Scielo RSS <![CDATA[Tydskrif vir Letterkunde]]> http://www.scielo.org.za/rss.php?pid=0041-476X20180002&lang=pt vol. 55 num. 2 lang. pt <![CDATA[SciELO Logo]]> http://www.scielo.org.za/img/en/fbpelogp.gif http://www.scielo.org.za <![CDATA[<b>Child and youth protagonists in Habila's <i>Measuring Time </i>and Dangor's <i>Bitter Fruit</i></b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200001&lng=pt&nrm=iso&tlng=pt Helon Habila's Measuring Time (2007) and Achmat Dangor's Bitter Fruit (2001) deploy child and youth protagonists to offer nuanced and revealing perspectives on contemporary nationhood in Nigeria and South Africa respectively. By these means, these two important novels displace the adult-and mostly male-viewpoints that have dominated novelistic portrayals of postcolonial nationhood for decades. Using notions of the literary symbolism of childhood and the biological family as points of departure, this article analyses the portrayal of these protagonists in terms of their allegorical and metonymic representation of the nation as a social unit. This article explores the ways in which the subjectivities of the protagonists may reflect national anxieties in general and the problems of contemporary socio-political transition in particular. It highlights how the different pathways followed by Habila's and Dangor's characters may represent simultaneously dystopian and auspicious futures for Nigeria and South Africa while also bringing recent writing from two of Africa's eminent literary sites into a rare conversation that helps to extend our understanding of the continent's contemporary realities. <![CDATA[<b>Belonging in <i>Thuis </i>and <i>7de Laan: </i>a critical whiteness studies perspective</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200002&lng=pt&nrm=iso&tlng=pt Within both the South African and Belgian contexts whiteness manifests as one aspect of national identity and remains (to differing degrees) a normative construction. This article presents the findings of a controlled case comparison of a sample from two community soap operas, 7de Laan and Thuis, broadcast by the South African (SABC) and Flemish (VRT) Public Service Broadcasters respectively, from the perspective of critical whiteness studies. I contend that whiteness functions as an organising principle in the narratives of both soap operas. The goal of this comparative analysis was an investigation into the ways in which whiteness is constructed and positioned in these texts and the implications this has for the politics of belonging. Despite several similarities between the two contexts, they differ significantly, and this created an opportunity to highlight both the consistencies and particularities in the ideological patterning of representations of whiteness, across seemingly unrelated domains, to illustrate its pervasiveness. Notwithstanding their disparate origins, the analysis revealed three rhetorical devices which function to maintain whiteness as hegemonic ideology in both texts. <![CDATA[<b>Experimenting with a new tragic model: Elechi Amadi's <i>Isiburu</i></b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200003&lng=pt&nrm=iso&tlng=pt Aristotle's Poetics has been an important resource for literary critics and theorists over the centuries from antiquity to contemporary times. However, despite its lofty status and acclaim the classical source material has also faced serious criticism especially concerning certain unrealistic and vague postulations made in it about tragedy. The most challenged postulations are those relating to the status of the tragic hero, his flaw, the emotions of pity and fear, and catharsis. Some of these "problematic" areas constitute the crux of Elechi Amadi's concern in "Gods and Tragic Heroes," an essay on which this article hinges. Re-examining some existing conversations on the subject and Amadi's charges against Aristotle, the essay affirms that tragedy is a flexible literary form and that Amadi, amidst his evaluation of Aristotle's enduring aesthetics, proposes a novel model in which hamartia and the emotional impact of the hero's fall on the audience are a function of an overarching supernatural activity in the tragic plot. Furthermore, the essay appraises the play Isiburu (1973) as Amadi's practical example of the proposed model. <![CDATA[<b>"We are his children": de Landmanfamilie als erfgenaam van Adamastor</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200004&lng=pt&nrm=iso&tlng=pt In Die eerste lewe van Adamastor (The first life of Adamastor, 1988) André Brink reinvented the giant Adamastor, introduced in 1572 with the publication of Os Lusíadas, the Portuguese epic by Luis de Camões. So fascinated was Brink by the Southern African monster, that he wanted to write more novels containing new personifications of Adamastor. An Act of Terror (1992) can be seen as his most prominent Adamastor novel. An addendum entitled "The Chronicle of the Landman Family: As told by Thomas Landman" was included in this novel. In this article, I focus on this chronicle and unravel the way in which Adamastor manifests himself in every character, because each figure bears some resemblances to the Adamastor that Brink recreated in T'kama, the protagonist in Die eerste lewe van Adamastor (1 988). All the characters in the Landman family fight against a dominant entity, but they do it on their own terms. This article shows that Brink uses the Adamastor figure as a metaphor for conflict, but also for reconciliation and protection. Against the background of these characteristics, Adamastor also appears to be a personification of different ideological constructs and of the continent of Africa. Furthermore, Adamastor's appearance is a key feature to understanding how ideology transforms the representation of historical knowledge in Brink's novel. <![CDATA[<b>Redreaming ways of seeing: Ben Okri's intuitive creativity</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200005&lng=pt&nrm=iso&tlng=pt Drawing on A Way of Being Free (1 997) and A Time for New Dreams (2011) among other Okrian texts, this article is a discussion of the notion of redreaming ways of seeing through intuitive creativity. The argument is divided into three parts: the role of intuitive creativity; redreaming ways of seeing in The Landscapes Within (1981); and intuition or "the landscapes within". The deployment of John Berger's Ways of Seeing and Roland Barthes's Image, Music, Text posits an Afro-Western worldview in which the title of Okri's second novel effectively becomes a simulacrum for the lead character's psyche that supplants character per se, so that the "landscapes within"-the psyche-becomes the eponymous hero of the tale. The contention is that the complex inner workings of the mind of the artist-protagonist, Omovo, is both the signifier and the signified. This is supported by analyses of an Okri poem and extracts from the novel. I argue that, in contrast to its inter-art variants, René Magritte's 1935 Le faux miroir and La clef des songes, the novel invokes a neo-Platonic/Coleridgean concept of the "enlightening" eye as a correlative of Okri's notion of the inward visionary quest of the dreaming "soul" "opening towards infinity". The article concludes by briefly justifying the article's claim that, in this novel, art deals with inner reality, with "the landscapes within". <![CDATA[<b>Negotiating womanhood: the bird metaphor in Southern African folklore and rites of passage</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200006&lng=pt&nrm=iso&tlng=pt In spite of its evident presence in Southern Africa's rich cultural heritage, the bird metaphor has received surprisingly little attention. The cultural materials analysed in this article include children's stories, songs, heroic poetry and ethnographic accounts of rites of passage. At first the data seems to suggest that bird symbolism could be interpreted in terms of a simple dual conception of gender identity. Some magical birds signify the prowess and authority of men. Others could be linked symbolically to the procreative powers of women. On further reflection, however, we identified a third category of more ambiguously gendered birds. It is contended that this additional bird type can be explained in terms of the female-male dialectic that shaped gender relations in small-scale societies. It is further proposed tentatively that the bird metaphor could have provided women with a symbolic means to negotiate their identity. <![CDATA[<b>Modern Swahili: the integration of Arabic culture into Swahili literature</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200007&lng=pt&nrm=iso&tlng=pt Due to her geographical position, the African continent has for many centuries hosted visitors from other continents such as Asia and Europe. Such visitors came to Africa as explorers, missionaries, traders and colonialists. Over the years, the continent has played host to the Chinese, Portuguese, Persians, Indians, Arabs and Europeans. Arabs have had a particularly long history of interaction with East African people, and have therefore made a significant contribution to the development of the Swahili language. Swahili is an African native language of Bantu origin which had been in existence before the arrival of Arabs in East Africa. The long period of interaction between Arabs and the locals led to linguistic borrowing mainly from Arabic to Swahili. The presence of loanwords in Swahili is evidence of cultural interaction between the Swahili and Arabic people. The Arabic words are borrowed from diverse registers of the language. Hence, Swahili literature is loaded with Arabic cultural aspects through Arabic loanwords. Many literary works are examples of Swahili literature that contains such words. As a result, there is evidence of Swahili integrating Arabic culture in its literature, an aspect that this paper seeks to highlight. <![CDATA[<b>Abjection in Dambudzo Marechera's <i>The House of Hunger</i></b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200008&lng=pt&nrm=iso&tlng=pt In a description of nationalist poems about "a golden age of black heroes; of myths and legends and sprites" (Marechera 74), the narrator of The House of Hunger (1978) observes that these themes are the "exposed veins dripping through the body of the poems." In this article we extend this observation to argue that, metaphorically on display in Marechera's novella itself, are the "exposed veins dripping through the body of the [text]" (74). The novella's themes include colonialism, social destitution, violence, state-sanctioned oppression, identity struggles, poverty, dislocation, disillusionment and anger, all of which are appropriately imaged in Marechera's visceral metaphor of the pain and violence implicit in the literary text. More specifically, corporeal imagery emphasises the unnamed narrator's troubled existence, suffusing The House of Hunger in a manner that elicits disgust and horror, thus encouraging the reader's affective response to the representation of the colonial condition. This article illuminates Marechera's seeming obsession with corporeality by providing a postcolonial and psychoanalytic reading, focussing in particular on Julia Kristeva's theory of abjection. Although critics have objected to reading African texts through the lens of psychoanalysis, the article sets out to address this concern, noting the importance of theorists like Frantz Fanon and Joshua D. Esty in justifying psychoanalytic readings of African literature, and drawing resonant parallels between Kristevan theory and Marechera's perspective on the colonial condition of Zimbabwe (Rhodesia) in the 1970s. <![CDATA[<b>Land of cemetery: funereal images in the poetry of Musa Idris Okpanachi</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200009&lng=pt&nrm=iso&tlng=pt This paper focuses on Musa Idris Okpanachi's poetry: The Eaters of the Living (2007), From the Margins of Paradise (2012), and Music of the Dead (2016). Nigeria, even after the military had relinquished power over a decade ago, is still faced with the issues that provoked the trope of protest in much of the poetry published between the mid-eighties and late nineties. Okpanachi's poetry revisits these issues, demonstrating that democracy has been no less horrifying than military despotism. Dark, haunting images of blood, corpses, and cemetery recur in all three collections, depicting the regularity of death in the nation. I argue that Okpanachi employs funereal imagery to comment on the state's morbid relationship with its citizenry. The Nigerian state is represented as murderous, so death fulfills its political objective. I conclude that although Okpanachi articulates a cynical commentary on postcolonial Nigeria, he marshals his creative energies to illuminate the political moment of his time. <![CDATA[<b>Christo van Rensburg (1938-2018): akademikus van formaat</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200010&lng=pt&nrm=iso&tlng=pt This paper focuses on Musa Idris Okpanachi's poetry: The Eaters of the Living (2007), From the Margins of Paradise (2012), and Music of the Dead (2016). Nigeria, even after the military had relinquished power over a decade ago, is still faced with the issues that provoked the trope of protest in much of the poetry published between the mid-eighties and late nineties. Okpanachi's poetry revisits these issues, demonstrating that democracy has been no less horrifying than military despotism. Dark, haunting images of blood, corpses, and cemetery recur in all three collections, depicting the regularity of death in the nation. I argue that Okpanachi employs funereal imagery to comment on the state's morbid relationship with its citizenry. The Nigerian state is represented as murderous, so death fulfills its political objective. I conclude that although Okpanachi articulates a cynical commentary on postcolonial Nigeria, he marshals his creative energies to illuminate the political moment of his time. <![CDATA[<b>'n Boer in beton: <i>Hierdie huis </i>deur Kleinboer</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200011&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Under Glass</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200012&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Queer Africa 2. New Stories</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200013&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>The Keeper of the Kumm</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200014&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>The History of Intimacy</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200015&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Toen met een lijst van nu errond. Herman de Coninck Biografie</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200016&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Van kant gemaak</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200017&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Die wêreld van die storie</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200018&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Dors</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200019&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Alles begin met Anna</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200020&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Kroniek van turf</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200021&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Die dag is bros. Sandton City Groot-doop</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200022&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy. <![CDATA[<b>Gedigte by skilderye</b>]]> http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0041-476X2018000200023&lng=pt&nrm=iso&tlng=pt This review article is an attempt to interpret and evaluate the novel Hierdie huis within a specific context, namely that of urban writing. This is done first and foremost with reference to Afrikaans literature, but also in a wider context with reference to English South African literature (e.g. Ivan Vladislavic) and to relevant theories like that of the city dweller (flâneur) in the critical writings of Walter Benjamin. In recent Dutch literature several novels have been published (amongst others by Marc Reugebrink and Ilja Leonard Pfeijffer) that share certain motifs and strategies with Kleinboer's trilogy and they are discussed in greater detail. In this article the focus is on this third novel in what ostensibly is a coherent trilogy or prose cycle and not primarily a rejection of the traditional Afrikaans farm novel as often is asserted by literary critics; in actual fact it is a creative renewal of this genre, although often in a parodical fashion. In conclusion this novel is described as typical of "metamodernism" in its quest for meaningful moral and philosophical "master" narratives, rejected in postmodernism. In this novel the main character recognizes The Other as a fellow human-being and his etymological quests stresses hybridity which implies that linguistic (or racial) purity is a farce. Postcolonial métissage is central in this novel and the conclusion is that the forming of new identities has seldom (or never) been described in Afrikaans literature as in this trilogy.