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Journal articles on the topic 'South African Poets'
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1
Dawes, Kwame, and Adam Schwartzman. "Ten South African Poets." World Literature Today 75, no. 3/4 (2001): 125. http://dx.doi.org/10.2307/40156793.
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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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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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Rogacz, Dawid, Donald Mark C. Ude, and Tshepo Mvulane Moloi. "Book Reviews." Theoria 69, no. 170 (March 1, 2022): 114–23. http://dx.doi.org/10.3167/th.2022.6917005.
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Douglas L. Berger, Indian and Intercultural Philosophy: Personhood, Consciousness and Causality. London: Bloomsbury Academic, 2021, 240 pp.Joseph C. A. Agbakoba, Development and Modernity in Africa: An Intercultural Philosophical Perspective, Cologne: Rüdiger Köppe Verlag, 2019, 405 pp.Adekeye Adebajo (ed.), The Pan-African Pantheon: Prophets, Poets and Philosophers, Auckland Park, South Africa: Jacana Media, 2020. 655 pp.
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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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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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Voss, Tony. "Thomas Pringle: “the beginning of a future that has not arrived”." English in Africa 49, no. 2 (November 4, 2022): 91–112. http://dx.doi.org/10.4314/eia.v49i2.5.
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In his recent (2020) book, Matthew Shum offers an important rereading of the life, work and contemporary significance of Thomas Pringle, the Scottish South African poet and activist. The book’s challenge stems from three interrelated lines of energy. First is the author’s tracking of Pringle through the three locations of his activity: Scotland, the Cape, London. Second is the argument that Pringle was not from birth or early conviction the liberal champion he is remembered as in South Africa. Third, Shum warns against seeking in Pringle a model for the settler presence in post-colonial South Africa today. A comparison with two near-contemporary Scottish poets, fellow “Borderers”, who both also had colonial experience, leads this essay to a conclusion that acknowledges Shum’s account of the challenge our reading of Pringle offers to South Africa today.
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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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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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D’ Abdon, Raphael. "Carmelo Bene’s misreadings of Hamlet and Macbeth: A decolonial perspective?" Shakespeare in Southern Africa 35, no. 1 (December 20, 2022): 39–53. http://dx.doi.org/10.4314/sisa.v35i1.5.
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Drawing on some of the most influential studies on Carmelo Bene, this article aims to offer interpretive tools that will enhance viewers’ and listeners’ appreciation of his misreadings of Hamlet and Macbeth. It also suggests that la scrittura di scena (scenic writing) and la macchina attoriale (the actorial machine), his most celebrated inventions as an actor, dramatist and musicologist, are two theatrical methods that could possibly assist the ongoing decolonial reinvention of Shakespeare’s stories in the (South) African context. The article provides introductory biographical notes on Bene and an overview of his main literary and philosophical influences. It then discusses the key concepts of scenic writing and the actorial machine as applied to Bene’s rewriting of Hamlet and Macbeth. Finally, it suggests some potential lines of research for decolonial scholars, playwrights, actors and poets from South Africa and beyond.
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Szabó-Zsoldos, Gábor. "Hungarians in the Anglo-Boer War." Historia 66, no. 2 (November 1, 2021): 1–21. http://dx.doi.org/10.17159/2309-8392/2021/v66n2a1.
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The Anglo-Boer War (1899-1902), also known as the South African War, had many Hungarian connections in the areas of economy, politics, and culture. Great Britain and the Boer Republics attempted to purchase agricultural products (especially horses and flour) in Hungary, to be used during the war. Hungarian journals and newspapers published a large number of articles and other features on the war, and outstanding Hungarian poets and novelists, as well as politicians and other public figures reflected on the conflict and expressed their pro-Boer, pro-British, or neutral opinions. Hungarians who served in the Boer commandos or who fought under the Union Jack in South Africa constitute the closest connection between the Carpathian Basin and the Anglo-Boer War. Seventeen Hungarians have been identified who took an active part in the war, the majority of them (twelve people), on the Boer side, while only five supported the British war effort. This article focuses on three of the Hungarian participants: Tibor Péchy, Albert Wass, and Albert Theophilus Duka. While Péchy and Wass were pro-Boer volunteers, Duka served in the British Army. After describing their South African activities, a comparison is made of the motivation for their participation in the Anglo-Boer War.
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Medalie, David. "South African Poets on Poetry: Interviews from New Coin 1992-2001 (Robert Berold, ed.)." Tydskrif vir Letterkunde 41, no. 1 (April 18, 2018): 187–88. http://dx.doi.org/10.17159/2309-9070/tvl.v.41i1.4971.
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Berkman, Karin. "‘Remember Sharpeville’: Radical Commemoration in the Poetry of the Exiled South African Poets, Dennis Brutus and Keorapetse Kgositsile." English in Africa 47, no. 1 (October 2, 2020): 25–46. http://dx.doi.org/10.4314/eia.v47i1.2.
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The Sharpeville Massacre of 1960 has been widely seen as a watershed moment, marking a fundamental shift in the nature of the resistance to apartheid. Its effect on cultural production was monumental: in the face of a massive government crackdown, almost every black writer and artist of note was forced into exile. The poets who write within the long shadow of the massacre must negotiate its legacy and the fraught question of its commemoration.This article takes as its point of focus two poems by Dennis Brutus and Keorapetse Kgositsile that address the place of Sharpeville in cultural memory. I consider the distinctiveness of the poetics of mourning and commemoration that they fashion in relation to South Africa’s most renowned elegy for the victims of Sharpeville, Ingrid Jonker’s “The Child.” I suggest that Brutus’ anti-poetic, subverted elegy “Sharpeville” re-stages commemoration as an act of resistance that is prospective rather than retrospective. In considering Kgositsile’s poem “When Brown is Black,” I examine Kgositsile’s transnational framing of Sharpeville and its location on a continuum of racial suffering, drawing attention to the significance of the links that Kgositsile forges between Malcolm X and “the brothers on Robben Island,” (42) and between Sharpeville and the Watts riots in Los Angeles in 1965. This paper suggests that for both Brutus and Kgositsile commemoration is framed as a mode of activism.
Keywords: Sharpeville, Ingrid Jonker, Dennis Brutus, Keorapetse Kgositsile, cultural memory, commemoration, elegy
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Masola, Athambile. "Our Words, Our Worlds: Writing on Black South African Women Poets, 2000-2018 (Makhosazana Xaba, ed.)." Tydskrif vir Letterkunde 57, no. 2 (November 24, 2020): 116–17. http://dx.doi.org/10.17159/tl.v57i2.8384.
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Harper, Margaret Mills. "South Atlantic Modern Language Association." PMLA/Publications of the Modern Language Association of America 115, no. 4 (September 2000): 856. http://dx.doi.org/10.1632/s0030812900140325.
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SAMLA's seventieth annual convention will be held in Birmingham at the Sheraton Civic Center from 10 to 12 November. William C. Calin will present the keynote address; George Ella Lyon will give the creative address; and French, German, and Spanish plenary addresses will also be featured. Sonia Sanchez will make a special appearance, and other sessions will focus on Birmingham and Alabama writers, gender and race studies, and human rights in literature and culture. Last year's highly successful reading by contemporary writers, sponsored by the literary magazine Five Points, will be repeated. Graduate students will host a poets' circle, and a special performance of Hemingway stories will take place. Among the twenty special sessions are African Influence on Western Literatures; The Holocaust in Literature and Film; Rhetorics, Rhetoricians, and the Teaching of Rhetoric; Early Modern Women of Spain; and Epics and Literature at the Millennium. During the varied program (over 140 sessions), the convention will feature issues of technology, pedagogy, and professional concerns and will offer a number of opportunities to meet and socialize. Cash bars will be held for faculty members in two-year colleges, Feministas Unidas, and gay and lesbian studies. Side trips are planned to the Birmingham Civil Rights Institute and the Birmingham Museum of Art. A full copy of the program will be available on the SAMLA Web site in July.
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Adams, J. N. "The Poets Of Bu Njem: Language, Culture and the Centurionate." Journal of Roman Studies 89 (November 1999): 109–34. http://dx.doi.org/10.2307/300737.
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A good deal has been written about the origin and recruitment of centurions, but their language use has not been analysed as an index to their literacy, culture, educational levels, and (in some cases) bilingualism. This paper will be about the sociolinguistics of the centurionate. I take as my starting point two poems from Bu Njem in the African desert, one of which has only recently been published for the first time.The military outpost of Bu Njem (Golas, Gholaia) lay 200 km south of Cape Misurata in the desert of Tripolitania. The fort, the construction of which began some time after 24 January 201, was garrisoned by auexillatioof thelegio III Augusta, and later by anumerus collatus. From here there survive ostraca of various kinds dated mainly to the 250s, but in this paper I am going to deal with the unlikely topic of poetic activity within the camp. Curiously, we have poems set up on stone in the name of two centurions, both of them acrostichs which spell out the centurions' names. The first, in iambic senarii and dated 202–3, has the name of Q. Avidius Quintianus, the second, dated to early 222, that of M Porcius Iasucthan;Iasucthanis of Libyan origin. This poem, on a charitable view, is composed in hexameters. The poems provide remarkable evidence for the cultural and linguistic level of centurions, if one can make the assumption that the texts were the responsibility of the two centurions themselves.
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WELLS, JULIA C. "EVA'S MEN: GENDER AND POWER IN THE ESTABLISHMENT OF THE CAPE OF GOOD HOPE, 1652–74." Journal of African History 39, no. 3 (November 1998): 417–37. http://dx.doi.org/10.1017/s0021853798007300.
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Quite possibly, Eva, born Krotoa, is the most written about African woman in South African historiography. Her name fills the journals of the Dutch East India Company almost from the very start of their little feeding-station at the Cape of Good Hope in 1652. She is known as a Khoena girl taken into Dutch commander Jan Van Riebeeck's household from the age of about twelve, who later became a key interpreter for the Dutch, was baptised, married Danish surgeon, Pieter Van Meerhoff, but then died as a drunken prostitute after his death. Yet her persona remains an enigma. As Christina Landman put it, ‘Krotoa is a story-generator’.To conservative historians, Eva's life offers living proof that the Khoena were irredeemable savages. To black nationalist writers, such as Khoena historian, Yvette Abrahams, she personifies the widespread rape and abuse of black women by the invaders. Eva's chief biographer, V. C. Malherbe, forms a more neutral judgment by describing Eva as primarily ‘a woman in between’. Landman views her as an early synthesizer of African and Christian religious traditions. Carli Coetzee demonstrates how recent Afrikaans-speaking artists, poets and actors have constructed an image of Eva as the mother of the Afrikaner nation, a tamed African who acquiesced to Europeanness. She is often portrayed as yearning to return to her African roots, but without success.Virtually all of the representations of Eva construct her as a helpless victim of vicious culture clashes. Today's racial consciousness, laced with assumptions of inevitable African/European hostility, is often read back into the historical record. Frustratingly large gaps in that record leave room for a wide range of interpretations, depending heavily on the subjectivities of the historian. Virtually all previous writers, however, have judged Eva primarily by the tragic circumstances of her death, while minimizing the considerable achievements of her earlier years.
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Terblanche, E. "'Life?': modernism and liminality in Douglas Livingstone’s A littoral zone." Literator 27, no. 1 (July 30, 2006): 163–88. http://dx.doi.org/10.4102/lit.v27i1.185.
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In an attempt to find his place within nature in South Africa and in a global modern context, Douglas Livingstone returns strongly to modernist poetry in his 1991 volume A littoral zone. In contrast to his predecessors like Wallace Stevens in “The glass of water” and T.S. Eliot in The waste land, this volume at critical moments gets stuck in a liminal stage. Images and poems, and eventually the volume as a whole, despite the highlights they present, say that it no longer seems so possible to end up also within the postliminal stage, so as to complete a rite of passage. Yet modernist poems such as Stevens’s “The glass of water” have the ability to end up in postliminal affirmation through and beyond the liminal stage of the overall process. Here light becomes a thirsty lion that comes down to drink from the glass, with a resultant transcendence of the dualistic between-ness that characterises the liminal stage in the modernist poetic mode, while this further results in the incorporation of a deeper and refreshing, dynamic unity. Even more remarkable is that this poetic rite is not of a closing nature, but open, especially in the sense that it affirms all that is possible and greater than the individual ego or subject, this, while getting stuck within a liminal stage just short of the postliminal stage can be in the nature of closure, as Livingstone shows, for example, when he says in “Low tide at Station 20” that humanity is trapped in its inability to see the original power of unity with and within nature in order to live within it; and while humanity remains an ugly outgrowth on the gigantic spine of evolution. In provisional conclusion this article finds that it will be better to view Victor Turner’s 1979 celebration of what he terms the “liminoid” in the place of a “true liminality” critically. Although it is impossible to return to a collective catharsis in watching a play, one cannot feel too comfortable about getting rid of the cosmological, theological and concrete embeddedness of rites of passage (of which a liminal stage merely forms a part). Van Gennep links these matters, and modernist poets are still able to express these interlinked matters with a powerful, sensitive effect of dynamic unity. Livingstone also does this, but in considerably lesser measure, and from within a considerably more uncertain context. The article ultimately shows that for these reasons and more, Livingstone’s volume deserves far more critical reading than it has received to date, and that despite one or two weaknesses – of which the employment of The waste land in the rather flimsy “The waste land at Station 14” is the most serious – the volume continues to make a rich contribution to South African life, or within any country that views poetry as an important form of human communication.
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Galloway, F. "Sisteemtendense in die Afrikaanse literatuur: ’n bestekopname van 1983." Literator 8, no. 2 (May 7, 1987): 1–12. http://dx.doi.org/10.4102/lit.v8i2.861.
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A survey of the Afrikaans literary scene of 1983 might one day prove to be a survey of this literary system on the eve of a “new dispensation”. From the ranks of the Afrikaans literary establishment there was a resounding “Yes” to the 1983 referendum which effectively compartmented ‘culture’ to ‘own affairs'. In this time of political change and adjustment the role of the Afrikaans intellectual and writer within the South African community has once again become an urgent point of debate. From literary texts themselves, from established journals and ‘little magazines' there are clear indications that a reflection on ideology keeps recurring. There are also voices on the periphery of the literary system which demand attention - young black poets and dramatists have for some years been involved in enacting and reciting their Afrikaans works on the Cape Flats and in townships on the Rand. Looking back at the Afrikaans literary scene of 1983, and its relationship with the socio-political context, one is left with two main impressions. On the one hand the literary establishment has confirmed its faith in reform under the leadership of the National Party. On the other hand there are developments in extra-parliamentary politics and within the literary system itself which threatens the equilibrium. Which of these trends will be the decisive factor with regard to the literary dispensation must be awaited.
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Viljoen, H. "Nederland(s) en sy (Suid-) Afrikaanse metafore." Literator 15, no. 3 (May 2, 1994): 1–20. http://dx.doi.org/10.4102/lit.v15i3.674.
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Afrikaans metaphors for Dutch and the NetherlandsThere seems to be an irrepressible urge to metaphorize the relation between the Netherlands and South Africa in the Afrikaans popular imagination, perhaps in order to bridge the growing separation between the two countries. Four complexes of such metaphors, window, family relations, root and landscape, are briefly analysed, with most emphasis on the last category. From a handful of Afrikaans poems since 1950, and especially from poems by Elizabeth Eybers, Lina Spies and Marlene van Niekerk, it seems possible to reconstruct a descriptive system that underlies poems contrasting the Netherlands (represented by Amsterdam in particular) as a safe, protected space with the South African landscape as open and exposed. These poems also clearly show up the dialectic of abrogation and appropriation and the anxiety about land and identity so typical of postcolonial literatures.
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Hlabane, D. M. "The war poems of Mongane Serote: The Night Keeps Winking and A Tough Tale." Literator 21, no. 3 (April 26, 2000): 91–108. http://dx.doi.org/10.4102/lit.v21i3.500.
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For many South Africans who saw themselves as victims of a racist society, the twentieth century was a period of one hundred years of political turmoil and segregation. Representations of racism and the kinds of subjects it created were provided by various writers during specific historical periods. I consider the 1980s as a period in which the political conflict between the repressive white state and those who wanted change was largely undertaken through violence. This article therefore looks at the depiction of violence in Mongane Serote’s poems of the 1980s - The Night Keeps Winking (1982) and A Tough Tale (1987). As its title suggests, the article analyses these poems as “war poems”. It focuses on the political themes Serote develops in the poems. The Night Keeps Winking (1982) and A Tough Tale (1987) offer horrifying images of war and the senseless bloodletting characteristic of South African life in the 1980s. These poems, as the article will show, reveal how people's lives were damaged by the apartheid state to the extent that many people resorted to violence as a method of liberation.
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Toerien, Barend J., George Seferis, and Roy Macnab. "South African Diaries, Poems and Letters." World Literature Today 65, no. 2 (1991): 343. http://dx.doi.org/10.2307/40147271.
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Trotter, Henry. "Dockside Prostitution in South African Ports." History Compass 6, no. 3 (May 2008): 673–90. http://dx.doi.org/10.1111/j.1478-0542.2008.00528.x.
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Gáti, Daniella. "Poems as Specters: Revenant Longing for Roots in Jean Toomer’s Cane." aspeers: emerging voices in american studies 7 (2014): 17–39. http://dx.doi.org/10.54465/aspeers.07-03.
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This article investigates the subliminal anxiety concerning African American identity and origin developed by the poems in Jean Toomer’s Cane. Drawing on Jacques Derrida’s concept of the specter, I argue that these poems act as specters in that they enact and embody the South as a harmonious African American land of origin while simultaneously negating the possibility of its present or past existence. In doing so, the poems reframe African American longing for a point of origin into a haunting, anxious but impossible desire. Predicated on absence, the longed-for South (re)emerges as a sensual experience in the Cane poems, which manifests and negates the wished-for but unattainable original condition. Thus, the longing for a point of origin as well as its object—the American South—become Derridean specters, which inescapably challenge the foundations of African American identity while simultaneously constituting its core. In this light, the absence of previous critical investigation of the Cane poems becomes telling. The analysis of the function of the Cane poems reveals what other considerations will inevitably conceal: The United States’ past has not been and cannot be able to provide a solid and anxiety-free foundation for the identity of the nation’s African American citizens.
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Chandan, Amarjit, Mahendra Solanki, Essop Patel, Farouk Asvat, Deena Padayachee, Achmat Dangor, Kriben Pillay, and Shabbir Banoobhai. "East & South Africa: Poems." Wasafiri 10, no. 21 (March 1995): 54–55. http://dx.doi.org/10.1080/02690059508589428.
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Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.
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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
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Kim, Eunjung, Kijung Choi, James Lappeman, and Jari Salo. "A Content Analysis of Social Media Posts among Recreational Cyclists: A Gender Perspective." African Journal of Hospitality, Tourism and Leisure 10(4), no. 10(4) (August 31, 2021): 1275–82. http://dx.doi.org/10.46222/ajhtl.19770720-162.
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Recreational cyclists are pertinent but rarely studied leisure and tourism segment. Recreational cycling has traditionally been considered as a ‘masculine stereotyped’ sport. The purpose of the research is to better understand a gendered consumer view of recreational cycling and to possibly promote recreational cycling to women and men in countries like South Africa with keen interests of recreational cycling in the form of sport tourism. This research employs a content analysis of social media posts on Facebook, Instagram and Twitter as a research method. Specifically, the gendered nature of recreational cycling is focused upon. In total, 2,504 posts from 1,598 unique authors from South Africa are analysed. As a result, this research shows that in the South African context male cyclists tend to like to attend the specialised event and race for their health and fitness while female cyclists seem to find more enjoyable and family-friendly (children focused) cycling. The results also confirm the paradox that women are generally presented in more family oriented roles, while men are typically shown as more independent in the media. Managerial implications and future research are also presented.
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van Hecke, Oliver, Chris Butler, Marc Mendelson, and Sarah Tonkin-Crine. "Introducing new point-of-care tests for common infections in publicly funded clinics in South Africa: a qualitative study with primary care clinicians." BMJ Open 9, no. 11 (November 2019): e029260. http://dx.doi.org/10.1136/bmjopen-2019-029260.
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Broad-spectrum antibiotics are routinely prescribed empirically in the resource-poor settings for suspected acute common infections, which drive antimicrobial resistance. Point-of-care testing (POCT) might increase the appropriateness of decisions about whether and which antibiotic to prescribe, but implementation will be most effective if clinician’s perspectives are taken into account.ObjectivesTo explore the perceptions of South African primary care clinicians working in publicly funded clinics about: making antibiotic prescribing decisions for two common infection syndromes (acute cough, urinary tract infection); their experiences of existing POCTs; their perceptions of the barriers and opportunities for introducing (hypothetical) new POCTs.Design, method, participants, settingQualitative semistructured interviews with 23 primary care clinicians (nurses and doctors) at publicly funded clinics in the Western Cape Metro district, South Africa. Data were analysed using thematic analysis.ResultsClinicians reported that their antibiotic prescribing decisions were influenced by their clinical assessment, patient comorbidities, social factors (eg, access to care) and perceived patient expectations. Their experiences with currently available POCTs were largely positive, and they were optimistic about the potential for new POCTs to: support evidence-based prescribing decisions that might reduce unnecessary antibiotic prescriptions; reduce the need for further investigations; support effective communication with patients, especially when antibiotics were unlikely to be of benefit. Resources and workflow disruption were seen as the main barriers to uptake into routine care.ConclusionsClinicians working in publicly funded clinics in the Western Cape Metro of South Africa saw POCTs as potentially useful for positively addressing both clinical and social drivers of the overprescribing of broad-spectrum antibiotics, but were concerned about the resource implications and disruption of existing patient workflows.
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Rudy, Jason R. "Scottish Sounds in Colonial South Africa." Nineteenth-Century Literature 71, no. 2 (September 1, 2016): 197–214. http://dx.doi.org/10.1525/ncl.2016.71.2.197.
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Jason R. Rudy, “Scottish Sounds in Colonial South Africa: Thomas Pringle, Dialect, and the Overhearing of Ballad” (pp. 197–214) This essay uses Scottish ballads to think through the ways poems circulated in nineteenth-century emigrant communities. Dialect was a significant feature of colonial poetry, capturing the particular sounds of localities: the borderlands of Scotland, for example. Given the long association between dialect and oral culture, dialect in the context of ballad poetry signaled an especially communal form of identification. Scottish dialect poems in emigrant communities had an especial power to invoke a communal consciousness, a sense of being together that arose from having come from the same place. I take the Scottish poet Thomas Pringle as an example of a larger phenomenon, tracing the revisions he made to ballad poems as he moved from Edinburgh to South Africa and then London.
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Merrington, Peter. "Stimela: Railway Poems of South Africa." English Academy Review 26, no. 2 (October 2009): 114–17. http://dx.doi.org/10.1080/10131750903336312.
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Biermann, Ina. "Intertextuality as parallelism in two South African poems." Language and Literature: International Journal of Stylistics 2, no. 3 (August 1993): 197–216. http://dx.doi.org/10.1177/096394709300200303.
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This article attempts a refinement of the notion of foregrounding as it functions in poetic language through sound repetition. Phonic foregrounding is viewed not only from the vantage point of the organisation of the individual text, or the oeuvre of a particular poet, as foregrounded against the background of the ordinary usage of sound in everyday speech, but also from the point of view that the text is part of a larger literary and social discourse. In analysing and interpreting the functional organisation of sound in two Afrikaans poems, principles for the study of intertextuality put forward by van Peer (1987) are examined and revised to include phonic foregrounding as a potential factor in establishing intertextual relationships.
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Golan, Daphna. "The Life Story of King Shaka and Gender Tensions in the Zulu State." History in Africa 17 (January 1990): 95–111. http://dx.doi.org/10.2307/3171808.
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Hundreds of poems, novels, plays, and films have been devoted to Shaka, the king of the Zulu. His life story has been created anew each generation, and his image has changed over the years. For many whites he represents barbarism; for many blacks both within and outside South Africa, he has become a symbol of power. The ways in which Shaka has been portrayed reveal trends of thought and ideological influences prevailing in each period. They record the shifts in white conceptions of blacks in South Africa, and some of the developments in black consciousness.In this study I suggest that the core of the king's biography, the very basic life story which most historians accept, is but an invention. Shaka's biography closely resembles that of other African leaders such as Sundiata and Mbegha, and of biblical heroes, such as Joseph or Moses. These similarities to stories about other heroes point to the mythic character of the narrative and raise the possibility of investigating the various Shaka stories as symbolic representations of alternative world views, rather than as records of past times.
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Kahl, J. H. "A narratological perspective on Douglas Livingstone’s A littoral zone (1991)." Literator 31, no. 3 (July 25, 2010): 181–200. http://dx.doi.org/10.4102/lit.v31i3.64.
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This article explores aspects of the contemporary South African poet Douglas Livingstone’s “A littoral zone” (1991) from a narratological point of view, leaning largely on Peter Hühn’s narratological concept of the event and Rachel Blau DuPlessis’ “hypothesis of poetry as segmentivity” as formulated by Brian McHale (2009:18). A discussion of two juxtaposed poems from the said volume explores how the poems’ respective anecdotes and events are segmented, then arranged and sequenced into specific narratives to highlight the speaker’s conviction of the necessity of a biological and spiritual connection with the natural environment. In the larger context of the volume there are numerous other narrative lines (in the form of poems about specific experiences the poet had) that are juxtaposed in a similar fashion. Collectively these juxtaposed narrative lines then constitute on the level of the volume as a whole the autobiographical narrative of the poet’s development as self-ironic individual. The various anecdotes also contribute to the formation and development of the theme of symbiosis, a theme that has a direct bearing on how the poet sees the gap between humankind’s current and supposed connection with nature. The main event of the volume is to be found in the reader’s mind: the realisation that bridging this gap is absolutely necessary and that it starts with the individual.
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T’Sjoen, Yves. "Breyten Breytenbach in een zijspiegel: Het vizier van H.C. ten Berge Transnationale laterale beweging en particuliere “hetero-images” van een literaire actor/ Breyten Breytenbach Through H.C. ten Berge’s Looking-Glass: Transnational Lateral Movement and Particular “Hetero-Images” of a Writer." Werkwinkel 10, no. 1 (June 1, 2015): 33–50. http://dx.doi.org/10.1515/werk-2015-0003.
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Abstract At the end of the 1960s and in the beginning of the 1970s the South African poet Breyten Breytenbach had poetry and drawings published in the leading literary magazine Raster. The editor in charge at the time, H.C. ten Berge, gave the experimental writer and socially engaged Sestiger (the literary modernizing movement in South Africa in the sixties) pride of place in the line-ups of the Dutch modernist periodical. In the seventies, Ten Berge contributed to Vingermaan (1980), a collection of poems by Dutch writers (Lucebert, Kopland, Kouwenaar, Schierbeek) in support of the anti-apartheid activist. From 1975 Breytenbach was imprisoned in South Africa for political reasons. He served seven years of a nine year sentence. At that time, in the eighties, the Netherlands organized a cultural and economical boycott against the racist regime in Pretoria. Later on, Ten Berge presented his own poems dedicated to Breytenbach in his book of poetry Nieuwe gedichten (1981) and in the collection Materia prima: Gedichten 1963-1993 (1993). Before and during the imprisonment of Breytenbach Ten Berge played an important role in the introduction of the writer in the Low Countries. From a cultural-sociological point of view Breytenbach’s presence in the Dutch language area can be described, in the terminology of Francoise Lionnet and Shu-mei Shih and later on used by Louise Viljoen, as a transnational lateral movement in his writing career. This paper deals with the cultural transmission of an important political and experimental author in the literary system of Afrikaans and English in South Africa into the Dutch system. From a bibliographical viewpoint this paper affords special attention to the publication of Breytenbach’s volume of poetry in Skryt: Om ’n sinkende skip blou te verf ([1972] 1976), Vingermaan (1980) and Nieuwe gedichten ([1981] 1987). Ten Berge played an important role in the introduction of Breytenbach to the Low Countries in the way he presented the author’s political and aesthetic ideas to a Dutch-speaking audience.
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Viljoen, Hein. "Creolization and the Production and Negotiation of Boundaries in Breyten Breytenbach's Recent Work." Nordlit 13, no. 1 (March 1, 2009): 109. http://dx.doi.org/10.7557/13.1483.
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Much of the South African poet Breyten Breytenbach's work has been concerned with borders. In this article I examine borders and creolization in three important poems from Nine landscapes of our time bequeathed to a beloved (Nege landskappe bemaak aan 'n beminde, 1993), Paper flower (Papierblom, 2002) and The wind-catcher (Die windvanger, 2007). The link between creolization and boundaries is the poet's conception of identity and freedom. As is often the case the boundaries of the self are questioned as the poet permutates the central concepts. Crossing boundaries entails entering into dialogue not only with the self but also with the mother tongue itself and with a variety of other artists and writers. In other words, in Breytenbach's work an abrogation and appropriation of the own tradition ("erfgoed") as well as of material from others, other places and other traditions occur. In these three case studies in particular it is clear how the poet stretches and deforms boundaries as part of his poetic project to concretize a dynamic freedom.
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Frankel, Hazel. "Belief and Doubt in the Landscape and Holocaust Poems of David Fram (1903–88)." Literature and Theology 36, no. 1 (January 28, 2022): 96–113. http://dx.doi.org/10.1093/litthe/frab032.
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Abstract This study of Lithuanian South African Yiddish poet David Fram foregrounds poems in which he wrestles with issues of belief, observance, abandonment, and doubt. It juxtaposes Fram’s nature poems with those that encompass the impact of the Holocaust from the viewpoint of a distant observer, written before, during, and after the Second World War. Close analysis of the poems’ lyrical forms highlights his deep emotional and spiritual connection to nature and gratitude towards the Creator, which may be considered pantheistic, in contrast with the challenges to his trust in the Jewish God and commitment to traditional observance during catastrophic times.
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Frankel, Hazel. "FROM STEPPE TO VELD: THE LANDSCAPE POEMS OF THE YIDDISH POET DAVID FRAM." Journal for Semitics 25, no. 1 (May 9, 2017): 235–52. http://dx.doi.org/10.25159/1013-8471/2535.
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This article offers detailed readings of specific poems that reflect, and reflect on, Fram’s responses to the differing landscapes in which he found himself, focusing on his lyric mode and romantic inclinations. While those about Lithuania indicate his strong feelings of attachment to the icy steppes, the poems he wrote later in South Africa provide a contrast, as his changed imagery evokes the heat of the veld and the exotic luxuriance of its flora. Through their translation and transliteration, the poems provide a valuable space for the preservation of a particular literary and cultural heritage.
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Meihuizen, Nick. "Poems that make it easier to live in South Africa." Scrutiny2 8, no. 1 (January 2003): 75–78. http://dx.doi.org/10.1080/18125440308565998.
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Gray, Stephen. "Taken as Read: A Poet's Agenda in South Africa Today." English Academy Review 3, no. 1 (January 1985): 103–8. http://dx.doi.org/10.1080/10131758585310081.
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Wright, Laurence. "‘IRON ON IRON’: MODERNISM ENGAGING APARTHEID IN SOME SOUTH AFRICAN RAILWAY POEMS." English Studies in Africa 54, no. 2 (October 2011): 1–15. http://dx.doi.org/10.1080/00138398.2011.626177.
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Yakovenko, Iryna. "African American history in Natasha Trethewey’s “Native Guard”." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 224–30. http://dx.doi.org/10.28925/2311-259x.2021.4.4.
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The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.
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Gorelik, Boris M. "Valery Bryusov’s “Unnamed” Muse. A South African Epilogue." Literary Fact, no. 17 (2020): 281–91. http://dx.doi.org/10.22455/2541-8297-2020-17-281-291.
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In the past ten years, biographers of Valery Bryusov pointed out that it was necessary to continue research into the life of M.V. Wulffahrt, to whom Bryusov dedicated the fourteenth sonnet of his Fatal Set. Her image permeated Bryusov’s love poems in 1914–1915, the period when he was particularly close with her. The histo- ry of their relationship was thoroughly researched by analysing their correspondence preserved in the Russian State Library. However, until now, scholars were unable to extend her biography past the end of her love affair with Bryusov. The task has been accomplished by using sources from other archives in Russia and South Africa, which are being introduced into scholarly discourse for the first time, as well as genealogi- cal databases and interviews with Wulffahrt’s family members. It has been established that Wulffahrt immigrated to South Africa in the 1920s but did not give up the hope of returning to her native country and meeting Bryusov’s widow. The article explains the reason for the ‘anxious obsessiveness’ of Wulffahrt’s attitude towards Bryusov, which has been repeatedly noted by scholars, and sets the emotional background of the rela- tionship between the poet and his last muse. The most important events in Wulffahrt’s life are identified and described, and several aspects of her relationship with Bryusov as well as her presence in his work that were mentioned in the literature on this sub- ject are clarified.
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Sebola, Moffat, and Olufemi J. Abodunrin. "Not Yet Uhuru: Aspects of Social Realism in Vonani Bila’s Selected Poetry." Journal of African Languages and Literary Studies 2, no. 3 (December 1, 2021): 87–107. http://dx.doi.org/10.31920/2633-2116/2021/v2n3a5.
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This article analyses Vonani Bila’s selected poetry for its ability to produce an ‘air of reality’. The central argument of the article is that Bila embraces an aesthetic of realism, which essentially values unsparing, accurate and sordid representations of the psychological, social and material realities of postcolonial (and democratic) South Africa. Undergirded by the Marxist theory of Social Realism, the qualitative approach and descriptive design, this article purposively selected ten poems from some of the anthologies in which Bila published his poetry, namely; Magicstan Fires, Handsome Jita and Sweep of the Violin. Bila’s poetry can best be situated within the historical contexts that shape his texts, namely; the apartheid era, ideas about capitalism in newly democratic South Africa, the emergence of a vibrant immigrant community in South Africa and idealised notions of achieving equality and prosperity through education in South Africa. This article is mainly a critical analysis, and not a historical account of the apartheid era and democratic dispensation of South Africa. In the analysis, it was noted that Bila’s poetry generally manifests the literary categories of social and psychological realism, respectively. As a social realist, Bila explores the problems of economic inequality and captures the experience of both rural and urban life in a post- and neo-colonial context of South Africa. As a psychological realist, on the other extreme, Bila is concerned with delving beneath the surface of social life to probe the complex motivations and (un)conscious desires that shape his literary personae’s perceptions. The article concludes with the notion that, in his commitment to document the realities of everyday life in South Africa, both at social and psychological dimensions, Bila offers a penetrating insight into the repression, alienation, marginalisation, instabilities, and inequalities that structure post- and neo-colonial South Africa.
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McGiffin, Emily. "Iimbongiof the resistance: praise poets, trade unions and extractive capitalism in apartheid South Africa." Green Letters 20, no. 2 (April 6, 2016): 156–69. http://dx.doi.org/10.1080/14688417.2016.1163273.
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Nel, A. "Die kleur van vers en verf: Antjie Krog in gesprek met Marlene Dumas." Literator 22, no. 3 (June 13, 2001): 21–38. http://dx.doi.org/10.4102/lit.v22i3.1054.
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The colours of poem and paint: Antjie Krog in conversation with Marlene Dumas Antjie Krog engages South African born painter Marlene Dumas in an intertextual dialogue in her most recent anthology Kleur kom nooit alleen nie. This series of poems is titled “skilderysonnette” (sonnets of a painting). Six of the nine of Krog’s “word paintings” are eponymous with Dumas’s paintings and therefore almost require an examination of the interplay of the respective texts. This article examines the relationship between the relevant poems and paintings. The specific conversation between Krog’s word texts and Dumas’s paintings within the context of Krog’s anthology ultimately indicates intriguing similarities. It includes, inter alia, the struggle of both artists with the problem of “belonging” – Krog from an African perspective and Dumas from a European angle. Both are also concerned with the politics of colour. The politics of sex also figures in both their oeuvres in the third instance. The complexity of sexuality, eroticism and love is examined in the work of both these artists and is ultimately expressed in the voice/vision of the emancipated woman.
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Haft, Adele J. "“The Map Shows Me Where It Is You Are”: Gloria Oden Responds to Elizabeth Bishop Across National Geographic and Rand McNally World Maps." Cartographic Perspectives, no. 61 (September 1, 2008): 8–35. http://dx.doi.org/10.14714/cp61.212.
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African-American poet Gloria Oden was among those inspired by Elizabeth Bishop’s seminal poem “The Map” (1934). In honor of Bishop, Oden wrote two poems about reading maps: “A Private Letter to Brazil” (1957) and “The Map” (ca. 1961). Like May Swenson’s “The Cloud-Mobile,” Oden’s poems overtly pay homage to Bishop. Like Howard Nemerov’s “The Mapmaker on His Art” and Mark Strand’s “The Map,” Oden’s verses reveal that she shares in Bishop’s understanding of the mapmaker’s art: its imaginative power and limitations, its technical achievement and arbitrary nature. Yet Oden’s two poems are far more politically and historically nuanced than Bishop’s “The Map”—or than any of the other map poems written shortly after Bishop won the 1956 Pulitzer Prize for her collection opening with “The Map” (Poems: North & South—A Cold Spring). Furthermore, unlike her peers, Oden found inspiration in Bishop’s poem and in an identifiable contemporary map. By comparing both of her poems to Bishop’s original as well as uncovering, with the help of Oden’s own words, the identity of her maps, this paper will demonstrate how Oden’s penetrating critique of two popular 1950s wall maps helped her connect not only with Bishop but also with the world she found reflected in, or absent from, the map.
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Jenkins, Elwyn. "Folksong and ballad as social comment in some South African railway poems and songs." English in Africa 46, no. 2 (September 18, 2019): 103. http://dx.doi.org/10.4314/eia.v46i2.6.
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Epps, Alice, Charlotte Albury, and Oliver Van Hecke. "Exploring Primary Care Clinicians’ Views about How Best to Implement a Potential Trial around Point-of-Care Tests for Common Infections in South Africa." Diagnostics 11, no. 11 (November 13, 2021): 2100. http://dx.doi.org/10.3390/diagnostics11112100.
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Optimisation of antibiotic prescribing is critical to combat antimicrobial resistance. Point-of-care tests (POCTs) for common infections could be a valuable tool to achieve this in primary care. Currently, their use has primarily been studied in high-income countries. Trials in low-and-middle-income countries face challenges unique to their setting. This study aims to explore the barriers and facilitators for a future trial of POCTs for common infections in South Africa. Twenty-three primary care clinicians in the Western Cape Metropole were interviewed. Interview transcripts were analysed using thematic analysis. We identified three key themes. These themes focused on clinicians’ views about proposed trial design and novel POCTs, clinicians’ perspectives about trial set-up, and specific trial procedures. Participants were overall positive about the proposed trial and POCTs. Potential issues centred around the limited space and technology available and participant retention to follow-up. Additionally, impact on clinic workload was an important consideration. These insights will be invaluable in informing the design of a feasibility trial of POCTs in this setting.
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Maessen, Francine, Bibi Burger, and Mathilda Smit. "In-between spaces in Klara du Plessis’s Ekke: Identity, language and art." Tydskrif vir Letterkunde 59, no. 1 (April 6, 2022): 7–13. http://dx.doi.org/10.17159/tl.v59i1.13298.
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In this review article, we focus on the depiction of the transnational and translingual as a state of being in-between in Klara du Plessis’s debut poetry collection, Ekke (2018). This in-between state has implications for how identity, place and visual art feature in the collection. Ekke contains fragments of German and French, but consists mainly of English interspersed with Afrikaans. The creation of meaning through this linguistic slippage reflects the idea of identity as always in-process that comes to the fore throughout the collection. Ekke also represents an intervention in South African urban literature, as Bloemfontein, a city not much featured in literature, is represented in several poems. In these poems, the poet/speaker struggles to situate Bloemfontein and its surrounding areas’ histories and symbolism in the transnational networks that she is a part of. The conception of identity and language being constantly in-progress is also conveyed in the collection’s poems about visual art. In these poems, meaning is created through the interaction of language with visual art, a process the poet calls ‘intervisuality’. Keywords: transnationalism, transnational identity, translingualism, multilingual poetry, Klara du Plessis, Bloemfontein in literature, ekphrasis.
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Wylie, Dan. "The dark surrealism of Phyllis Haring’s poetry." English in Africa 48, no. 3 (March 17, 2022): 65–85. http://dx.doi.org/10.4314/eia.v48i3.4.
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The slender poetic oeuvre of Phyllis Haring (1919–2016) is now almost forgotten. Only one collection, A Taste of Salt, was published in 1976, and a number of poems appeared in small magazines until 1991. Though she is unquestionably a “minor poet,” I argue that her dream-like, dark yet musical work is worth attention, especially as something of a local pioneer in Surrealist techniques. (Surrealism’s influence more broadly in South African poetry is apparently yet to be comprehensively explored.) This article aims to reintroduce Haring’s work, and suggest some possibilities for further, more precisely theorised study. Following a biographical sketch and brief history of her publications, I respond to selected poems to provide a preliminary taste of her salty, almost Nietzschean, world-view, her craft, and some persistent techniques, themes and images – notably of human cruelty, death, and the natural world.