Acorn girl
- Authors: Kukard, Gina
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96969 , vital:31382
- Description: My thesis encapsulates a coming-of-age novella told through short vignettes of flash fiction and prose poetry. It makes use of the distillation and fragmentation of these forms to explore themes such as the nature of violation, and works between genres to engage the tension between inner and outer realities, and the blurred lines between passivity and resistance. Moving fluidly between memoir and fiction and set in modern day South Africa, it draws inspiration from both my own experiences and the writing of others, especially Raul Zurita’s resistance poetry in Dreams for Kurosawa, Claudia Rankine’s subtle absurdity in Don’t Let Me Be Lonely, bizarro elements as seen in Athena Villaverde’s The Clockwork Girl and the use of physicality to explore the emotional world, as seen in Shelley Jackson’s The Melancholy of Anatomy: Stories.
- Full Text:
- Date Issued: 2019
- Authors: Kukard, Gina
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96969 , vital:31382
- Description: My thesis encapsulates a coming-of-age novella told through short vignettes of flash fiction and prose poetry. It makes use of the distillation and fragmentation of these forms to explore themes such as the nature of violation, and works between genres to engage the tension between inner and outer realities, and the blurred lines between passivity and resistance. Moving fluidly between memoir and fiction and set in modern day South Africa, it draws inspiration from both my own experiences and the writing of others, especially Raul Zurita’s resistance poetry in Dreams for Kurosawa, Claudia Rankine’s subtle absurdity in Don’t Let Me Be Lonely, bizarro elements as seen in Athena Villaverde’s The Clockwork Girl and the use of physicality to explore the emotional world, as seen in Shelley Jackson’s The Melancholy of Anatomy: Stories.
- Full Text:
- Date Issued: 2019
Black forest
- Authors: Sachikonye, Tsitsi S A
- Date: 2019
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92759 , vital:30745
- Full Text:
- Date Issued: 2019
- Authors: Sachikonye, Tsitsi S A
- Date: 2019
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92759 , vital:30745
- Full Text:
- Date Issued: 2019
Ekhakhamela
- Authors: Machi, Nolwazi Fortunate
- Date: 2019
- Subjects: Xhosa poetry
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76332 , vital:30549
- Description: My collection of isiZulu poems is based on my rural and traditional upbringing. It draws on language and customs which have shaped and defined me as a woman born in the South of KwaZulu-Natal. I write about how I have to conform to both a rural life and an urban one that forms my second world. I find myself having to switch between these lives, which benefits me a lot, and I feel a responsibility to bring hope to young people especially from the rural side, that nothing is wrong with being who and where they are. My writing is influenced by authors such as Nazim Hikmet, Mafika Gwala, and Mazisi Kunene who encourages black writers to write about their own customs and stories rather than embracing ‘western civilization’ and foreign languages. I also like the contemporary subjects and the humour in Dr Nakanjani Sibiya’s work.
- Full Text:
- Date Issued: 2019
- Authors: Machi, Nolwazi Fortunate
- Date: 2019
- Subjects: Xhosa poetry
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/76332 , vital:30549
- Description: My collection of isiZulu poems is based on my rural and traditional upbringing. It draws on language and customs which have shaped and defined me as a woman born in the South of KwaZulu-Natal. I write about how I have to conform to both a rural life and an urban one that forms my second world. I find myself having to switch between these lives, which benefits me a lot, and I feel a responsibility to bring hope to young people especially from the rural side, that nothing is wrong with being who and where they are. My writing is influenced by authors such as Nazim Hikmet, Mafika Gwala, and Mazisi Kunene who encourages black writers to write about their own customs and stories rather than embracing ‘western civilization’ and foreign languages. I also like the contemporary subjects and the humour in Dr Nakanjani Sibiya’s work.
- Full Text:
- Date Issued: 2019
Memory of a dead river
- Authors: Mayo, Thandokazi
- Date: 2019
- Subjects: Short stories, South African (English) , South African (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92364 , vital:30716
- Description: My thesis is a collection of short stories that tap into cultural, literal references, both oral andvisual, and also draws on images I have seen and have struggled to get out of my head. The collection draws on Alissa Nutting’s distorted realism and Noy Holland’s evocative imagery to make even the most mundane things feel like something out of the ordinary. An unreal way of looking at real things. The stories are interrelated only insofar as they seek to normalise or neutralise the peculiarity of society’s seemingly outdated people who come from the rural areas. Their faces, their stories, their general mannerisms. To capture the tone of their emotions, their small plights, and to give an in-depth look into how where you are affects the very shape of your face.
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- Date Issued: 2019
- Authors: Mayo, Thandokazi
- Date: 2019
- Subjects: Short stories, South African (English) , South African (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92364 , vital:30716
- Description: My thesis is a collection of short stories that tap into cultural, literal references, both oral andvisual, and also draws on images I have seen and have struggled to get out of my head. The collection draws on Alissa Nutting’s distorted realism and Noy Holland’s evocative imagery to make even the most mundane things feel like something out of the ordinary. An unreal way of looking at real things. The stories are interrelated only insofar as they seek to normalise or neutralise the peculiarity of society’s seemingly outdated people who come from the rural areas. Their faces, their stories, their general mannerisms. To capture the tone of their emotions, their small plights, and to give an in-depth look into how where you are affects the very shape of your face.
- Full Text:
- Date Issued: 2019
We are yet to kill the cattle
- Authors: Orleyn, Rithuli
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92769 , vital:30746
- Description: My novella comprises inter-linked fragments that combine fiction, autobiography and creative non-fiction. Ranging fluidly from pre-colonial times to the present, and largely set in South Africa but cutting across the native/diaspora divide, the project draws on historical and archival documents, found and fictive letters, oral testimonies and inadmissible facts, mythologies, ghost voices and fictional speculation. It uses the slim slippery voice of autobiography to cast a big shadow of doubt on the certitudes of authorial truth, harnessing multiple voices to disorient settled notions about self/other, black/white and man/machine. My intention is to explore possibilities of being that exceed the human. I draw inspiration from Zoë Wicomb's novella, You Can’t Get Lost In Cape Town, Mariama Ba’s So Long a Letter and Mikhail Shishkin’s letter-narratives in Maidenhair. The narrative voice that threads stand-alone fragments seeks to express the demotics of subjects in search of a language for their unlanguaged ‘grammar of suffering’.
- Full Text:
- Date Issued: 2019
- Authors: Orleyn, Rithuli
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92769 , vital:30746
- Description: My novella comprises inter-linked fragments that combine fiction, autobiography and creative non-fiction. Ranging fluidly from pre-colonial times to the present, and largely set in South Africa but cutting across the native/diaspora divide, the project draws on historical and archival documents, found and fictive letters, oral testimonies and inadmissible facts, mythologies, ghost voices and fictional speculation. It uses the slim slippery voice of autobiography to cast a big shadow of doubt on the certitudes of authorial truth, harnessing multiple voices to disorient settled notions about self/other, black/white and man/machine. My intention is to explore possibilities of being that exceed the human. I draw inspiration from Zoë Wicomb's novella, You Can’t Get Lost In Cape Town, Mariama Ba’s So Long a Letter and Mikhail Shishkin’s letter-narratives in Maidenhair. The narrative voice that threads stand-alone fragments seeks to express the demotics of subjects in search of a language for their unlanguaged ‘grammar of suffering’.
- Full Text:
- Date Issued: 2019
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