List of Titles

Showing items 1 - 20 of 32

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consumed society

- Krueger, Anton

Authors: Krueger, Anton
Date: 2008
Subjects: To be catalogued
Language: English
Type: text , poem
Identifier: http://hdl.handle.net/10962/462952 , vital:76350 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/EJC47802
Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
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Date Issued: 2008

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at the conference in münich

- Krueger, Anton

Authors: Krueger, Anton
Date: 2010
Subjects: To be catalogued
Language: English
Type: text , poem
Identifier: http://hdl.handle.net/10962/462941 , vital:76349 , ISBN 0028-4459 , https://journals.co.za/doi/epdf/10.10520/EJC47821
Description: New Coin is one of South Africa's most established and influential poetry journals. It publishes poetry, and poetry-related reviews, commentary and interviews. New Coin places a particular emphasis on evolving forms and experimental use of the English language in poetry in the South African context. In this sense it has traced the most exciting trends and currents in contemporary poetry in South Africa for a decade of more. The journal is published twice a year in June and December by the Institute for the Study of English in Africa (ISEA), Rhodes University.
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Date Issued: 2010

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Fashionably ethnic

- Krueger, Anton

Authors: Krueger, Anton
Date: 2010
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229567 , vital:49688 , xlink:href="https://doi.org/10.1080/1013929X.2010.9678333"
Description: This essay highlights a shift in South African literature towards ideals of individualism and explores some of the paradoxes inherent in the competing claims of individuality and heritage. The characters created by Greig Coetzee in Happy Natives are examined as examples of identities constructed in terms of tradition, function and indoctrination. The comic potential of these incongruent identity constructions is then elaborated by means of Henri Bergson’s description of the humour arising from an inability to adapt to changing fashions. Ultimately, appeals towards tradition and individuality begin to look like similar proposals.
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Date Issued: 2010

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Handspring Puppet Company, Jane Taylor (Ed.)

- Krueger, Anton

Authors: Krueger, Anton
Date: 2010
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229658 , vital:49697 , xlink:href="https://0hdl.handle.net.wam.seals.ac.za/10520/EJC31088"
Description: Handspring Puppet Company recently won three prestigious London awards (including the Olivier) for their design of the production War Horse, which is still running to great acclaim in the West End. This beautiful book has been released at exactly the right time, at a highpoint of an extraordinary company which has been producing astonishing work for 28 years already. It is an appropriate celebration of their many marvellous designs for 11 plays and two operas.
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Date Issued: 2010

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A white man in exile

- Krueger, Anton

Authors: Krueger, Anton
Date: 2011
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229459 , vital:49677 , xlink:href="https://doi.org/10.1080/10137548.2011.636974"
Description: This article explores intersections between understandings of masculinity and nationalism. Etymologically, ‘patriotism’ refers to a love for a fatherland and a patriarchal order; it includes notions of loyalty, honour and a range of qualities often associated with conceptions of masculinity. But if gender remains fixed to these normative constructions, what happens to one’s sense of masculine identity when the national state changes? My interest lies in exploring how white South African men have been repositioned in terms of a shift in their gendered identification, with a reflection on the possibly tragic consequences of maintaining an overly rigid gender role identification. As long as masculinity is embedded within nationalism, it will be caught up within a defensive reactive mode which can turn self-destructive. In order to explore these ideas the article employs as its central metaphor the character of Dawid Olivier, who is the protagonist of Athol Fugard’s Sorrows and Rejoicings (2002).
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Date Issued: 2011

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Part II Zef/poor white kitsch chique

- Krueger, Anton

Authors: Krueger, Anton
Date: 2012
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/225745 , vital:49255 , xlink:href="https://doi.org/10.1080/17533171.2012.715484"
Description: Ninja, who fronts the freak hip-hop band Die Antwoord, might not be quite what Desmond Tutu had in mind when he described South Africans as the “Rainbow People of God,”24 a happy harmonious amalgamation of different races. In his introduction to their seminal comic track “Enter the Ninja,” Ninja presents himself, rather, as a mongrel gutter dog, both embracing and parodying a syncretic fusion of the many different cultures and races of South Africa, celebrating as well as subverting the rainbow nation discourse. As he said in an interview with News24: “South African culture is quite a fucking fruit salad … a fucking fucked rainbow nation. South Africa's totally fucked … but in a cool way.”25 The cool side of being “fucked” in this way is “Zef.” Zef denotes a particular style of vulgar humor (in the usual sense of the word “vulgar,” but also with a nod to its origin in the Latin vulgaris for “mob” or “commoners”), which has been emerging more and more in South Africa during the past decade. It involves a way of presenting a persona in a purposefully degrading way, exaggerating one's appearance and mannerisms as low class, ill bred, and boorish. I would like to consider the recent popularity of “Zef” and examine its connection specifically to popular Afrikaans folk rock culture, a lineage of white poverty, and the feeling of disgrace experienced by many white Afrikaners after the end of apartheid.
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Date Issued: 2012

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The implacable grandeur of the stranger

- Krueger, Anton

Authors: Krueger, Anton
Date: 2012
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229430 , vital:49673 , xlink:href="https://doi.org/10.1080/10137548.2013.799798"
Description: South Africa is a nation of strangers, an uneasy mishmash of heterogeneous economic groupings, cultures and languages, a nation of marginalised minorities awkwardly pasted together. Numerous attempts have been made by its government to define and bolster a sense of nationalism and to create a sense of cohesion; however, a shadow side of this appeal for national identity has been the rise in xenophobic violence precipitated by the steady influx of refugees into the country. The title of this article is drawn from Albert Camus’s introduction to his disarming novella of dislocation, L’Etranger (1942), and I would like to explore some of the philosophical implications of representing strangers in different ways. Drawing on works by Zygmunt Bauman, Georg Simmel and Julia Kristeva, I will consider ambivalences towards the stranger represented in Magnet Theatre’s production (2010) of Die Vreemdeling [The Stranger], and pose a few questions about our relationship with the unknown. Attempts to familiarise the constituents of various communities with aspects of each other’s strangeness is a project which has typified much South African theatre in the past; and yet this is an approach which stands in sharp contrast to the importance granted processes of defamiliarisation first proposed so succinctly by Victor Shklovsky in 1917. Instead of attempts to harness and explain the unfamiliarity of others in order to communicate diversity, a celebration of the grandeur of the stranger may provide a more enriching alternative.
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Date Issued: 2012

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The pump room

- Krueger, Anton

Authors: Krueger, Anton
Date: 2012
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/225764 , vital:49256 , xlink:href="https://doi.org/10.1080/10137548.2012.754084"
Description: I like Allan Kolski Horwitz. He’s done great things for independent publishing in South Africa. Through his company, Botsotso, he’s probably responsible for publishing more poetry, prose and drama than any single person in the country today. The industriousness of his one-man operation has generously sponsored and nurtured thousands of pages of local literature over the course of many years. This is why it makes me so uncomfortable to say that I really don’t like this play. It gives me no pleasure to write a negative review, and especially not about books written by people I like. If I hadn’t already committed myself to writing this review, I would have avoided it. Nevertheless, I had, so I won’t.
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Date Issued: 2012

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Gazing at Exhibit A

- Krueger, Anton

Authors: Krueger, Anton
Date: 2013
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229643 , vital:49696 , xlink:href="http://liminalities.net/9-1/exhibit.pdf"
Description: Brett Bailey recently toured a new work in Europe and South Africa, called The Exhibit Series (2010-2013). In different countries the work has appeared under different titles—Exhibit A and Exhibit B, while Exhibit C will be produced in 2014. These productions replicate and parody ethnographic spectacles of the nineteenth century, interrogating European colonial atrocities in Africa, as well as contemporary xenophobia. They consist of a series of installations housed in individual rooms that audience members enter one by one. Inside these rooms one is confronted by beautifully arranged spectacles referencing historical atrocities committed in Namibia by German speaking peoples, as well as atrocities under the Belgian and French colonial regimes in the two Congos. The “exhibits” also include references to more recent incidents of European racism against migrants from Africa. The work has been both applauded and derided. In Berlin, for example, activists called it “a human zoo” and protested that this was “the wrong way to discuss a violent colonial history,”1 while others have called the work “haunting”, praising the production for its “dignity” and “beauty.”2
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Date Issued: 2013

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the programmable bride

- Krueger, Anton

Authors: Krueger, Anton
Date: 2014
Subjects: To be catalogued
Language: English
Type: text , article
Identifier: http://hdl.handle.net/10962/229698 , vital:49701 , xlink:href="https://hdl.handle.net/10520/EJC156969"
Description: the man gently opens his machine and finding an agreeable port for his firm flash, he eagerly installs the software he's been waiting on for so very long... once booted up, the man takes his first tentative steps, finding his bride perfect in every way, already completely in love with him, and dreamy... the man tenderly reaches out for her-she understands him so well, she's concerned about his needs, she wants to know how he feels, wants only to please him, she only-/but-there's an interruption/somebody's on the stairs, someone's knocking at his door-the man is forced to close her down a little too abruptly, shutting the machine to attend to other matters while he's away he can't wait to get back, he thinks about her all the time; he longs to flip his laptop lid up, to open her again... but when finally he silently prises open the instrument of his heart's desires, she seems a little disorientated... he didn't shut her down properly …
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Date Issued: 2014

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