In this article, I analyse the thematization of alienation in the poetry of the Muvenḓa poet, playwright, and scholar Ntshavheni Alfred Milubi. Milubi ascribes people’s abandonment of moral values to their perpetual frustrations, herein described as alienation. Reference is made to the crumbling African traditional institutions, which, in the past, seemingly functioned as havens for the rehabilitation of alienated individuals in African communities. These institutions are shown to be triggering alienation in the modernising and globalising space, seemingly with no room for recuperation unless one heeds the poet’s clarion calls. I restrict my analysis of Milubi’s poetry only to social and cosmic alienation, guided by a fixed set of themes, namely, from society, a romantic lover, and God, respectively. The article represents the idea that African-language literatures provide insights into how the indigenes have grappled with the interface between tradition and modernity. The three forms of alienation as treated by Milubi serve as a representative sample of how Tshivenḓa poetry in particular and African-language literatures in general often register subaltern voices and the ways in which they inscribe their experiences to explain their relationship with God or god(s), society, and intimate partners, among others. This trifocal relationship is essential to the Vhavenḓa and other African communities because it reveals their concept of cosmology, community, and intimacy.
{"title":"Alienation in Ntshavheni Alfred Milubi’s poetry","authors":"Moffat Sebola","doi":"10.17159/tl.v60i2.13893","DOIUrl":"https://doi.org/10.17159/tl.v60i2.13893","url":null,"abstract":"In this article, I analyse the thematization of alienation in the poetry of the Muvenḓa poet, playwright, and scholar Ntshavheni Alfred Milubi. Milubi ascribes people’s abandonment of moral values to their perpetual frustrations, herein described as alienation. Reference is made to the crumbling African traditional institutions, which, in the past, seemingly functioned as havens for the rehabilitation of alienated individuals in African communities. These institutions are shown to be triggering alienation in the modernising and globalising space, seemingly with no room for recuperation unless one heeds the poet’s clarion calls. I restrict my analysis of Milubi’s poetry only to social and cosmic alienation, guided by a fixed set of themes, namely, from society, a romantic lover, and God, respectively. The article represents the idea that African-language literatures provide insights into how the indigenes have grappled with the interface between tradition and modernity. The three forms of alienation as treated by Milubi serve as a representative sample of how Tshivenḓa poetry in particular and African-language literatures in general often register subaltern voices and the ways in which they inscribe their experiences to explain their relationship with God or god(s), society, and intimate partners, among others. This trifocal relationship is essential to the Vhavenḓa and other African communities because it reveals their concept of cosmology, community, and intimacy.","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44026215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Most commentaries on Wole Soyinka’s works across genres engage with his constant invocation of cultural tropes, most of which revolve around Ogun, his self-proclaimed muse. In this article, I highlight the centrality of religious myths and metaphors in a selection of Soyinka’s poems, namely, “Idanre” in Idanre and Other Poems (1967), Ogun Abibman (1976), “Joseph”, one of the “Four Archetypes” poems in A Shuttle in the Crypt (1972), “Mandela’s Earth” in Mandela’s Earth and Other Poems (1989), and selected poems under the sections “The Sign of the Zealot” and “Elegies” in Samarkand and Other Markets I Have Known (2002). While identifying the limitations of the poet’s Ogun trope, I dissect the centrality of faith issues in Soyinka’s poetry into two slants. The first, which is seen as encompassing his widely explored Ogun trope, is his use of religious metaphors to intervene on the dystopias in his postcolonial space. The second is his concern with the crisis of faith, a menace that has continued to threaten global peace. After drawing copious examples of religious tropes from Soyinka’s selected poems, I focus on the attention given by the poet to crisis in faith relationships. The copious examples of Soyinka’s use of religious metaphors lead to the conclusion, at the end of the paper, that access to Soyinka’s poetry is best achieved by paying attention to his religious metaphors. I also identify Soyinka’s antidote for the crisis of faith which lies in his prescription of tolerance and respect for humanist ideals.
{"title":"Religious metaphors and the crisis of faith in Wole Soyinka’s poetry","authors":"K. Afolayan","doi":"10.17159/tl.v60i2.13033","DOIUrl":"https://doi.org/10.17159/tl.v60i2.13033","url":null,"abstract":"Most commentaries on Wole Soyinka’s works across genres engage with his constant invocation of cultural tropes, most of which revolve around Ogun, his self-proclaimed muse. In this article, I highlight the centrality of religious myths and metaphors in a selection of Soyinka’s poems, namely, “Idanre” in Idanre and Other Poems (1967), Ogun Abibman (1976), “Joseph”, one of the “Four Archetypes” poems in A Shuttle in the Crypt (1972), “Mandela’s Earth” in Mandela’s Earth and Other Poems (1989), and selected poems under the sections “The Sign of the Zealot” and “Elegies” in Samarkand and Other Markets I Have Known (2002). While identifying the limitations of the poet’s Ogun trope, I dissect the centrality of faith issues in Soyinka’s poetry into two slants. The first, which is seen as encompassing his widely explored Ogun trope, is his use of religious metaphors to intervene on the dystopias in his postcolonial space. The second is his concern with the crisis of faith, a menace that has continued to threaten global peace. After drawing copious examples of religious tropes from Soyinka’s selected poems, I focus on the attention given by the poet to crisis in faith relationships. The copious examples of Soyinka’s use of religious metaphors lead to the conclusion, at the end of the paper, that access to Soyinka’s poetry is best achieved by paying attention to his religious metaphors. I also identify Soyinka’s antidote for the crisis of faith which lies in his prescription of tolerance and respect for humanist ideals.","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46659726","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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, Stuur groete aan Mannetjies Roux (2013) and Verraaiers (2013), resonate thematically and aesthetically with Thomas Elsaesser’s notion of post-heroic cinema. While a number of pre-1994 Afrikaans-language films celebrated 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 under-researched 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.
关于阿非利卡民族主义和南非(阿非利卡语)电影制作之间的联系，有很多学术研究。在南非荷兰语或阿非利卡民族主义在大众想象中的持续后种族隔离重新谈判的背景下，在本文中，我们认为来自制作公司Bosbok Ses Films的两部故事片历史剧，Stuur groete aan Mannetjies Roux(2013)和Verraaiers(2013)，在主题和美学上与托马斯·埃尔萨塞尔的后英雄电影概念产生共鸣。1994年之前的许多阿非利卡语电影都将阿非利卡民族主义视为英雄形象的化身，而本文则将埃尔萨塞尔的后英雄主义作为一个批判性的镜头，通过这两个镜头来展示这两部电影如何引起人们对后英雄的关注，他们的行动和行为(通常是无意的)在后种族隔离电影背景下对英雄形象进行了富有成效的重新谈判。为了补充Elsaesser，我们还引用了Johan Degenaar关于政治多元化的著作。在本文中，我们发现，对这两部电影的埃尔萨塞尔式后英雄主义方法允许后英雄主义电影的以下构成要素浮出水面:与线性叙事时间相反的非时间性，与英雄行为和英勇的传统迭代相反的parapraxx(生产失败)，以及将电影屏幕视为不断变化的表面，而不是将屏幕视为镜子。这篇文章对当代南非荷兰语电影的现有学术贡献有三个方面:这是第一部利用Elsaesserian方法来研究南非荷兰语电影的作品，并以此来展望和调查后英雄的形象，它提供了两部独立制作的故事片的批判性描述，这些故事片在当前的南非电影学术研究中仍未得到充分的研究，它有助于围绕大众媒体告知和回应南非荷兰语(或南非荷兰语)身份重新谈判的方式进行讨论。
{"title":"The post-heroism of Stuur Groete aan Mannetjies Roux and Verraaiers","authors":"Chris Broodryk, Daniel A. Britz","doi":"10.17159/tl.v60i1.15059","DOIUrl":"https://doi.org/10.17159/tl.v60i1.15059","url":null,"abstract":"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, Stuur groete aan Mannetjies Roux (2013) and Verraaiers (2013), resonate thematically and aesthetically with Thomas Elsaesser’s notion of post-heroic cinema. While a number of pre-1994 Afrikaans-language films celebrated 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 under-researched 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.","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46107216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Oliver Hermanus’s Skoonheid 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 Skoonheid 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 Skoonheid’s 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 Skoonheid within the purview of slow cinema and beyond a representation of queer sexuality. This analysis reveals that Skoonheid 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. Skoonheid’s contemplative approach is informed by the film’s processes and experiences of alienation, incommunicability, and existentialism.
Oliver Hermanus的《Skoonheid》经常被解读为南非酷儿现实和政治进步的代表，无论是在种族隔离制度废除期间还是之后。因此，Hermanus对《Skoonheid》中慢美学的贡献在更广泛的慢电影背景下被忽视了。在这篇文章中，我研究了赫曼努斯如何通过慢电影惯例，敦促观众思考对人类行为至关重要的问题，从而展示了斯库恩海德沉思的品质。借鉴Ira Jaffe的极简主义表达概念，Emre Çağlayan的慢电影诗学，以及Thomas Elsaesser对慢电影的优点和需求的观察，我在慢电影的范围内分析了Skoonheid的叙事和美学策略，超越了对酷儿性行为的表现。这一分析表明，斯库恩海德代表了一种叙事形式的表达模式，与慢电影不同，但又与慢电影对话，因为它强调沉思。首先，赫曼努斯找到了一种方式，通过电影的沉思方式来证明当代社会中一些最紧迫的问题，这将观众的注意力吸引到人类经验的神秘性和模糊性上。斯库恩海德的沉思方式是通过电影的过程和异化、不可沟通和存在主义的经历来传达的。
{"title":"Slow beauty: Refocusing Oliver Hermanus’s Skoonheid through a slow cinema lens","authors":"Emma Wanyonyi","doi":"10.17159/tl.v60i1.15109","DOIUrl":"https://doi.org/10.17159/tl.v60i1.15109","url":null,"abstract":"Oliver Hermanus’s Skoonheid 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 Skoonheid 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 Skoonheid’s 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 Skoonheid within the purview of slow cinema and beyond a representation of queer sexuality. This analysis reveals that Skoonheid 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. Skoonheid’s contemplative approach is informed by the film’s processes and experiences of alienation, incommunicability, and existentialism.","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48282288","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Introduction This issue of Tydskrif vir Letterkunde offers four investigations of contemporary Afrikaans-language cinemas. The emphasis in this issue is on ‘the new’: new ways to interrogate Afrikaans-language films, or Afrikaans-language films that in a new way deal with themes or content that had not been explicitly addressed in Afrikaans-language cinema. Such is the variation of the themes and aesthetics of contemporary Afrikaans-language filmmaking that it is best to refer to Afrikaans-language cinemas in the plural. This plurality confirms the degrees of range and differences––in themes, aesthetics, intended audiences––that constitute contemporary Afrikaans-language filmmaking. Keyan Tomaselli is particularly astute about the use of the plural ‘cinemas’ instead of the singular ‘cinema’, where cinemas “implies the study of form, political economy and the regional, national and local historical contexts a within which industries and their associated productions practices and aesthetic regimes are located” (“Africa, Film Theory and Globalization: Reflections on the First Ten Years of the ‘Journal of African Cinemas’” 18). Such an understanding of cinemas foregrounds the multiplicity of Africa and Africans “exuding thousands of identities, languages, ethnicities and societies exhibiting myriad values” (“Africa, Film Theory and Globalization” 18). The variation and difference that Tomaselli refers to above also apply to the context of the smaller, yet dynamic, Afrikaans-language film industry, which has increasingly shed a historically dominant conservatism (of politics, gender and sex) in favour of more progressive approaches to and representations of being and living in South Africa. Some contemporary Afrikaans-language films are increasingly focused on the socio-political forces that shape life in South Africa, and that inform the identities of various Afrikaans-speaking individuals. Consider this limited sample of Afrikaans-language films from 2016 to 2020: the crime drama Noem my Skollie (2016); the historical drama Krotoa (2017), with its critical lens on South Africans history and race; the social realism of Tess (2017); the queer dynamics of Kanarie (2018), Die stropers (2019) and Moffie (2019); the celebration of individual liberation and actualisation in Wonderlus (2018); the politically incisive science-fiction Wesens (2020) with its emphasis on emergent technology in place and mythmaking. These films often provide a reckoning with the past; give voice to marginalized communities (see also the socio-politically grounded thriller Nommer 37); promise aesthetic innovation; and display a considerable concern with gender, specifically masculinity. Taking the above titles into account, one might propose an Afrikaans-language queer cinema, for instance, as well as an Afrikaans cinema of critical historical retrospection.
这期的Tydskrif vir Letterkunde提供了四个当代南非荷兰语电影院的调查。本期的重点是“新”:审视南非荷兰语电影的新方法，或者以新方式处理南非荷兰语电影中没有明确处理的主题或内容的南非荷兰语电影。这就是当代南非荷兰语电影制作的主题和美学的变化，最好用复数来指代南非荷兰语电影院。这种多元性证实了当代南非荷兰语电影制作在主题、美学、目标受众等方面的范围和差异程度。Keyan Tomaselli在使用复数“电影院”而不是单数“电影院”方面特别精明，其中电影院“意味着对形式，政治经济和区域，国家和地方历史背景的研究，其中工业及其相关的制作实践和美学制度位于其中”(“非洲，电影理论和全球化:对“非洲电影杂志”第一个十年的反思”18)。这种对电影院的理解凸显了非洲的多样性，非洲人“散发着成千上万的身份、语言、种族和社会，展示着无数的价值观”(“非洲、电影理论和全球化”18)。托马塞利上面提到的变化和差异也适用于规模较小但充满活力的南非荷兰语电影行业，该行业越来越多地摆脱了历史上占主导地位的保守主义(政治、性别和性)，转而采用更进步的方法和方式来表现在南非的存在和生活。一些当代南非荷兰语电影越来越关注社会政治力量，这些力量塑造了南非的生活，并告知了讲南非荷兰语的各种个人的身份。考虑一下2016年至2020年有限的南非荷兰语电影样本:犯罪片《我的罪名》(2016);历史剧《克罗托亚》(Krotoa, 2017)，以批判的视角审视南非的历史和种族;《苔丝》的社会现实主义(2017);《卡娜丽》(2018)、《死狗狗》(2019)和《莫菲》(2019)的酷儿动态;《仙境》(2018)中对个人解放和实现的庆祝;政治敏锐的科幻小说《格林斯》(2020)，强调新兴技术的到位和神话的制造。这些电影通常提供了对过去的清算;为边缘化群体发声(参见基于社会政治的惊悚片《Nommer 37》);承诺美学创新;并表现出对性别的高度关注，尤其是男性气质。考虑到上述标题，人们可能会提出一个南非荷兰语的酷儿电影，例如，以及南非荷兰语的批判性历史回顾电影。
{"title":"New Afrikaans-language cinemas / Nuwe Afrikaanstalige rolprentrigtings","authors":"Chris Broodryk","doi":"10.17159/tl.v60i1.15918","DOIUrl":"https://doi.org/10.17159/tl.v60i1.15918","url":null,"abstract":"Introduction This issue of Tydskrif vir Letterkunde offers four investigations of contemporary Afrikaans-language cinemas. The emphasis in this issue is on ‘the new’: new ways to interrogate Afrikaans-language films, or Afrikaans-language films that in a new way deal with themes or content that had not been explicitly addressed in Afrikaans-language cinema. Such is the variation of the themes and aesthetics of contemporary Afrikaans-language filmmaking that it is best to refer to Afrikaans-language cinemas in the plural. This plurality confirms the degrees of range and differences––in themes, aesthetics, intended audiences––that constitute contemporary Afrikaans-language filmmaking. Keyan Tomaselli is particularly astute about the use of the plural ‘cinemas’ instead of the singular ‘cinema’, where cinemas “implies the study of form, political economy and the regional, national and local historical contexts a within which industries and their associated productions practices and aesthetic regimes are located” (“Africa, Film Theory and Globalization: Reflections on the First Ten Years of the ‘Journal of African Cinemas’” 18). Such an understanding of cinemas foregrounds the multiplicity of Africa and Africans “exuding thousands of identities, languages, ethnicities and societies exhibiting myriad values” (“Africa, Film Theory and Globalization” 18). The variation and difference that Tomaselli refers to above also apply to the context of the smaller, yet dynamic, Afrikaans-language film industry, which has increasingly shed a historically dominant conservatism (of politics, gender and sex) in favour of more progressive approaches to and representations of being and living in South Africa. Some contemporary Afrikaans-language films are increasingly focused on the socio-political forces that shape life in South Africa, and that inform the identities of various Afrikaans-speaking individuals. Consider this limited sample of Afrikaans-language films from 2016 to 2020: the crime drama Noem my Skollie (2016); the historical drama Krotoa (2017), with its critical lens on South Africans history and race; the social realism of Tess (2017); the queer dynamics of Kanarie (2018), Die stropers (2019) and Moffie (2019); the celebration of individual liberation and actualisation in Wonderlus (2018); the politically incisive science-fiction Wesens (2020) with its emphasis on emergent technology in place and mythmaking. These films often provide a reckoning with the past; give voice to marginalized communities (see also the socio-politically grounded thriller Nommer 37); promise aesthetic innovation; and display a considerable concern with gender, specifically masculinity. Taking the above titles into account, one might propose an Afrikaans-language queer cinema, for instance, as well as an Afrikaans cinema of critical historical retrospection.","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42824304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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 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: Kanarie and Skeef. The two films represent different filmic genres with Kanarie a fictional feature film and Skeef 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.
{"title":"Queer, Christian and Afrikaans: The libidinal, sexuality and religion in Kanarie and Skeef","authors":"G. Ncube","doi":"10.17159/tl.v60i1.14054","DOIUrl":"https://doi.org/10.17159/tl.v60i1.14054","url":null,"abstract":"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 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: Kanarie and Skeef. The two films represent different filmic genres with Kanarie a fictional feature film and Skeef 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.","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45995228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ons het ver […] versit: Gedigte, toesprake, onderhoude, met ’n essay deur Hein Willemse (Patrick J. Petersen)","authors":"L. Viljoen","doi":"10.17159/tl.v59i2.14227","DOIUrl":"https://doi.org/10.17159/tl.v59i2.14227","url":null,"abstract":"","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48331760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Unam Wena (Mthunzikazi A. Mbungwana)","authors":"Mantoa Motinyane","doi":"10.17159/tl.v59i2.14233","DOIUrl":"https://doi.org/10.17159/tl.v59i2.14233","url":null,"abstract":"","PeriodicalId":41787,"journal":{"name":"Tydskrif vir letterkunde","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42258039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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