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A representative overview of some of the most pressing concerns in contemporary literary criticism in South Africa, demonstrating literary form's shaping power in the interpretation of politically contentious content. Rather than pressing literature into the service of a political cause or programme, this study's purpose – its politics of interpretation – is to open literature to the potential of human experience in both the personal and the public life. The society of focus – South Africa – is a society of political contestation. Instead of prioritizing the what of contestation, however, Michael Chapman explores contestation through the how of the literary work. In sharp transactions between an intransitivity of form and a compulsion to communicate, the book elucidates an ethics of aesthetics in J. M. Coetzee and Nadine Gordimer, and the best of modernism and the worst of modernism in Roy Campbell's poetry. It also asks: Can Themba's 'style' of the shebeens in the 1950s be re-visited in a contemporary context of gender-based abuse? Why or how are Ellen Kuzwayo and Mtutuzeli Matshoba, writing in the 'struggle' years of the 1970s, simultaneously less than artists and more than artists? Has the interpretative frame of the 'postcolonial' best served fiction after apartheid? What language of interpretation best releases the voices of contemporary women's poetry: a poetry which in its play on identities and identifications looks both inwards to its locality and outwards to the globe? Alert to both South Africa's colonial past and its assertions of today, Literary Transactions in South Africa pursues the challenge of interpreting a literature of disjuncture between Africa and the West, or the South and the North.
During the final years of the apartheid era and the subsequent transition to democracy, South African literary writing caught the world's attention as never before. Writers responded to the changing political situation and its daily impact on the country's inhabitants with works that recorded or satirised state-enforced racism, explored the possibilities of resistance and rebuilding, and creatively addressed the vexed question of literature's relation to politics and ethics. Writing South Africa offers a window on the literary activity of this extraordinary period that conveys its range (going well beyond a handful of world-renowned names) and its significance for anyone interested in the impact of decolonisation and democratisation on the cultural sphere. It brings together for the first time discussions by some of the most distinguished South African novelists, poets, and dramatists, with those of leading commentators based in South Africa, Britain and North America.
South Africa's unique history has produced literatures in many languages, in both oral and written forms, reflecting the diversity in the cultural histories and experiences of its people. The Cambridge History offers a comprehensive, multi-authored history of South African literature in all eleven official languages (and more minor ones) of the country, produced by a team of over forty international experts, including contributors from all of the major regions and language groups of South Africa. It will provide a complete portrait of South Africa's literary production, organised as a chronological history from the oral traditions existing before colonial settlement, to the post-apartheid revision of the past. In a field marked by controversy, this volume is more fully representative than any existing account of South Africa's literary history. It will make a unique contribution to Commonwealth, international and postcolonial studies and serve as a definitive reference work for decades to come.
Reprint of the original, first published in 1866.
Rewriting Modernity connects the black literary archive in South Africa-from the nineteenth-century writing of Tiyo Soga to Zakes Mda in the twenty-first century-to international postcolonial studies via the theory of transculturation, a position adapted from the Cuban anthropologist Fernando Ortiz. Attwell provides a welcome complication of the linear black literary history-literature as a reflection of the process of political emancipation-that is so often presented. He focuses on cultural transactions in a series of key moments and argues that black writers in South Africa have used print culture to map themselves onto modernity as contemporary subjects, to negotiate, counteract, reinvent and recast their positioning within colonialism, apartheid and in the context of democracy.
Uncovers the tangled stories of censorship and literature in apartheid South Africa, drawing on a wealth of new evidence from censorship archives, archives of resistance publishers and writers' groups, and oral testimony. A unique perspective on one of the most repressive, anachronistic, and racist states in the post-war era.
List of members in each volume.