White Writing: On the Culture of Letters in South Africa

Coetzee, J. M.; Bethlehem, Louise; Dovey, Teresa

doi:10.2307/1772838

Cited by 48 publications

(46 citation statements)

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“…We are reminded here of Coetzee's (1988) by actor-network theory (they call theirs an ANT'ish study, and perhaps the study of new sites/sights requires the not-quite-fixed methodologies of '-ish'). They describe how an architecturally state-of-the-art HQ becomes a macro-actor enabling senior managers "to redefine themselves as mobile, flexible and active".…”

Section: Uncanny Beasts: Introducing the Papersmentioning

confidence: 99%

New Sites/Sights: Exploring the White Spaces of Organization

O'Doherty

Cock

Rehn

et al. 2013

Organization Studies

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Section: Uncanny Beasts: Introducing the Papersmentioning

confidence: 99%

New Sites/Sights: Exploring the White Spaces of Organization

O'Doherty

Cock

Rehn

et al. 2013

Organization Studies

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“…The farm is not only space; it is place, conquered and civilised, giving one right of tenure and -because of lineal consciousness (cf. Coetzee 1985Coetzee , 1988) -an inalienable space that must be inherited successively by the eldest son. No wonder patriarchal values were dominant within this sub-genre; concretised by photographs of patriarchs, the naming of children according to decorum (the eldest son after his grandfather on father's side; the eldest daughter after her grandmother on mother's side), inherited objects like furniture and even graveyards where forebears were buried.…”

Section: The Afrikaans Plaasroman (Farm Novel) As a Seminal Literary mentioning

confidence: 99%

The indigenous Afrikaans film: Representation as a nationalistic endeavour

Coller

Jaarsveld

2018

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(2012) asserted in his overview of South African films that Afrikaans films, especially in their initial phase, unabashedly and predominantly served Afrikaner nationalism. This assertion is validated by the fact that a nationalistic endeavour in any colonised literature (and culture) is almost a sine qua non as Amuta (1989) and Ashcroft (1989) have explicated in their independent discussion of post-colonial literatures. Our assumption is that this model can mutatis mutandis be applied to the evolution of the Afrikaans film. Brink (1991) employed their theory in his own description of the evolution of Afrikaans literature. This model illustrates that the emancipation of a formerly colonised literature undergoes different stages. The initial stage is that of appropriation of the themes, models and even authors of the former colonial power. The second stage is that of an aggressive nationalism followed by a stage of (initial) emancipation, 'restructuring European "realities" in post-colonial terms, not simply by reversing the hierarchical order, but by interrogating the philosophical assumptions on which the order was based' (Ashcroft 1989:33).Although Amuta, Ashctroft and Brink in their wake only discern three stages, a final stage could be that of total emancipation where the initiative no longer lies with other literatures and cultures (and even the underlying philosophical assumptions), but where the own literary tradition is scrutinised, re-evaluated and even parodied. In the process, the historical past is re-assessed and laid to rest with far-reaching philosophical, ideological and poetical implications.

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“…1 J.M. Coetzee (1988) plaas Van den Heever se romans binne die maatskaplike situasie waarbinne dit ontstaan het en wys op die ideologiese onderbou van Van den Heever se plaasromans. In die tradisionele Afrikaanse plaasroman word die plaas nie net 'n ruimte waarbinne die karakters toevallig leef nie.…”

Section: Van Den Heever En Die Aktualiteitunclassified

“…Daar is in hierdie roman van die treffendste stukke oor die wroeging van 'n homoseksuele kind: "Hoekom het jy my gedrop toe ek myself in die hand begin neem het, toe jy merk ek hunker hotkant toe …?" (p. 182 (Coetzee, 1988). In sy outobiografiese werk Boyhood (Coetzee, 1998) skets hy sy jeugjare met 'n sekere verskeurdheid tussen Afrikaans en Engels.…”

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Die gesprek tussen C.M. van den Heever se werk en enkele moderne Suid-Afrikaanse romans

Coller

2003

Literator

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The discourse between Van den Heever’s work and a few modern Afrikaans novels

Many contemporary critics have castigated Van den Heever for what they allege is his dichotomy between realism and romanticism. But as J.M. Coetzee has indicated, there is in fact no dichotomy: Van den Heever’s portrayal of reality leads quite naturally to its interpretation.

This article assumes that Van den Heever’s works were rooted firmly in reality and were in effect early examples of littérature engagée. His approach has much to do with the seminal nature of his farm novels and explains the many intertextual allusions to them in modern Afrikaans novels

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White Writing: On the Culture of Letters in South Africa

Cited by 48 publications

References 0 publications

New Sites/Sights: Exploring the White Spaces of Organization

New Sites/Sights: Exploring the White Spaces of Organization

The indigenous Afrikaans film: Representation as a nationalistic endeavour

Die gesprek tussen C.M. van den Heever se werk en enkele moderne Suid-Afrikaanse romans

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