"My novel, Hill of Fools"
- Peteni, R L, Wright, Laurence
- Authors: Peteni, R L , Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7038 , http://hdl.handle.net/10962/d1007376 , http://hdl.handle.net/10520/EJC47869
- Description: preprint , R.L. Peteni - 'There is a tendency in human beings to pay no heed to events in small remote areas. They would rather concern themselves only with those events which make headlines, with political upheavals and industrial conflicts centred in large metropolitan regions. Yet there is always drama and human conflict in the humblest rural village. In selecting a pastoral theme and small fictitious villages in an obscure corner of Keiskammahoek as the setting of the novel, I had an ironic intention. Themes illustrated in these obscure villages would, I believed, have more universal application than they would if I had selected a larger centre, identifiable personages and known political trends. I did not want anybody to sit back, complacent, feeling that the spotlight was on Lennox Sebe’s Ciskei alone, or Kaiser Matanzima’s Transkei, or John Vorster’s apartheid South Africa. The spotlight is on the Ciskei, yes, on Transkei, on South Africa, on any other country where public life and personal relationships are bedevilled by tribalism or racialism or any form of sectionalism.
- Full Text:
- Date Issued: 2004
- Authors: Peteni, R L , Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7038 , http://hdl.handle.net/10962/d1007376 , http://hdl.handle.net/10520/EJC47869
- Description: preprint , R.L. Peteni - 'There is a tendency in human beings to pay no heed to events in small remote areas. They would rather concern themselves only with those events which make headlines, with political upheavals and industrial conflicts centred in large metropolitan regions. Yet there is always drama and human conflict in the humblest rural village. In selecting a pastoral theme and small fictitious villages in an obscure corner of Keiskammahoek as the setting of the novel, I had an ironic intention. Themes illustrated in these obscure villages would, I believed, have more universal application than they would if I had selected a larger centre, identifiable personages and known political trends. I did not want anybody to sit back, complacent, feeling that the spotlight was on Lennox Sebe’s Ciskei alone, or Kaiser Matanzima’s Transkei, or John Vorster’s apartheid South Africa. The spotlight is on the Ciskei, yes, on Transkei, on South Africa, on any other country where public life and personal relationships are bedevilled by tribalism or racialism or any form of sectionalism.
- Full Text:
- Date Issued: 2004
"Something rotten in this age of hope": Wesley Deintje directs The HamletMachine (Rhodes University Theatre, 28 September 2007)
- Authors: Wright, Laurence
- Date: 2008
- Language: English
- Type: Article
- Identifier: vital:7048 , http://hdl.handle.net/10962/d1007390
- Description: Heiner Müller’s most famous play (Die Hamletmaschine, 1977) has evolved into something of a familiar war-horse for student theatre. The United States in particular has taken to the work; indeed, it was meant in part for them: “Heil Coca-cola!” says the script. For today’s South African ears this has become, very aptly, “Hail the Rainbow Nation!” What young director can resist it? Only eight pages in extent, the sparse yet densely referential text offers unfettered scope for interpretation and contextualization. Sure, the original offered Muller’s despairing take on the collapse of western civilisation, typified in the East German predicament where intellectuals felt trapped between the total failure of ‘actually existing socialism’ – that ideological mirage – in the German Democratic Republic, and the horrors of emergent bandit capitalism presaging an uncomfortable future. But the spaces in the text are so capacious that almost any claim to climactic despair can be entertained: idiot consumerism, gender oppression and aggression, political treachery and malfeasance, fascism, existential angst, intellectual cowardice, the postmodern condition, the rejection of hope.
- Full Text:
- Date Issued: 2008
- Authors: Wright, Laurence
- Date: 2008
- Language: English
- Type: Article
- Identifier: vital:7048 , http://hdl.handle.net/10962/d1007390
- Description: Heiner Müller’s most famous play (Die Hamletmaschine, 1977) has evolved into something of a familiar war-horse for student theatre. The United States in particular has taken to the work; indeed, it was meant in part for them: “Heil Coca-cola!” says the script. For today’s South African ears this has become, very aptly, “Hail the Rainbow Nation!” What young director can resist it? Only eight pages in extent, the sparse yet densely referential text offers unfettered scope for interpretation and contextualization. Sure, the original offered Muller’s despairing take on the collapse of western civilisation, typified in the East German predicament where intellectuals felt trapped between the total failure of ‘actually existing socialism’ – that ideological mirage – in the German Democratic Republic, and the horrors of emergent bandit capitalism presaging an uncomfortable future. But the spaces in the text are so capacious that almost any claim to climactic despair can be entertained: idiot consumerism, gender oppression and aggression, political treachery and malfeasance, fascism, existential angst, intellectual cowardice, the postmodern condition, the rejection of hope.
- Full Text:
- Date Issued: 2008
'Iron on iron': modernism engaging apartheid in some South African railway poems
- Authors: Wright, Laurence
- Date: 2011
- Language: English
- Type: text , article
- Identifier: vital:7068 , http://hdl.handle.net/10962/d1007459 , https://doi.org/10.1080/00138398.2011.626177
- Description: preprint , Modernism tends to be criticised, internationally, as politically conservative. The objection is often valid, although the charge says little about the quality of artistic achievement involved. This article argues that the alliance between Modernism and political conservatism is by no means a necessary one, and that there are instances where modernist vision has been used to convey substantive political insight, effective social critique and solid resistance. To illustrate the contrast,the article juxtaposes the abstract Modernism associated with Ben Nicholson and World War 2, with a neglected strain of South African railway poetry which uses modernist techniques to effect a powerful critique of South Africa’s apartheid dispensation. The article sustains a distinction between universalising modernist art that requires ethical work from its audiences to achieve artistic completion, and art in which modernist vision performs the requisite ethical work within its own formal constraints. Four very different South African railway poems, by Dennis Brutus, John Hendrickse, Alan Paton, and Leonard Koza, are examined and contextualised to demonstrate ways in which a modernist vision has been used to portray the social disruptions caused by apartheid. Modernist techniques are used to turn railway experience into a metonym for massive social disruption,without betraying the social reality of the transport technology involved.
- Full Text:
- Date Issued: 2011
- Authors: Wright, Laurence
- Date: 2011
- Language: English
- Type: text , article
- Identifier: vital:7068 , http://hdl.handle.net/10962/d1007459 , https://doi.org/10.1080/00138398.2011.626177
- Description: preprint , Modernism tends to be criticised, internationally, as politically conservative. The objection is often valid, although the charge says little about the quality of artistic achievement involved. This article argues that the alliance between Modernism and political conservatism is by no means a necessary one, and that there are instances where modernist vision has been used to convey substantive political insight, effective social critique and solid resistance. To illustrate the contrast,the article juxtaposes the abstract Modernism associated with Ben Nicholson and World War 2, with a neglected strain of South African railway poetry which uses modernist techniques to effect a powerful critique of South Africa’s apartheid dispensation. The article sustains a distinction between universalising modernist art that requires ethical work from its audiences to achieve artistic completion, and art in which modernist vision performs the requisite ethical work within its own formal constraints. Four very different South African railway poems, by Dennis Brutus, John Hendrickse, Alan Paton, and Leonard Koza, are examined and contextualised to demonstrate ways in which a modernist vision has been used to portray the social disruptions caused by apartheid. Modernist techniques are used to turn railway experience into a metonym for massive social disruption,without betraying the social reality of the transport technology involved.
- Full Text:
- Date Issued: 2011
'Taking language issues to the people': language development in context.
- Authors: Wright, Laurence
- Date: 2002
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/${Handle} , vital:77243 , https://doi.org/10.2989/16073610209486320
- Description: This paper represents a prologue to a taxonomy of participatory language development strategies, one which argues that some re-orientation of thinking about Language Planning is needed for South Africa's linguistic 'renaissance' to make progress. The immediate institutional argument is for the creation of modestly equipped and staffed Language Development Centres easily accessible to the speech communities responsible for the maintenance and development of their languages, particularly the nine official PMLs (Previously Marginalised Languages), but also the dialects. The paper sets out to suggest why such centres may be necessary if we are serious about creating conditions in which the PMLs can be successfully developed without thoughtlessly damaging South Africa's linguistic diversity.
- Full Text:
- Date Issued: 2002
- Authors: Wright, Laurence
- Date: 2002
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/${Handle} , vital:77243 , https://doi.org/10.2989/16073610209486320
- Description: This paper represents a prologue to a taxonomy of participatory language development strategies, one which argues that some re-orientation of thinking about Language Planning is needed for South Africa's linguistic 'renaissance' to make progress. The immediate institutional argument is for the creation of modestly equipped and staffed Language Development Centres easily accessible to the speech communities responsible for the maintenance and development of their languages, particularly the nine official PMLs (Previously Marginalised Languages), but also the dialects. The paper sets out to suggest why such centres may be necessary if we are serious about creating conditions in which the PMLs can be successfully developed without thoughtlessly damaging South Africa's linguistic diversity.
- Full Text:
- Date Issued: 2002
A checklist of South African theses and dissertations on Shakespeare
- Authors: Wright, Laurence
- Date: 1993
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455547 , vital:75438 , https://hdl.handle.net/10520/AJA1011582X_23
- Description: This checklist is in two parts. The first lists South African Shakespearean theses and dissertations, as well as some work on Shakespeare completed abroad by South Africans recently or currently active in the country. A few items in which Shakespeare is an important subordinate focus are included. The second list is devoted to Shakespearean pedagogy. Neither list is comprehensive.
- Full Text:
- Date Issued: 1993
- Authors: Wright, Laurence
- Date: 1993
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455547 , vital:75438 , https://hdl.handle.net/10520/AJA1011582X_23
- Description: This checklist is in two parts. The first lists South African Shakespearean theses and dissertations, as well as some work on Shakespeare completed abroad by South Africans recently or currently active in the country. A few items in which Shakespeare is an important subordinate focus are included. The second list is devoted to Shakespearean pedagogy. Neither list is comprehensive.
- Full Text:
- Date Issued: 1993
A Magical 'Dream': The Port Elizabeth Shakespearean Festival 2005
- Authors: Wright, Laurence
- Date: 2005
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455563 , vital:75439 , https://hdl.handle.net/10520/EJC48058
- Description: Mannville has always had a special relationship with this particular play, which inaugurated the theatre in St George's Park with Lesley French's 1972 production, and has been performed there on a number of occasions since. It is the archetypal Shakespearean show for outdoor theatre, and the PE Shakespearean Festival productions in a sense transport the delightful balmy (and sometimes barmy!) traditions established at the summertime open-air theatre in Regents Park, London, where Lesley French enjoyed so many triumphs--not least with this play--to Eastern Cape soil. Outdoor theatre has its risks, logistical and climatic, but when it comes off, as this show did, the result is vividly memorable.
- Full Text:
- Date Issued: 2005
- Authors: Wright, Laurence
- Date: 2005
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455563 , vital:75439 , https://hdl.handle.net/10520/EJC48058
- Description: Mannville has always had a special relationship with this particular play, which inaugurated the theatre in St George's Park with Lesley French's 1972 production, and has been performed there on a number of occasions since. It is the archetypal Shakespearean show for outdoor theatre, and the PE Shakespearean Festival productions in a sense transport the delightful balmy (and sometimes barmy!) traditions established at the summertime open-air theatre in Regents Park, London, where Lesley French enjoyed so many triumphs--not least with this play--to Eastern Cape soil. Outdoor theatre has its risks, logistical and climatic, but when it comes off, as this show did, the result is vividly memorable.
- Full Text:
- Date Issued: 2005
A research prospectus for the humanities
- Authors: Wright, Laurence
- Date: 2006
- Language: English
- Type: Book chapter , text
- Identifier: vital:7027 , http://hdl.handle.net/10962/d1007213
- Description: The humanities in South Africa, as elsewhere, face a crisis of credibility.There is pressing need for the humanities to articulate their social and educational purpose more clearly, so that their academic value is recognised beyond the confines of academia.The aim of reshaping human character and society remains the foundational impulse of the humanities. This is achieved through the careful study of specially selected exemplary 'texts': literary works, fine art, social schemes, intellectual movements, historical episodes, and philosophical and religious outlooks.Students are required to respond in person to both 'text' and the discourse of which it is an exemplary instantiation. This is the manner in which they act to influence character and society.
- Full Text:
- Date Issued: 2006
- Authors: Wright, Laurence
- Date: 2006
- Language: English
- Type: Book chapter , text
- Identifier: vital:7027 , http://hdl.handle.net/10962/d1007213
- Description: The humanities in South Africa, as elsewhere, face a crisis of credibility.There is pressing need for the humanities to articulate their social and educational purpose more clearly, so that their academic value is recognised beyond the confines of academia.The aim of reshaping human character and society remains the foundational impulse of the humanities. This is achieved through the careful study of specially selected exemplary 'texts': literary works, fine art, social schemes, intellectual movements, historical episodes, and philosophical and religious outlooks.Students are required to respond in person to both 'text' and the discourse of which it is an exemplary instantiation. This is the manner in which they act to influence character and society.
- Full Text:
- Date Issued: 2006
An introduction: Peteni in context
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7036 , http://hdl.handle.net/10962/d1007372 , http://hdl.handle.net/10520/EJC47870
- Description: preprint , It is rare for a writer to make a literary impact with only one novel. It is even more unusual when that work is written by a novice author in his early sixties. Yet such is the case of R.L. Peteni, whose novel, Hill of Fools, was published by David Philip in South Africa in 1976, and internationally in the same year by Heinemann in the African Writers Series. Four years later, in 1980, the book was translated by the author into Xhosa as Kwazidenge and published by the Lovedale Press. Twenty years after initial publication, in 1996, there came a television version of Kwazidenge broadcast by the SABC, starring Willie Thambo and Amanda Quwe, though the locale was translated – in the bizarre logic of television – to an urban environment on the Cape Flats. The transposition, though pragmatic in terms of television demographics, destroyed much of the point of Peteni’s work, for Hill of Fools is South Africa’s first regional novel in English by a black writer. It is also the first novel in English by a Xhosa-speaker.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7036 , http://hdl.handle.net/10962/d1007372 , http://hdl.handle.net/10520/EJC47870
- Description: preprint , It is rare for a writer to make a literary impact with only one novel. It is even more unusual when that work is written by a novice author in his early sixties. Yet such is the case of R.L. Peteni, whose novel, Hill of Fools, was published by David Philip in South Africa in 1976, and internationally in the same year by Heinemann in the African Writers Series. Four years later, in 1980, the book was translated by the author into Xhosa as Kwazidenge and published by the Lovedale Press. Twenty years after initial publication, in 1996, there came a television version of Kwazidenge broadcast by the SABC, starring Willie Thambo and Amanda Quwe, though the locale was translated – in the bizarre logic of television – to an urban environment on the Cape Flats. The transposition, though pragmatic in terms of television demographics, destroyed much of the point of Peteni’s work, for Hill of Fools is South Africa’s first regional novel in English by a black writer. It is also the first novel in English by a Xhosa-speaker.
- Full Text:
- Date Issued: 2004
Apartheid Shakespeare On Trial: Rohan Quince. Shakespeare in South Africa: Stage Productions during the Apartheid Era: article review
- Authors: Wright, Laurence
- Date: 2003
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455576 , vital:75440 , https://hdl.handle.net/10520/EJC48018
- Description: This is an important book for a number of reasons. First, it delineates a period of Shakespearean production in South Africa scarcely investigated. Secondly, the study takes trouble relating the productions under scrutiny to their socio-political milieu (not always successfully). And thirdly, it is written by someone who actively enjoys Shakespeare and the theatre.
- Full Text:
- Date Issued: 2003
- Authors: Wright, Laurence
- Date: 2003
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455576 , vital:75440 , https://hdl.handle.net/10520/EJC48018
- Description: This is an important book for a number of reasons. First, it delineates a period of Shakespearean production in South Africa scarcely investigated. Secondly, the study takes trouble relating the productions under scrutiny to their socio-political milieu (not always successfully). And thirdly, it is written by someone who actively enjoys Shakespeare and the theatre.
- Full Text:
- Date Issued: 2003
Archdeacon Merriman, ‘Caliban’, and the Cattle-Killing of 1856–57
- Authors: Wright, Laurence
- Date: 2008
- Language: English
- Type: Article
- Identifier: vital:7026 , http://hdl.handle.net/10962/d1007212 , http://dx.doi.org/10.1080/00020180802242574
- Description: [From the introduction]: Did Archdeacon Merriman accept that Mhlakaza was Wilhelm Goliath? The short answer is that we don’t know. However, historical problems sometimes yield, or at least buckle slightly, when approached from unusual, tangential perspectives.I believe it can be shown that in the terrible aftermath of the Cattle-Killing, Nathaniel Merriman was brooding on his former servant, Wilhelm Goliath, and that evidence of this preoccupation emerges indirectly in a very open and unexpected forum: a public lecture on Shakespeare.
- Full Text:
- Date Issued: 2008
- Authors: Wright, Laurence
- Date: 2008
- Language: English
- Type: Article
- Identifier: vital:7026 , http://hdl.handle.net/10962/d1007212 , http://dx.doi.org/10.1080/00020180802242574
- Description: [From the introduction]: Did Archdeacon Merriman accept that Mhlakaza was Wilhelm Goliath? The short answer is that we don’t know. However, historical problems sometimes yield, or at least buckle slightly, when approached from unusual, tangential perspectives.I believe it can be shown that in the terrible aftermath of the Cattle-Killing, Nathaniel Merriman was brooding on his former servant, Wilhelm Goliath, and that evidence of this preoccupation emerges indirectly in a very open and unexpected forum: a public lecture on Shakespeare.
- Full Text:
- Date Issued: 2008
Ariel in Africa: Leslie French and the Port Elizabeth Shakespearean Festival
- Mann, Bruce, Wright, Laurence
- Authors: Mann, Bruce , Wright, Laurence
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455588 , vital:75441 , https://hdl.handle.net/10520/AJA1011582X_168
- Description: The Port Elizabeth Shakespearean Festival has good reason to remember the 23'd April. Quite apart from its being the official birthday of Shakespeare and St. George (after whom the park was named in which Mannville, the company's open air theatre, stands today), the 23'd April 1904 was the birthday of Leslie French, doyen of classical theatre in South Africa in the last century, whose productions established and consolidated open-air theatre in Port Elizabeth. He had a varied and successful career in the performing arts well before his association with South African theatre began. A gifted boy singer, his first appearance was in London at the Little Theatre, December 141", 1914, while he was still a chorister at the London College of Choristers. In the next four years he appeared regularly with Jean Sterling Machinlay and Harcourt Williams at the Margaret Morris Theatre, as a soloist at many important London churches (including St. Margaret's, Westminster Abbey and St. Paul's Cathedral), as well as singing at the Royal Albert Hall and the Queen's Hall in the Chapel Ballad Concerts.
- Full Text:
- Date Issued: 2001
- Authors: Mann, Bruce , Wright, Laurence
- Date: 2001
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455588 , vital:75441 , https://hdl.handle.net/10520/AJA1011582X_168
- Description: The Port Elizabeth Shakespearean Festival has good reason to remember the 23'd April. Quite apart from its being the official birthday of Shakespeare and St. George (after whom the park was named in which Mannville, the company's open air theatre, stands today), the 23'd April 1904 was the birthday of Leslie French, doyen of classical theatre in South Africa in the last century, whose productions established and consolidated open-air theatre in Port Elizabeth. He had a varied and successful career in the performing arts well before his association with South African theatre began. A gifted boy singer, his first appearance was in London at the Little Theatre, December 141", 1914, while he was still a chorister at the London College of Choristers. In the next four years he appeared regularly with Jean Sterling Machinlay and Harcourt Williams at the Margaret Morris Theatre, as a soloist at many important London churches (including St. Margaret's, Westminster Abbey and St. Paul's Cathedral), as well as singing at the Royal Albert Hall and the Queen's Hall in the Chapel Ballad Concerts.
- Full Text:
- Date Issued: 2001
As You Like It: directed by Helen Flax. Mannville, Port Elizabeth. 2007: theatre review
- Authors: Wright, Laurence
- Date: 2007
- Language: English
- Type: text , review
- Identifier: vital:7051 , http://hdl.handle.net/10962/d1007410 , https://journals.co.za/content/iseasosa/19/1/EJC48089
- Description: preprint , This was a stylish, well-conceived production, which made sense and meaning from what is probably Shakespeare’s most delicate, and ‘English’, of comedies. The piece calls for strong ensemble playing, a full stage of equals rather than a few strong parts dominating the story. The Port Elizabeth Shakespearean Festival pulled it off marvelously.
- Full Text:
- Date Issued: 2007
- Authors: Wright, Laurence
- Date: 2007
- Language: English
- Type: text , review
- Identifier: vital:7051 , http://hdl.handle.net/10962/d1007410 , https://journals.co.za/content/iseasosa/19/1/EJC48089
- Description: preprint , This was a stylish, well-conceived production, which made sense and meaning from what is probably Shakespeare’s most delicate, and ‘English’, of comedies. The piece calls for strong ensemble playing, a full stage of equals rather than a few strong parts dominating the story. The Port Elizabeth Shakespearean Festival pulled it off marvelously.
- Full Text:
- Date Issued: 2007
Aspects of Shakespeare in post-colonial Africa
- Authors: Wright, Laurence
- Date: 1990
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455614 , vital:75443 , https://hdl.handle.net/10520/AJA1011582X_182
- Description: Two views capture in cameo the most obvious conflict over Shake-speare's presence in post-colonial Africa. The late Okot p'Bitek, when newly appointed as Director of Uganda's National Theatre, set tradi-tional drummers to play outside the building; he was, in David Rubadiri's words," challenging... the British Council, which thought it had exclusive rights to put Shakespeare there all the time instead of getting the ordi-nary people... to come and see local plays".
- Full Text:
- Date Issued: 1990
- Authors: Wright, Laurence
- Date: 1990
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455614 , vital:75443 , https://hdl.handle.net/10520/AJA1011582X_182
- Description: Two views capture in cameo the most obvious conflict over Shake-speare's presence in post-colonial Africa. The late Okot p'Bitek, when newly appointed as Director of Uganda's National Theatre, set tradi-tional drummers to play outside the building; he was, in David Rubadiri's words," challenging... the British Council, which thought it had exclusive rights to put Shakespeare there all the time instead of getting the ordi-nary people... to come and see local plays".
- Full Text:
- Date Issued: 1990
Bollywood Twelfth Night: Steven Beresford's Production. Albery Theatre, London, September 2004: theatre review
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455629 , vital:75444 , https://hdl.handle.net/10520/EJC48040
- Description: BOLLYWOOD TWELFTH NIGHT : Steven Beresford's Production. Albery Theatre, London, September 2004. LAURENCE WRIGHT A Bollywood Shakespeare? Why not? Steven Beresford's directorial debut in West End theatre was pleasant rather than stunning, and one came away with a sense of the possibilities he had envisioned, more than those he had realized. The show opens with a tropical monsoon, sponsor of comedy's shipwreck. The setting is present-day India, a run-down street in a large city.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/455629 , vital:75444 , https://hdl.handle.net/10520/EJC48040
- Description: BOLLYWOOD TWELFTH NIGHT : Steven Beresford's Production. Albery Theatre, London, September 2004. LAURENCE WRIGHT A Bollywood Shakespeare? Why not? Steven Beresford's directorial debut in West End theatre was pleasant rather than stunning, and one came away with a sense of the possibilities he had envisioned, more than those he had realized. The show opens with a tropical monsoon, sponsor of comedy's shipwreck. The setting is present-day India, a run-down street in a large city.
- Full Text:
- Date Issued: 2004
Book review: Derek Barker: English Academic Literary Discourse in South Africa 1958-2004: A Review of 11 Academic Journals
- Authors: Wright, Laurence
- Date: 2006
- Language: English
- Type: Article
- Identifier: vital:7044 , http://hdl.handle.net/10962/d1007386
- Description: Barker’s book concerns the evolution and publishing trajectories of South African journals devoted to English literary studies between the years 1958 (when the first such journal, English Studies in Africa, came into being) and 2004, the end-date of the survey. In other words, his work coincides with the period in South African history when apartheid’s protagonists were pushing for total political and social ascendancy through to the nation’s emergence into the arena of democratic possibility.
- Full Text:
- Date Issued: 2006
- Authors: Wright, Laurence
- Date: 2006
- Language: English
- Type: Article
- Identifier: vital:7044 , http://hdl.handle.net/10962/d1007386
- Description: Barker’s book concerns the evolution and publishing trajectories of South African journals devoted to English literary studies between the years 1958 (when the first such journal, English Studies in Africa, came into being) and 2004, the end-date of the survey. In other words, his work coincides with the period in South African history when apartheid’s protagonists were pushing for total political and social ascendancy through to the nation’s emergence into the arena of democratic possibility.
- Full Text:
- Date Issued: 2006
Book Review:‘These Traits Portend’: review of Thabo Mbeki and the Struggle for the Soul of the ANC by William Mervyn Gumede
- Authors: Wright, Laurence
- Date: 2005
- Language: English
- Type: text , article
- Identifier: vital:7049 , http://hdl.handle.net/10962/d1007391 , https://www.researchgate.net/publication/29807204_Book_Review_'These_Traits_Portend'_Review_of_Thabo_Mbeki_and_the_Struggle_for_the_Soul_of_the_ANC_by_William_Mervyn_Gumede_Cape_Town_Zebra_Press_2005
- Description: preprint , “The identity of the old ANC is changing fast and its soul is becoming harder to locate” – so writes William Gumede in his best-selling account of the Mbeki presidency. This is a thoroughly admirable book, critical, informed and deeply concerned with the welfare of the people of South Africa, especially the poor – with no taint of political hagiography. The central plank of the critique concerns the ANC’s management of the economy. Gumede’s account of the genesis of GEAR and the devious way it was sprung on the tri-partite alliance is illuminating. It was done under the rubric of necessary modernization, according to Gumede, and allegiance to the Blair/Schroeder Third Way. But there were huge ancillary consequences: the loss of influence by the ordinary ANC membership, neglect of branch activity, sidelining of the parliamentary caucus, centralization of policy development in the office of the president, increasing reliance on consultants and relentless cosying up to big business.
- Full Text:
- Date Issued: 2005
- Authors: Wright, Laurence
- Date: 2005
- Language: English
- Type: text , article
- Identifier: vital:7049 , http://hdl.handle.net/10962/d1007391 , https://www.researchgate.net/publication/29807204_Book_Review_'These_Traits_Portend'_Review_of_Thabo_Mbeki_and_the_Struggle_for_the_Soul_of_the_ANC_by_William_Mervyn_Gumede_Cape_Town_Zebra_Press_2005
- Description: preprint , “The identity of the old ANC is changing fast and its soul is becoming harder to locate” – so writes William Gumede in his best-selling account of the Mbeki presidency. This is a thoroughly admirable book, critical, informed and deeply concerned with the welfare of the people of South Africa, especially the poor – with no taint of political hagiography. The central plank of the critique concerns the ANC’s management of the economy. Gumede’s account of the genesis of GEAR and the devious way it was sprung on the tri-partite alliance is illuminating. It was done under the rubric of necessary modernization, according to Gumede, and allegiance to the Blair/Schroeder Third Way. But there were huge ancillary consequences: the loss of influence by the ordinary ANC membership, neglect of branch activity, sidelining of the parliamentary caucus, centralization of policy development in the office of the president, increasing reliance on consultants and relentless cosying up to big business.
- Full Text:
- Date Issued: 2005
Can formal language planning link to grassroots cultural initiatives?: an informal investigation
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: Article
- Identifier: vital:7041 , http://hdl.handle.net/10962/d1007381
- Description: Formal language planning is inevitably a top-down, highly technical process. Success for such planning would seem to depend on engaging productively with existing or readily developed social motivation within the society. This article reports on an informal investigation into how ordinary language practitioners and cultural workers in South Africa view the possibilities of contributing to the country’s emerging language dispensation, what they regard as their most useful possible contributions, and what they expect from the language planners and ‘government’ in support of South Africa’s Language Policy and Plan.
- Full Text:
- Date Issued: 2002
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: Article
- Identifier: vital:7041 , http://hdl.handle.net/10962/d1007381
- Description: Formal language planning is inevitably a top-down, highly technical process. Success for such planning would seem to depend on engaging productively with existing or readily developed social motivation within the society. This article reports on an informal investigation into how ordinary language practitioners and cultural workers in South Africa view the possibilities of contributing to the country’s emerging language dispensation, what they regard as their most useful possible contributions, and what they expect from the language planners and ‘government’ in support of South Africa’s Language Policy and Plan.
- Full Text:
- Date Issued: 2002
Confronting the African nightmare: Yael Farber’s SeZaR (theatre review)
- Authors: Wright, Laurence
- Date: 2001
- Language: English
- Type: Article
- Identifier: vital:7046 , http://hdl.handle.net/10962/d1007388
- Description: Yael Farber’s adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001
- Authors: Wright, Laurence
- Date: 2001
- Language: English
- Type: Article
- Identifier: vital:7046 , http://hdl.handle.net/10962/d1007388
- Description: Yael Farber’s adaptation of Julius Caesar marks something of a breakthrough in South African Shakespeare productions. The key achievement is that the play is no longer about Rome or Renaissance England, nor is it about processes of cultural translation or trendy theatrical Africanisation, largely cosmetic. This production is, in a generous way, squarely and pointedly about Africa.
- Full Text:
- Date Issued: 2001
Cultivating Grahamstown: Nathaniel Merriman, Shakespeare and Books
- Authors: Wright, Laurence
- Date: 2008
- Language: English
- Type: Article
- Identifier: vital:7033 , http://hdl.handle.net/10962/d1007367
- Description: In 1857, Archdeacon Nathaniel Merriman delivered two public lectures on Shakespeare under the auspices of the “General Institute” of Grahamstown. The first, “On the Study of Shakspeare”, was given on 2 September and “Shakspeare, As Bearing on English History” two months later, on Friday 6 November. This article sets out to place the lectures in their local context, by providing a brief sketch of literary and cultural life in the town, in which the appreciation of Shakespeare played no small part.
- Full Text:
- Date Issued: 2008
- Authors: Wright, Laurence
- Date: 2008
- Language: English
- Type: Article
- Identifier: vital:7033 , http://hdl.handle.net/10962/d1007367
- Description: In 1857, Archdeacon Nathaniel Merriman delivered two public lectures on Shakespeare under the auspices of the “General Institute” of Grahamstown. The first, “On the Study of Shakspeare”, was given on 2 September and “Shakspeare, As Bearing on English History” two months later, on Friday 6 November. This article sets out to place the lectures in their local context, by providing a brief sketch of literary and cultural life in the town, in which the appreciation of Shakespeare played no small part.
- Full Text:
- Date Issued: 2008
David Lurie's learning and the meaning of J.M. Coetzee's Disgrace
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7063 , http://hdl.handle.net/10962/d1007428 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , One of the teasing characteristics of novels soused in literariness, like J.M. Coetzee’s, is their tendency to leak, to bleed, into vast inchoate terrains of intertextuality.The reader is constantly challenged to measure and assess their implications within or against the frail containing form of the story, much as Russian formalism taught us to keep sujet and fable in perpetual dialogue. However, it has become apparent that in the dense thickets of commentary occasioned by Coetzee’s most controversial novel, Disgrace (1999), insufficient attention has been paid to the intertextual implications of David Lurie’s learning, his scholarly preoccupations. Unless the reader attempts this kind of exploration, two of the most vexed issues freighting the novel’s central fabulation: Lucy’s curiously stoical, impassive response to her rape, together with her decision to stay on in South Africa; and David Lurie’s sudden, seemingly inexplicable care for the doomed dogs, from their last moments at the animal shelter until he lovingly consigns their corpses to the incinerator, must remain opaque. In particular, the final words of the novel, “Yes, I am giving him up” (220), uttered in relation to the immanent “Lösung” of the little dog Bev Shaw calls Driepoot, will tend to taunt the reader, rather than illuminate.
- Full Text:
- Date Issued: 2010
- Authors: Wright, Laurence
- Date: 2010
- Language: English
- Type: text , article
- Identifier: vital:7063 , http://hdl.handle.net/10962/d1007428 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , One of the teasing characteristics of novels soused in literariness, like J.M. Coetzee’s, is their tendency to leak, to bleed, into vast inchoate terrains of intertextuality.The reader is constantly challenged to measure and assess their implications within or against the frail containing form of the story, much as Russian formalism taught us to keep sujet and fable in perpetual dialogue. However, it has become apparent that in the dense thickets of commentary occasioned by Coetzee’s most controversial novel, Disgrace (1999), insufficient attention has been paid to the intertextual implications of David Lurie’s learning, his scholarly preoccupations. Unless the reader attempts this kind of exploration, two of the most vexed issues freighting the novel’s central fabulation: Lucy’s curiously stoical, impassive response to her rape, together with her decision to stay on in South Africa; and David Lurie’s sudden, seemingly inexplicable care for the doomed dogs, from their last moments at the animal shelter until he lovingly consigns their corpses to the incinerator, must remain opaque. In particular, the final words of the novel, “Yes, I am giving him up” (220), uttered in relation to the immanent “Lösung” of the little dog Bev Shaw calls Driepoot, will tend to taunt the reader, rather than illuminate.
- Full Text:
- Date Issued: 2010