Tydskrif vir letterkunde 2023-09-14T05:30:11+00:00 Dr Jacomien van Niekerk Open Journal Systems <p><em>Tydskrif vir letterkunde</em> is a peer-reviewed journal, established in 1951. It is the oldest literary journal in South Africa. It publishes articles on African literature. The “literature” in <em>Tydskrif vir letterkunde</em> does not only signify <em>belles letters</em>, but also the diversity of contemporary cultural practices. Articles may be submitted in Afrikaans, Dutch, English and French.</p> <p>Other websites related to this journal:&nbsp;<a title="" href="" target="_blank" rel="noopener"></a></p> Desmond T. Cole (1922—2018) 2023-09-14T05:17:47+00:00 Andrew van der Spuy <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Dolf van Niekerk (1929—2022) 2023-09-14T05:25:10+00:00 Willie Burger <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Dolf van Niekerk (1929—2022) 2023-09-14T05:27:01+00:00 Joan Hambidge <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Slow beauty: Refocusing Oliver Hermanus’s <i>Skoonheid</i> through a slow cinema lens 2023-09-12T16:34:08+00:00 Emmanuel Wanyonyi <p>Oliver Hermanus’s <em>Skoonheid</em> is often read as a representation of South African queer realities and political progressiveness both during and since the dissolution of apartheid. Consequently, Hermanus’s contribution to the aesthetic of slowness in <em>Skoonheid</em> has gone largely unnoticed in the broader context of slow cinema. In this article, I examine how Hermanus, through the slow cinema conventions, urges the viewer to contemplate issues of crucial importance to human behaviour, thereby putting <em>Skoonheid’s</em> meditative qualities on display. Drawing on Ira Jaffe’s concept of expressive minimalism, Emre Çağlayan’s poetics of slow cinema, and Thomas Elsaesser’s observations on the virtues and demands of slow cinema, I analyse the narrative and aesthetic strategies deployed in <em>Skoonheid</em> within the purview of slow cinema and beyond a representation of queer sexuality. This analysis reveals that <em>Skoonheid</em> represents a mode of narrative-formal expressiveness distinct from, yet in dialogue with, slow cinema in its emphasis on contemplation. Principally, Hermanus finds a way to testify to some of the most urgent concerns in contemporary society through the film’s contemplative approach, which draws the viewer’s attention to the mystery and ambiguity of human experience. <em>Skoonheid’s</em> contemplative approach is informed by the film’s processes and experiences of alienation, incommunicability, and existentialism.</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Queer, Christian and Afrikaans: the libidinal, sexuality and religion in <i>Kanarie</i> and <i>Skeef</i> 2023-09-13T05:09:28+00:00 Gibson Ncube <p>Religion is often viewed as incompatible with queer sexualities and genders. In the Afrikaans-speaking communities of South Africa, Calvinist doctrine and dogma have been used to marginalise and ostracise those sexual and gender identities that stray from the heteronormative&nbsp; scripts sanctioned by cultural and religious practices. In this article, I examine how the libidinal is central to the way in which queer and faith communities interact in Afrikaans-speaking communities in two films: <em>Kanarie</em> and <em>Skeef.</em> The two films represent different filmic genres with <em>Kanarie</em> a fictional feature film and <em>Skeef</em> being a documentary. The two films, despite their different genres, broach the difficulty of being queer and religious. At the same time, the films show that it is possible to rethink religions/faith communities. Such rethinking creates accommodative spaces within faith communities in a way in which queerness is not viewed as a deviance or an abomination. I read these Afrikaans-language films against the conceptualisation of the libidinal offered by Keguro Macharia together with the ideas of queer agency proposed by Adriaan van Klinken. This queer agency marks not just a transgression of heteronormative Christian norms but also engenders expansive ways of understanding human sexuality and gender identities.&nbsp;<br><br></p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 The post-heroism of <i>Stuur groete aan Mannetjies Roux</i> and <i>Verraaiers</i.> 2023-09-13T05:13:54+00:00 Danielle Britz Chris Broodryk <p>There is much scholarship on the linkages between Afrikaner nationalism and South African (Afrikaans-language) filmmaking. Within the context of a sustained post-apartheid renegotiation of Afrikaans or Afrikaner nationalism in the popular imagination, in this article we argue that two feature film historical dramas from the production company Bosbok Ses Films, <em>Stuur groete aan Mannetjies Roux</em> (2013) and <em>Verraaiers</em> (2013), resonate thematically and aesthetically with Thomas Elsaesser’s notion of post-heroic cinema. While a number of pre-1994 Afrikaans-language films celebrated&nbsp; Afrikaner nationalism as personified in the figure of the hero, this article positions and uses Elsaesser’s post-heroism as a critical lens through which to demonstrate the ways in which these two films call attention to a post-hero whose actions and behaviour (often inadvertently) renders a productive renegotiating of the hero figure within a post-apartheid cinematic context. To supplement Elsaesser, we also draw on Johan Degenaar’s writing on political pluralism. In this article, we find that an Elsaesserian post-heroic approach to the two films allows the following constitutive components of post-heroic cinema to surface: atemporality as opposed to linear narrative time, parapraxis (productive failure) as opposed to traditional iterations of heroic acts and valour, and conceiving of the film screen as a surface in flux as opposed to the screen as a mirror. The article’s contribution to existing scholarship on contemporary Afrikaans-language cinema is three-fold: it is the first to utilise an Elsaesserian approach to Afrikaans film and as such to foreground and investigate the figure of the post-hero, it provides a critical account of two independently-made feature films that remain underresearched in current South African film scholarship, and it contributes to discourse around the ways in which popular media inform and respond to the renegotiation of Afrikaans (or Afrikaans) identity.</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 “It’s easy to just be normal”: Performative masculinities in <i>Die stropers</i> 2023-09-13T05:23:36+00:00 Danel Boshoff Annemi Conradie <p>In post-apartheid South Africa, the representation of queer identities in Afrikaans-language films have become increasingly prominent. However, many such films focus on past contexts or serve as comedic depictions, failing to confront the complex issues faced by individuals in contemporary Afrikaner communities. Etienne Kallos’s 2018 coming-of-age film Die stropers (<em>The Harvesters</em>) candidly depicts the challenges faced by adoptive brothers Janno and Pieter, who must negotiate desire and gender in a conservative, Afrikaans farming community. Drawing on Judith Butler’s notion of gender performativity and recent reformulations of Raewyn Connell’s notion of hegemonic masculinity, we examine the discursive (re)production of hegemonic Afrikaner masculinity within the boys’ adoptive family and community. We investigate how the protagonists strategically deploy performative masculinities to achieve belonging and acceptance as heirs, even if the ideals they emulate oppress and restrict them. We propose that the protagonists’ strategic deployment of performative masculinities represents their claiming of agency in contexts where gender and desire are aggressively policed. Furthermore, their navigation of hegemony in this white, Afrikaner community through resistance and consent might point to a claiming of space for queer identities and the continued transmutation of hegemonic masculinity.</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 New Afrikaans-language cinemas / Nuwe Afrikaanstalige rolprentrigtings 2023-09-12T16:25:34+00:00 Chris Broodryk <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 African(a) Queer Presence: Ethics and Politics of Negotiation 2023-09-13T05:40:19+00:00 Wesley Paul Macheso <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Mobilities and Cosmopolitanisms in African and Afrodiasporic Literatures. 2023-09-13T05:45:23+00:00 Polo B. Moji <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Can Themba: The Making and Breaking of the Intellectual Tsotsi, a Biography. 2023-09-13T15:57:45+00:00 Luan Staphorst <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Foundational African Writers: Peter Abrahams, Noni Jabavu, Sibusiso Nyembezi & Es’kia Mphahlele 2023-09-13T16:07:55+00:00 Hein Willemse <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Lesser Violence: Volume 1. 2023-09-13T16:14:23+00:00 Gorata Chengeta <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Bot. 2023-09-13T16:20:41+00:00 Carmi Britz <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Die kapokdokter 2023-09-13T16:25:49+00:00 Reinhardt Fourie <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Doolhof 2023-09-13T16:30:30+00:00 Shawna-Leze Meiring <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Hou jou oë oop 2023-09-13T16:36:04+00:00 Frederick Botha <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Eugene 2023-09-13T16:54:22+00:00 Dewald Koen <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Moederland. 2023-09-14T05:01:20+00:00 Elzette Steenkamp <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Op pad na Moormansgat 2023-09-14T05:03:22+00:00 Elkarien Fourie <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Don Jadu 2023-09-14T05:05:26+00:00 Sindiwe Magona <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Narreskip 2023-09-14T05:08:22+00:00 Marius Crous <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Plunder 2023-09-14T05:10:17+00:00 Ihette Senekal <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 Sanctum. 2023-09-14T05:12:13+00:00 Neil Cochrane <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023 an/other pastoral 2023-09-14T05:14:21+00:00 Pieter Odendaal <p>No abstract</p> 2023-09-14T00:00:00+00:00 Copyright (c) 2023