN POETRY: MONGANE WALLY SEROTE'SYAKHAL'INKOMO." English Studies in Africa 42, no. 2 (January 1999): 31–48. http://dx.doi.org/10.1080/00138399908691282.

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21

Skinner, Douglas Reid, and Andries Walter Oliphant. "Essential Things: An Anthology of New South African Poetry." World Literature Today 68, no. 1 (1994): 197. http://dx.doi.org/10.2307/40150060.

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22

Chapman, Michael. "South African Poetry: A perspective from the other Europe." English Academy Review 18, no. 1 (December 2001): 54–72. http://dx.doi.org/10.1080/10131750185310071.

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23

Pongweni, Alex. "Voicing the text: South African oral poetry and performance." Critical Arts 14, no. 2 (January 2000): 175–222. http://dx.doi.org/10.1080/02560040085310141.

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24

Barnard, Rita. "Speaking Places: Prison, Poetry, and the South African Nation." Research in African Literatures 32, no. 3 (2001): 155–76. http://dx.doi.org/10.1353/ral.2001.0063.

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25

Kleinhempel, Ullrich Relebogilwe. "The Reception of Bantu Divination in Modern South Africa: African Traditional Worldview in Interaction with European Thought." Religions 15, no. 4 (April 17, 2024): 493. http://dx.doi.org/10.3390/rel15040493.

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Bantu African divination is firmly established in South Africa in the context of modernity and is protected, endorsed and regulated by law. It is received in the therapeutic field. Important explorations were performed in the early 20th century by psychiatrists and psychoanalysts of Jungian orientation. Their cultural, philosophical, spiritual, and academic backgrounds are relevant to this reception. Jungian thought, Spiritual Spiritism, and traditions of European philosophy of divination resonated with the experience, observation, and understanding of Bantu divination. (‘Bantu’ designates the cultural and linguistic realm from Cameroon and Kenya southwards). Religious-philosophical traditions, as well as the conceptualisations of ‘divination’ by Plutarch and Iamblichus, are preserved. The reception and appreciation of Bantu divination in South Africa emerged from it, and resonated with these European traditions of religious-philosophical thought. Out of this development a distinct ‘South African modernity’ emerges. A parallel reception process developed in Brazil, in the belief systems of Umbanda and Kardecism. These developments are illustrated at present in the literatures of South Africa and Brazil, specifically in Afrikaans literature, black South African poetry and its poetics, and Magic Realism in Brazilian literature. Lastly, a perspective is offered of modernity’s reception by black scholars and diviners, continually interacting with Jungian psychoanalysis.

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26

Nel, Hennely. "Interseksionele feminisme in Afrikaanse poësie: Lynthia Julius se Uit die kroes." Tydskrif vir Letterkunde 61, no. 1 (June 26, 2024): 46–65. http://dx.doi.org/10.17159/tl.v61i1.16067.

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In the current transnational discourse on fourth-wave feminism, “intersectional feminism” is a fundamental concept. The representation of marginalised voices of especially Black women from underrepresented contexts, such as the Global South, is emphasised in an attempt to decolonise the formal domains of literature, academia and the media. Historically, there is a gap in the representation of diverse Black female voices in South African literatures. However, there has recently been an increase in the publication of the literary texts by previously marginalised voices, especially in Afrikaans poetry. Diverse perspectives are shared regarding the complexities of the intersection of identity categories including race, gender, culture, identity, class, language and socioeconomic status in South African society, and how it affects the previously marginalised. A voice that represents intersectional feminist issues in the South African and Afrikaans contexts can be found in Lynthia Julius’s debut poetry book, Uit die kroes (From the kroes, 2020). In this article, the significance of Julius’s unique, intersectional feminist viewpoint, with stories and perspectives from the Northern Cape, is investigated. The focus is specifically on how Julius represents a ‘triple marginalised’ voice in the South African and Afrikaans contexts with regard to her gender, race and language. Furthermore, I will discuss how the uniqueness of her collection of poems and Northern Cape Afrikaans, that have rarely been provided with a platform in the Afrikaans literary canon, contribute to giving a voice to the historic ‘voiceless’. The importance of Julius’s voice and how it highlights the heterogeneity of previously marginalised groups in South Africa, are also explored. In conclusion it is argued that the publication of poets with diverse intersectional feminist perspectives, such as Julius, can be deemed a positive step in the direction of the decolonising process of the Afrikaans literature and feminism.

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27

Van Vuuren, Helize. "“Labyrinth of loneliness”: Breyten Breytenbach’s prison poetry (1976–1985)." Tydskrif vir Letterkunde 46, no. 2 (November 9, 2017): 43–56. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i2.3414.

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Breytenbach’s prison poetry is first contextualized as part of a South African subgenre that flourished under apartheid, and then interrogated for its specificities: the singular prison conditions under which he wrote, the nature of the poetry, specific leitmotifs in each of the five volumes published between 1976 and 1985. A psychoanalytic approach is indicated to this strong middle phase in his extensive poetical oeuvre, comprising seventeen collections of poetry.

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28

Riach, Graham K. "“Concrete fragments”: An interview with Henrietta Rose-Innes." Journal of Commonwealth Literature 55, no. 1 (June 4, 2018): 111–20. http://dx.doi.org/10.1177/0021989418777021.

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South Africa has a long and rich tradition of short story writing, stretching from the early oral-style tale (MacKenzie, 1999), through the writing of the “fabulous fifties” (Driver, 2012; R. Gaylard, 2008), to the most recent post-apartheid texts. In this interview, Henrietta Rose-Innes describes her practice as a short story writer, noting how it differs from that of writing novels or poetry. For Rose-Innes, the short story offers a way to capture her view of the world; that is, in sudden, intense moments, rather than in wholly narrative terms. Combining a number of short stories into a collection, Rose-Innes suggests, can offer some perspective on the plurality of contemporary South African life. Over the course of the interview, she discusses her exploration of conventional gender categories, her unconscious use of Gothic tropes, and the possibilities for political writing in contemporary South Africa. Throughout, there is a concern for how her works negotiate questions of space and place, particularly in the context of South African writing.

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29

Lombard, Daniël B. "The Manifestation of Religious Pluralism in Christian Izibongo." Religion and Theology 6, no. 2 (1999): 168–93. http://dx.doi.org/10.1163/157430199x00128.

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AbstractThe article contributes to scholarly inquiry into religious pluralism in South Africa, in particular to how Christian doctrine interacts with the African worldview. Evidence for the intercultural and interreligious discourse is based on an analysis of a eulogy of Christ, created and performed in the traditional style of izibongo, or Zulu praise poetry. The conclusion is drawn that the eulogy is a manifestation of vigorous interreligious dynamics, showing that Christianity and izibongo are both remarkably protean in their potential for creative interaction. Christianity is embraced, but simultaneously transformed by the indigenous genre; praise poetry can assert its traditional style, but itself becomes transmuted by Christian doctrine.

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30

Michelle Decker. "Entangled Poetics: Apartheid South African Poetry between Politics and Form." Research in African Literatures 47, no. 4 (2016): 71. http://dx.doi.org/10.2979/reseafrilite.47.4.05.

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31

Haring, Lee, and Jeff Opland. "Xhosa Oral Poetry: Aspects of a Black South African Tradition." Western Folklore 45, no. 1 (January 1986): 73. http://dx.doi.org/10.2307/1499619.

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32

Deane, Kirsten. "The Coloured Voice: Finding Its Place in South African Poetry." Education Journal 10, no. 4 (2021): 154. http://dx.doi.org/10.11648/j.edu.20211004.16.

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33

Miletich, John S., and Jeff Opland. "Xhosa Oral Poetry: Aspects of a Black South African Tradition." Comparative Literature 38, no. 4 (1986): 395. http://dx.doi.org/10.2307/1770411.

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34

Abrahams, Roger D., and Jeff Opland. "Xhosa Oral Poetry: Aspects of a Black South African Tradition." Poetics Today 6, no. 3 (1985): 553. http://dx.doi.org/10.2307/1771916.

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35

Horwitz, Allan Kolski. "In the Heat of Shadows - South African Poetry 1996–2013." Scrutiny2 21, no. 2 (May 3, 2016): 113–16. http://dx.doi.org/10.1080/18125441.2016.1242894.

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36

Biebuyck, Daniel P., and Jeff Opland. "Xhosa Oral Poetry: Aspects of a Black South African Tradition." Journal of American Folklore 98, no. 390 (October 1985): 486. http://dx.doi.org/10.2307/540371.

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37

Adelokun, Adetunji. "The Politics of Protest in the Post-Apartheid Poetry of Seitlhamo Motsapi and Mxolisi Nyezwa." International Journal of English and Comparative Literary Studies 3, no. 2 (March 31, 2022): 16–27. http://dx.doi.org/10.47631/ijecls.v3i2.414.

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This paper critically examines the manifestation of protest agitations in post-apartheid South African poetry. The paper considered the insightful reflections of two South African poets on the influence of the apartheid administration and other forms of racial profiling and segregation. It is pertinent to note that the paper does not only record the outburst of these writers against apartheid; the crux of the paper is channeled towards the exposition of the perspectives of the selected poets about the traumatic experience of apartheid and the obnoxious nature of the post-apartheid experience. One collection of poetry from Seitlhamo Motsapi and Mxolisi Nyezwa was selected for critical and literary analysis. The paper considers the expression of disaffection by writers in their portrayal of the struggles for socio-political sanity and socioeconomic equanimity after the dehumanizing apartheid regime. The paper posits that writers should continually engage the thesis of post-apartheid and evoke the consciousness of the masses to the nefarious realities of their circumstances. The paper concludes that Africans need to realize their distinctions and peculiarities by looking inwards and reflecting on new ways to chart a new course for future generations.

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38

Van Rensburg, F. I. J. "Afrikaanse oorlogspoësie na Sestig II." Literator 15, no. 2 (May 2, 1994): 55–66. http://dx.doi.org/10.4102/lit.v15i2.663.

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In this, the second and final article on the study of Afrikaans poetry dealing with aspects of the South African war since the Sixties, an assessment is made of the moral stance adopted by poets vis-a-vis the conflict, while the main characteristics of the war poetry of this period are contrasted with those of the period preceding it.

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39

Ogunyemi, F. Taiwo, and Elizabeth Henning. "From traditional learning to modern education: Understanding the value of play in Africa’s childhood development." South African Journal of Education 40, Supplement 2 (December 31, 2020): S1—S11. http://dx.doi.org/10.15700/saje.v40ns2a1768.

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Rhymes, poetry, stories, wrestling, music and dancing were essential cultural elements through which childhood play was promoted in traditional Africa. “Modernisation” brought about by colonialism led to distortion and decline in the use of traditional play for childhood education in many parts of Africa. This work assessed the value of play in Africa’s childhood education, using documentary analysis and a survey of views from South African and Nigerian childhood educators. The documentary analysis involved a review of existing research to give an overview of traditional play in Africa, while survey data generated from 62 respondents in South Africa (SA) and Nigeria (Nig) were used to illustrate the findings of the review. Traditional African play, when properly deployed, could enhance children’s physical, mental, social and emotional development. This study identified 5 major obstacles to the integration of traditional and modern forms of children’s play. It therefore calls for concerted efforts by policymakers, educators and parents to address the challenges associated with the identified obstacles within a trado-modern paradigm.

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40

van der Vlies, Andrew. "Beyond Impasse: Affect and Language Community in Select Contemporary Afrikaans Lyric Poetry." ariel: A Review of International English Literature 54, no. 3-4 (July 2023): 189–215. http://dx.doi.org/10.1353/ari.2023.a905714.

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Abstract: Stasis and impasse register as conditions of interrupted development in many examples of postapartheid South African writing, works that engage the affective discontents of the transition from white minority rule to a future that has not quite materialised as promised. Much extant scholarship on this body of work attends to prose and to texts written in English. This essay takes two collections of poetry published in South Africa in Afrikaans in 2016—Ronelda Kamfer's Hammie and Bibi Slippers' Fotostaatmasjien —as case-study examples of how lyric poetry in this contested language might model a way out of postcolonial (and postapartheid) malaise. These poets' lyrics are performances in a language whose ongoing, creolizing nature is exploited and advanced by their refusal of conventions that historically linked Afrikaans to white nationalist politics. Kamfer's and Slippers' work evokes—and provokes—an excess of continuity whose multiple affective resonances are testimony to the possibilities that lie beyond stasis.

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41

Pithouse-Morgan, Kathleen, Inbanathan Naicker, and Daisy Pillay. "“Knowing What It Is like”: Dialoguing with Multiculturalism and Equity Through Collective Poetic Autoethnographic Inquiry." International Journal of Multicultural Education 19, no. 1 (February 28, 2017): 125. http://dx.doi.org/10.18251/ijme.v19i1.1255.

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We offer an account of how we, a research team of three South African academics, have dialogued with multiculturalism and equity through collective poetic autoethnographic inquiry. The focus of the article is on our learning through reading and responding to published autoethnographies by three other South African academics. We share our learning about how poetry and dialogue can facilitate a generative entanglement with autoethnographies written by others. The article highlights the promise of collective poetic autoethnographic inquiry for opening up spaces for dialoguing with multiculturalism and equity.

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42

Byrne, Deirdre Cassandra. "Water in the Anthropocene: Perspectives on Poetry by South African Women." Feminist Encounters: A Journal of Critical Studies in Culture and Politics 5, no. 1 (March 5, 2021): 07. http://dx.doi.org/10.20897/femenc/9744.

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43

Kurtz, J. Roger, and Robert Berold. "South African Poets on Poetry: Interviews from New Coin, 1992-2001." World Literature Today 79, no. 1 (2005): 85. http://dx.doi.org/10.2307/40158803.

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44

Gqola, Pumla Dineo. "Whirling worlds? Women's poetry, feminist imagination and contemporary South African publics." Scrutiny2 16, no. 2 (September 2011): 5–11. http://dx.doi.org/10.1080/18125441.2011.631823.

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45

Schutte, Gillian. "The laugh of the Medusa heard in South African women's poetry." Scrutiny2 16, no. 2 (September 2011): 42–55. http://dx.doi.org/10.1080/18125441.2011.631827.

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46

Barnes, Lawrie. "The function and significance of code-switching in South African poetry." English Academy Review 29, no. 2 (October 2012): 70–86. http://dx.doi.org/10.1080/10131752.2012.730180.

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47

Teman, Eric D., and Veronica M. Richard. "Ethical Conundrums in Rural South Africa." Qualitative Inquiry 23, no. 4 (July 19, 2016): 309–12. http://dx.doi.org/10.1177/1077800416659082.

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We engage in story- retelling by recounting, reconstructing, and reflecting on our experiences as evaluators in a cross-cultural setting, a South African village. A principal focus on the serendipitous ethical and methodological issues that arose is highlighted. As most ethical dilemmas go, solutions are not clear. Therefore, the authors spend time critically considering the soundness of the decisions that were made, from the lack of diversity of the research team, to the ways we interacted with local citizens, to research design issues. We share our thoughts through a confessional tale via research poetry.

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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.

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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.

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Quesada, Sarah M. "Latinx Internationalism and the French Atlantic: Sandra María Esteves in Art contre/against apartheid and Miguel Algarín in “Tangiers”." Cambridge Journal of Postcolonial Literary Inquiry 9, no. 3 (September 2022): 353–80. http://dx.doi.org/10.1017/pli.2022.17.

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AbstractThis article interrogates the South-South internationalism of two renowned US Latinx poets: Miguel Algarín’s abjection in Morocco in his poem “Tangiers” and Sandra María Esteves’s anti-apartheid poetry for the French Art contre/against apartheid project, which included the controversial participation of Jacques Derrida. Although these poems focus on different contexts of African liberation, both react to French coloniality. For Algarín, his Orientalist evocations of underage child prostitution operate under a French hegemony, coming into crisis when a third world alliance fails. In Esteves’s work, her poetic solidarity draws on Frantz Fanon’s experience of French colonization in Algeria but also comes into crisis when Derrida’s foreword for Art contre/against apartheid is challenged as Eurocentric. Although both engagements with African self-determination exhibit residues of a French hegemony undergirding and undercutting what I term is a poetic Latin-African solidarity, their South-South approach enriches postcolonial studies, in which Latin American, and by extension, Latinx identities have been sidelined.

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Morgan, Ruth Z., and Michiko Kaneko. "Deafhood, nationhood and nature: Thematic analysis of South African Sign Language poetry." South African Journal of African Languages 38, no. 3 (September 2, 2018): 363–74. http://dx.doi.org/10.1080/02572117.2018.1519993.

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