Hill of Fools: a South African Romeo and Juliet?
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7039 , http://hdl.handle.net/10962/d1007377 , http://hdl.handle.net/10520/EJC47866
- Description: preprint , What kind of debt does Hill of Fools owe to Shakespeare? Look up ‘Peteni’ in the Companion to South African English Literature (1986) and you will be told that Hill of Fools is “loosely based on the story of Romeo and Juliet” (155). Scan the first newspaper reviews (see “The Early Reception of Hill of Fools” in this volume) and it is noticeable that a great many journalists focus on the Shakespeare connection as a means of introducing the book to their readers. One of the publisher’s readers, Henry Chakava, urged before publication that once all references to tribe or tribalism had been excised “the result will be a Romeo and Juliet type story much more superior to Weep Not Child.” The author himself reportedly described the book as “a black Romeo and Juliet drama” (Tribune Reporter 1988). And, indeed, some kind of parallel is patent to anyone who reads Hill of Fools with Shakespeare’s play in mind.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7039 , http://hdl.handle.net/10962/d1007377 , http://hdl.handle.net/10520/EJC47866
- Description: preprint , What kind of debt does Hill of Fools owe to Shakespeare? Look up ‘Peteni’ in the Companion to South African English Literature (1986) and you will be told that Hill of Fools is “loosely based on the story of Romeo and Juliet” (155). Scan the first newspaper reviews (see “The Early Reception of Hill of Fools” in this volume) and it is noticeable that a great many journalists focus on the Shakespeare connection as a means of introducing the book to their readers. One of the publisher’s readers, Henry Chakava, urged before publication that once all references to tribe or tribalism had been excised “the result will be a Romeo and Juliet type story much more superior to Weep Not Child.” The author himself reportedly described the book as “a black Romeo and Juliet drama” (Tribune Reporter 1988). And, indeed, some kind of parallel is patent to anyone who reads Hill of Fools with Shakespeare’s play in mind.
- Full Text:
- Date Issued: 2004
Hill of Fools: notes towards a publishing history
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7037 , http://hdl.handle.net/10962/d1007373 , http://hdl.handle.net/10520/EJC47868
- Description: preprint , Written in English in the early 70s, Hill of Fools was projected into the market for world literature among distinguished company in the Heinemann African Writers Series (HAWS), at a time when expectations for African writing in English reflected a certain orthodoxy; when the book’s origins in apartheid South Africa pressed certain ‘buttons’ in world readerships, and when the country’s increasing cultural isolation meant that even relatively well-versed literary Africanists were less than familiar with the milieu from which the story springs. The result has been that the novel acquired a rather odd penumbra of interpretation, ranging from the naïve to the dismissive or reductive.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7037 , http://hdl.handle.net/10962/d1007373 , http://hdl.handle.net/10520/EJC47868
- Description: preprint , Written in English in the early 70s, Hill of Fools was projected into the market for world literature among distinguished company in the Heinemann African Writers Series (HAWS), at a time when expectations for African writing in English reflected a certain orthodoxy; when the book’s origins in apartheid South Africa pressed certain ‘buttons’ in world readerships, and when the country’s increasing cultural isolation meant that even relatively well-versed literary Africanists were less than familiar with the milieu from which the story springs. The result has been that the novel acquired a rather odd penumbra of interpretation, ranging from the naïve to the dismissive or reductive.
- Full Text:
- Date Issued: 2004
Irony and transcendence on the Renaissance stage
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7067 , http://hdl.handle.net/10962/d1007455 , https://doi.org/10.1484/M.CURSOR-EB.3.4728
- Description: preprint , This is the concluding essay in a collection entitled 'This Earthly Stage'. The chapter argues that the peculiar task of the stage metaphor - the notion of the theatre as a metaphor for life,which involves complex interactions between rarefied intellectual constructions of life and mundane reality - is to interrogate the tension between an inscrutable cosmic order and the limited viewpoints of ordinary humanity.The piece moves from general considerations of irony and dramatic irony, via an analysis of Kyd's The Spanish Tragedy, to comments on Petrarch, Pico and Vives, culminating in a consideration of irony and transcendence in Shakespeare's last plays.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7067 , http://hdl.handle.net/10962/d1007455 , https://doi.org/10.1484/M.CURSOR-EB.3.4728
- Description: preprint , This is the concluding essay in a collection entitled 'This Earthly Stage'. The chapter argues that the peculiar task of the stage metaphor - the notion of the theatre as a metaphor for life,which involves complex interactions between rarefied intellectual constructions of life and mundane reality - is to interrogate the tension between an inscrutable cosmic order and the limited viewpoints of ordinary humanity.The piece moves from general considerations of irony and dramatic irony, via an analysis of Kyd's The Spanish Tragedy, to comments on Petrarch, Pico and Vives, culminating in a consideration of irony and transcendence in Shakespeare's last plays.
- Full Text:
- Date Issued: 2004
Language and value: towards accepting a richer linguistic ecology for South Africa
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7042 , http://hdl.handle.net/10962/d1007383 , https://doi.org/10.1075/lplp.28.2.05wri
- Description: preprint , Language policy debate is often obscured by two factors: failure to acknowledge different time-frames attending contrasting positions, and failure to recognise that ordinary people are motivated by their perceived best interests in the present. This article argues that the key to more general public acceptance of linguistic ecological diversity in South Africa is to shift the emphasis from policy development to practical language cultivation issues. Provide the requisite cultivation support, and acceptance of a revitalised future for African languages becomes more assured. It should also be understood that the modernisation of African languages in South Africa has a political dimension concerning which South African language commentators are strangely silent. This political thrust may not be entirely congruent with the concerns of those whose brief for African languages is primarily cultural or ecological – if, indeed, they are even aware of it. Finally, it needs to be recognised that language development under conditions of controlled influence, as in the civil service or schooling, is potentially achievable (with whatever difficulty), but that this must be complemented by authentic contemporary intellectual work published in African languages if the linguistic dimension of the African Renaissance is to take off.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7042 , http://hdl.handle.net/10962/d1007383 , https://doi.org/10.1075/lplp.28.2.05wri
- Description: preprint , Language policy debate is often obscured by two factors: failure to acknowledge different time-frames attending contrasting positions, and failure to recognise that ordinary people are motivated by their perceived best interests in the present. This article argues that the key to more general public acceptance of linguistic ecological diversity in South Africa is to shift the emphasis from policy development to practical language cultivation issues. Provide the requisite cultivation support, and acceptance of a revitalised future for African languages becomes more assured. It should also be understood that the modernisation of African languages in South Africa has a political dimension concerning which South African language commentators are strangely silent. This political thrust may not be entirely congruent with the concerns of those whose brief for African languages is primarily cultural or ecological – if, indeed, they are even aware of it. Finally, it needs to be recognised that language development under conditions of controlled influence, as in the civil service or schooling, is potentially achievable (with whatever difficulty), but that this must be complemented by authentic contemporary intellectual work published in African languages if the linguistic dimension of the African Renaissance is to take off.
- Full Text:
- Date Issued: 2004
Shakespeare in South Africa: Alpha and ‘Omega’
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7029 , http://hdl.handle.net/10962/d1007216 , https://doi.org/10.1080/1368879042000210595
- Description: preprint , [Author's note]: This piece offers a discursive foray into some leading features of South African Shakespeare, framed between two symbolic ‘book-ends’: the first authenticated Shakespearean production which took place in Cape Town in 1801 (‘Alpha’), and a recent groundbreaking, multilingual version of Julius Caesar which premiered in 2001(“‘Omega’”). Focusing mainly on acts of translation, literal and cultural, the article follows a trajectory from colonial origins to explore some of the adaptive travail experienced by the Shakespeare text as it infiltrates, contests, melds into and sometimes illuminates a South African culture both potentially (and actually) very different from the colonial culture of, say, Australia or New Zealand. The article includes a brief prospectus for the future.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7029 , http://hdl.handle.net/10962/d1007216 , https://doi.org/10.1080/1368879042000210595
- Description: preprint , [Author's note]: This piece offers a discursive foray into some leading features of South African Shakespeare, framed between two symbolic ‘book-ends’: the first authenticated Shakespearean production which took place in Cape Town in 1801 (‘Alpha’), and a recent groundbreaking, multilingual version of Julius Caesar which premiered in 2001(“‘Omega’”). Focusing mainly on acts of translation, literal and cultural, the article follows a trajectory from colonial origins to explore some of the adaptive travail experienced by the Shakespeare text as it infiltrates, contests, melds into and sometimes illuminates a South African culture both potentially (and actually) very different from the colonial culture of, say, Australia or New Zealand. The article includes a brief prospectus for the future.
- Full Text:
- Date Issued: 2004
Shakespeare's Victorian Stage: performing history in the theatre of Charles Kean, Richard W. Schoch: book review
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7050 , http://hdl.handle.net/10962/d1007393 , http://hdl.handle.net/10520/EJC48030
- Description: preprint , This book is a primarily a study of Charles Kean’s productions of Shakespeare’s English chronicle plays at the Princess’s Theatre between 1852 and 1859, a period crucial to the development of ideas of English nationalism. Schoch focuses on these particular stagings as more than drama; as performances of nineteenth century theories of history and historical representation. His project operates under the aegis of the so-called ‘linguistic turn’ in cultural theory, and is suspicious of neo-marxian fundamentalism.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7050 , http://hdl.handle.net/10962/d1007393 , http://hdl.handle.net/10520/EJC48030
- Description: preprint , This book is a primarily a study of Charles Kean’s productions of Shakespeare’s English chronicle plays at the Princess’s Theatre between 1852 and 1859, a period crucial to the development of ideas of English nationalism. Schoch focuses on these particular stagings as more than drama; as performances of nineteenth century theories of history and historical representation. His project operates under the aegis of the so-called ‘linguistic turn’ in cultural theory, and is suspicious of neo-marxian fundamentalism.
- Full Text:
- Date Issued: 2004
The early reception of Hill of Fools
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7040 , http://hdl.handle.net/10962/d1007379 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , The early reception of Peteni’s novel is interesting because it illustrates the mind-sets and critical assumptions of those who first mediated the novel to different readerships. The book initially caused little stir either in South Africa or abroad, and it has made its way quietly in later years in no small part due to support from set-work prescription committees, and its translation into other media, radio and television. A one-off novel by an unknown writer is unlikely to gather critical momentum in international discussion, and the book has been more often noticed in academic studies focused on the Xhosa novel, some of which barely register that the work was first written in English. However, today it is certainly among the novels most widely-read by ordinary South Africans, not only those from the Eastern Cape, but for among many throughout the country who encountered it at school.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7040 , http://hdl.handle.net/10962/d1007379 , http://hdl.handle.net/10520/EJC47864
- Description: preprint , The early reception of Peteni’s novel is interesting because it illustrates the mind-sets and critical assumptions of those who first mediated the novel to different readerships. The book initially caused little stir either in South Africa or abroad, and it has made its way quietly in later years in no small part due to support from set-work prescription committees, and its translation into other media, radio and television. A one-off novel by an unknown writer is unlikely to gather critical momentum in international discussion, and the book has been more often noticed in academic studies focused on the Xhosa novel, some of which barely register that the work was first written in English. However, today it is certainly among the novels most widely-read by ordinary South Africans, not only those from the Eastern Cape, but for among many throughout the country who encountered it at school.
- Full Text:
- Date Issued: 2004
Umabatha: global and local
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7032 , http://hdl.handle.net/10962/d1007364 , https://doi.org/10.1080/00138390408691324
- Description: preprint , There can be few shows that test the dimensions and pitfalls of 'globalised' theatre as thoroughly as Welcome Msomi's Umabatha. The worldwide success of the show, in box-office terms, can hardly be argued with. And yet, in its very conception, the vehicle is so riven by intrinsic cultural, theatrical, class and 'nationist' tensions that different audiences cannot but reap utterly different experiences, depending on their own cultural and intellectual inheritance.The show is an instance where theatre practice (sometimes) obfuscates political and aesthetic discourse, showing how easily cultures miss each other and fail to connect, and how easily specific historical, geographical and imperial associations are swamped by shallow 'globalised' audience response.
- Full Text:
- Date Issued: 2004
- Authors: Wright, Laurence
- Date: 2004
- Language: English
- Type: text , article
- Identifier: vital:7032 , http://hdl.handle.net/10962/d1007364 , https://doi.org/10.1080/00138390408691324
- Description: preprint , There can be few shows that test the dimensions and pitfalls of 'globalised' theatre as thoroughly as Welcome Msomi's Umabatha. The worldwide success of the show, in box-office terms, can hardly be argued with. And yet, in its very conception, the vehicle is so riven by intrinsic cultural, theatrical, class and 'nationist' tensions that different audiences cannot but reap utterly different experiences, depending on their own cultural and intellectual inheritance.The show is an instance where theatre practice (sometimes) obfuscates political and aesthetic discourse, showing how easily cultures miss each other and fail to connect, and how easily specific historical, geographical and imperial associations are swamped by shallow 'globalised' audience response.
- Full Text:
- Date Issued: 2004
Introduction [to the book "Scatter the Shrilling Bones" by Sithembele Isaac Xhegwana]
- Authors: Wright, Laurence
- Date: 2003
- Language: English
- Type: text , article
- Identifier: vital:7056 , http://hdl.handle.net/10962/d1007417
- Description: preprint , Scatter the Shrilling Bones by Sithembele Xhegwana comprises an ordered sequence of poems that conveys a journey both literal and spiritual. Revisitation is the organizing principle of the collection – the return to rural sources and origins by a consciousness estranged and illumined by modernity (cf. ‘The Return’). Underlying the collection is the theme of the night journey, whose archetype in western culture is Odysseus’ descent to the underworld – a pattern identified as such in the concluding essay ‘Starting from my Place: Notes on an Aesthetic’. The underworld here is literally the return to the home territory – a journey from Cape Town to the rural Eastern Cape – but also a revisiting of the mental world of traditional Africa: ‘Here at home, here all guilt begins’ (‘Homecoming’). The return journey is haunted by nightmare memories of mental illness, the schizophrenic episodes accompanying (or occasioned by?) the poet’s initial encounters with modernity. This illness is represented as both pathological and cultural – a price paid for challenging and rejecting the old certainties while grappling with new assumptions: “He undermines the ancestors, That’s why he suffers. Let him.” (‘To Himself’)
- Full Text:
- Date Issued: 2003
- Authors: Wright, Laurence
- Date: 2003
- Language: English
- Type: text , article
- Identifier: vital:7056 , http://hdl.handle.net/10962/d1007417
- Description: preprint , Scatter the Shrilling Bones by Sithembele Xhegwana comprises an ordered sequence of poems that conveys a journey both literal and spiritual. Revisitation is the organizing principle of the collection – the return to rural sources and origins by a consciousness estranged and illumined by modernity (cf. ‘The Return’). Underlying the collection is the theme of the night journey, whose archetype in western culture is Odysseus’ descent to the underworld – a pattern identified as such in the concluding essay ‘Starting from my Place: Notes on an Aesthetic’. The underworld here is literally the return to the home territory – a journey from Cape Town to the rural Eastern Cape – but also a revisiting of the mental world of traditional Africa: ‘Here at home, here all guilt begins’ (‘Homecoming’). The return journey is haunted by nightmare memories of mental illness, the schizophrenic episodes accompanying (or occasioned by?) the poet’s initial encounters with modernity. This illness is represented as both pathological and cultural – a price paid for challenging and rejecting the old certainties while grappling with new assumptions: “He undermines the ancestors, That’s why he suffers. Let him.” (‘To Himself’)
- Full Text:
- Date Issued: 2003
Language as a ‘resource’ in South Africa: the economic life of language in a globalising society
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: text , article
- Identifier: vital:7035 , http://hdl.handle.net/10962/d1007370 , https://doi.org/10.1080/10131750285310031
- Description: preprint , We need to develop a much more refined and specific understanding of what is meant when people refer to language is a ‘resource’. If something can accurately be described as a resource, then by its very nature it carries with it or attracts, at least in potential, the social motivation associated with the utilization, development or exploitation of that resource. This is strikingly true where language is the resource in question, because language is so intimately bound up with human activity. Where it exists, such social motivation can be augmented and supported so as to realize the ends of language policy. Contrastingly, where it is seen that social motivation informing a particular language situation is at odds with the intent of language policy, then either implementation must retreat and move to other arenas, other points of influence, where intervention can be more effective, or those charged with implementation must resign themselves to costly and messy efforts to force unwanted change through legal authority.
- Full Text:
- Date Issued: 2002
- Authors: Wright, Laurence
- Date: 2002
- Language: English
- Type: text , article
- Identifier: vital:7035 , http://hdl.handle.net/10962/d1007370 , https://doi.org/10.1080/10131750285310031
- Description: preprint , We need to develop a much more refined and specific understanding of what is meant when people refer to language is a ‘resource’. If something can accurately be described as a resource, then by its very nature it carries with it or attracts, at least in potential, the social motivation associated with the utilization, development or exploitation of that resource. This is strikingly true where language is the resource in question, because language is so intimately bound up with human activity. Where it exists, such social motivation can be augmented and supported so as to realize the ends of language policy. Contrastingly, where it is seen that social motivation informing a particular language situation is at odds with the intent of language policy, then either implementation must retreat and move to other arenas, other points of influence, where intervention can be more effective, or those charged with implementation must resign themselves to costly and messy efforts to force unwanted change through legal authority.
- Full Text:
- Date Issued: 2002