Tydskrif vir letterkunde https://www.ajol.info/index.php/tvl <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="http://journals.assaf.org.za/tvl" href="http://journals.assaf.org.za/tvl" target="_blank" rel="noopener">http://journals.assaf.org.za/tvl</a></p> en-US The copyright for material published in <em>Tydskrif vir letterkunde</em> rests with the authors. jacomien.vanniekerk@up.ac.za (Dr Jacomien van Niekerk) tercia.klopper@up.ac.za (Mrs Tercia Klopper) Thu, 14 Sep 2023 05:30:11 +0000 OJS http://blogs.law.harvard.edu/tech/rss 60 Desmond T. Cole (1922—2018) https://www.ajol.info/index.php/tvl/article/view/255107 <p>No abstract</p> Andrew van der Spuy Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255107 Thu, 14 Sep 2023 00:00:00 +0000 Dolf van Niekerk (1929—2022) https://www.ajol.info/index.php/tvl/article/view/255108 <p>No abstract</p> Willie Burger Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255108 Thu, 14 Sep 2023 00:00:00 +0000 Dolf van Niekerk (1929—2022) https://www.ajol.info/index.php/tvl/article/view/255109 <p>No abstract</p> Joan Hambidge Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255109 Thu, 14 Sep 2023 00:00:00 +0000 New Afrikaans-language cinemas / Nuwe Afrikaanstalige rolprentrigtings https://www.ajol.info/index.php/tvl/article/view/254981 <p>No abstract</p> Chris Broodryk Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/254981 Thu, 14 Sep 2023 00:00:00 +0000 African(a) Queer Presence: Ethics and Politics of Negotiation https://www.ajol.info/index.php/tvl/article/view/255000 <p>No abstract</p> Wesley Paul Macheso Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255000 Thu, 14 Sep 2023 00:00:00 +0000 Mobilities and Cosmopolitanisms in African and Afrodiasporic Literatures. https://www.ajol.info/index.php/tvl/article/view/255003 <p>No abstract</p> Polo B. Moji Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255003 Thu, 14 Sep 2023 00:00:00 +0000 Can Themba: The Making and Breaking of the Intellectual Tsotsi, a Biography. https://www.ajol.info/index.php/tvl/article/view/255090 <p>No abstract</p> Luan Staphorst Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255090 Thu, 14 Sep 2023 00:00:00 +0000 Foundational African Writers: Peter Abrahams, Noni Jabavu, Sibusiso Nyembezi & Es’kia Mphahlele https://www.ajol.info/index.php/tvl/article/view/255092 <p>No abstract</p> Hein Willemse Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255092 Thu, 14 Sep 2023 00:00:00 +0000 Lesser Violence: Volume 1. https://www.ajol.info/index.php/tvl/article/view/255093 <p>No abstract</p> Gorata Chengeta Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255093 Thu, 14 Sep 2023 00:00:00 +0000 Bot. https://www.ajol.info/index.php/tvl/article/view/255094 <p>No abstract</p> Carmi Britz Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255094 Thu, 14 Sep 2023 00:00:00 +0000 Die kapokdokter https://www.ajol.info/index.php/tvl/article/view/255095 <p>No abstract</p> Reinhardt Fourie Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255095 Thu, 14 Sep 2023 00:00:00 +0000 Doolhof https://www.ajol.info/index.php/tvl/article/view/255096 <p>No abstract</p> Shawna-Leze Meiring Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255096 Thu, 14 Sep 2023 00:00:00 +0000 Hou jou oë oop https://www.ajol.info/index.php/tvl/article/view/255097 <p>No abstract</p> Frederick Botha Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255097 Thu, 14 Sep 2023 00:00:00 +0000 Eugene https://www.ajol.info/index.php/tvl/article/view/255098 <p>No abstract</p> Dewald Koen Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255098 Thu, 14 Sep 2023 00:00:00 +0000 Moederland. https://www.ajol.info/index.php/tvl/article/view/255100 <p>No abstract</p> Elzette Steenkamp Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255100 Thu, 14 Sep 2023 00:00:00 +0000 Op pad na Moormansgat https://www.ajol.info/index.php/tvl/article/view/255101 <p>No abstract</p> Elkarien Fourie Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255101 Thu, 14 Sep 2023 00:00:00 +0000 Don Jadu https://www.ajol.info/index.php/tvl/article/view/255102 <p>No abstract</p> Sindiwe Magona Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255102 Thu, 14 Sep 2023 00:00:00 +0000 Narreskip https://www.ajol.info/index.php/tvl/article/view/255103 <p>No abstract</p> Marius Crous Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255103 Thu, 14 Sep 2023 00:00:00 +0000 Plunder https://www.ajol.info/index.php/tvl/article/view/255104 <p>No abstract</p> Ihette Senekal Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255104 Thu, 14 Sep 2023 00:00:00 +0000 Sanctum. https://www.ajol.info/index.php/tvl/article/view/255105 <p>No abstract</p> Neil Cochrane Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255105 Thu, 14 Sep 2023 00:00:00 +0000 an/other pastoral https://www.ajol.info/index.php/tvl/article/view/255106 <p>No abstract</p> Pieter Odendaal Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/255106 Thu, 14 Sep 2023 00:00:00 +0000 Slow beauty: Refocusing Oliver Hermanus’s <i>Skoonheid</i> through a slow cinema lens https://www.ajol.info/index.php/tvl/article/view/254982 <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> Emmanuel Wanyonyi Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/254982 Thu, 14 Sep 2023 00:00:00 +0000 Queer, Christian and Afrikaans: the libidinal, sexuality and religion in <i>Kanarie</i> and <i>Skeef</i> https://www.ajol.info/index.php/tvl/article/view/254993 <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> Gibson Ncube Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/254993 Thu, 14 Sep 2023 00:00:00 +0000 The post-heroism of <i>Stuur groete aan Mannetjies Roux</i> and <i>Verraaiers</i.> https://www.ajol.info/index.php/tvl/article/view/254994 <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> Danielle Britz, Chris Broodryk Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/254994 Thu, 14 Sep 2023 00:00:00 +0000 “It’s easy to just be normal”: Performative masculinities in <i>Die stropers</i> https://www.ajol.info/index.php/tvl/article/view/254996 <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> Danel Boshoff, Annemi Conradie Copyright (c) 2023 https://www.ajol.info/index.php/tvl/article/view/254996 Thu, 14 Sep 2023 00:00:00 +0000