Fashionably ethnic
- 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.
- Full Text:
- Date Issued: 2010
On Moving House
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229785 , vital:49710 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
White Guys Can't Beg
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229796 , vital:49711 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
in the council chambers
- Authors: Krueger, Anton
- Date: 2008
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229862 , vital:49718 , xlink:href="https://hdl.handle.net/10520/EJC47802"
- Full Text:
- Date Issued: 2008
Nine Notes on Lisbon
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229807 , vital:49712 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
St. Petersburg
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229818 , vital:49713 , xlink:href="https://hdl.handle.net/10520/EJC47812"
- Full Text:
- Date Issued: 2009
at the conference in munich
- Authors: Krueger, Anton
- Date: 2010
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229774 , vital:49709 , xlink:href="https://hdl.handle.net/10520/EJC47821"
- Full Text:
- Date Issued: 2010
in a park in Europe
- Authors: Krueger, Anton
- Date: 2008
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229851 , vital:49717 , xlink:href="https://hdl.handle.net/10520/EJC47802"
- Full Text:
- Date Issued: 2008
consumed society
- Authors: Krueger, Anton
- Date: 2008
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229840 , vital:49716 , xlink:href="https://hdl.handle.net/10520/EJC47802"
- Full Text:
- Date Issued: 2008
Gazing at Exhibit A
- 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
A Century of South African Theatre
- Authors: Krueger, Anton
- Date: 2019
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229623 , vital:49694 , xlink:href="https://doi.org/10.1080/10137548.2020.1716515"
- Description: In many ways, this is an updated repackaging of Loren Kruger's seminal work of 20 years ago, Plays, Pageants and the Drama of South Africa (1999). The material has been extensively revised and reworked using similar categories as the first book, including: pageantry and representations of nationhood, neo-colonial theatre, urbanization and its consequences; the rise of Afrikaans theatre; theatres of resistance; black consciousness; and contemporary theatre. Some of these sections have been extended (such as a longer discussion of HIE Dhlomo) and there is also a completely new section which has not been published elsewhere on current theatre trends (cleverly titled “The Constitution of South African Theatre at the Present Time”).
- Full Text:
- Date Issued: 2019
Glumlazi
- Authors: Krueger, Anton
- Date: 2009
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229829 , vital:49715 , xlink:href="https://hdl.handle.net/10520/EJC47808"
- Full Text:
- Date Issued: 2009
Outside city limits: introducing Anton van der Merwe of Starways Arts, in Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1012 , vital:30191
- Description: Certain contemporary artists in South Africa choose to live in rural areas rather than in cities. This paper explores some reasons for this preference, and also looks at countercultural back-to-the-earth trends and other factors that may have encouraged some of these artists to prefer to live and work in rural settings. It is against this background that artist Anton van der Merwe is introduced and his early choices of spaces in which to work, both as a potter and painter, are examined. This background serves to contextualise his decision, made in 1992, to move home and studio from Midrand in Gauteng to Hogsback village, in rural Eastern Cape. Hardships were faced, artistic growth has been experienced, and a flourishing visual arts practice has been established by him at Starways Arts. In conclusion, it is noted that involvement in aspects of local community affairs have resulted in widespread mutual benefit.
- Full Text:
- Date Issued: 2014
Woza Albert! (Student Editions)
- Authors: Krueger, Anton
- Date: 2019
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229598 , vital:49691 , xlink:href="https://doi.org/10.1080/10137548.2018.1560975"
- Description: Publishing Woza Albert! back in 1983 was a smart move by Methuen Publishing, since it went on to become South Africa’s most canonical dramatic text. As Temple Hauptfleisch points out in his introduction to this new edition, the play has become one of the most anthologized and produced of all South African plays, a regular prescribed work…particularly so in the new curricula introduced since 1994…a major work in the South African literary canon, one of the most studied and produced of the plays from the turbulent 1980s.
- Full Text:
- Date Issued: 2019
The Monkey Cage
- Authors: Krueger, Anton
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229763 , vital:49708 , xlink:href="https://hdl.handle.net/10520/EJC149510"
- Full Text:
- Date Issued: 2013
Nothing forever
- Authors: Krueger, Anton
- Date: 2021
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225533 , vital:49233 , xlink:href="https://doi.org/10.5920/pam.1013"
- Description: Thank you to everybody who made contributions to this bumper 2021 Special Issue on Improvisation. Many thanks to our peer reviewers and especially to co-editors Deborah and Daniel for their help with the selection and editing process which has now culminated in a baker’s dozen texts. With contributions from Australia, South Africa, and New Zealand, as well as from France, the USA and the UK, the issue includes five interviews, four articles, two book reviews, a reflection and a score.
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- Date Issued: 2021
Anton and Vale van der Merwe: reinterpreting Afro-Oriental studio ceramics traditions in South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/968 , vital:30077
- Description: Growing awareness of ancient Chinese Song and Yuan ceramics, amongst other Oriental traditions, by people with western connections such as Bernard Leach and Michael Cardew, in conjunction with influences from Japanese associates such as Soyetsu Yanagi, Kenkichi Tomimoto, and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) has had many consequences. It spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramic philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This studio ceramics movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro- Oriental studio ceramics in South Africa, with particular reference to the Leach/Hamada/Cardew to Rabinowitz, and Van der Merwe lineage.
- Full Text:
- Date Issued: 2015
Whose voice is it anyway?
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225695 , vital:49249 , xlink:href="https://doi.org/10.1080/1013929X.2015.1086195"
- Description: This essay surveys a number of different interpretations of the metaphor of “voice”. It begins by exploring the use of free writing exercises as a means of nurturing the emergence of physical (audible) voice in creative writing classes before assessing some of the ramifications and implications of the trope, both diachronically and synchronically. A key issue of this discussion is whether voice is regarded as individual or social.
- Full Text:
- Date Issued: 2015
Agreement and coordination in XiTsonga, SeSotho and IsiXhosa: an optimality theoretic perspective
- Authors: Mitchley, Hazel
- Date: 2016
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/3423 , vital:20491
- Description: This thesis provides a unified Optimality Theoretic analysis of subject-verb agreement with coordinated preverbal subjects in three Southern Bantu languages: Xitsonga (S53), Sesotho (S33), and isiXhosa (S41). This analysis is then used to formulate a typology of agreement resolution strategies and the contexts which trigger them. Although some accounts in the Bantu literature suggest that agreement with coordinate structures is avoided by speakers (e.g. Schadeberg 1992, Voeltz 1971) especially when conjuncts are from different noun classes, I show that there is ample evidence to the contrary, and that the subject marker used is dependent on several factors, including (i) the [-HUMAN] specification on the conjuncts, (ii) whether the conjuncts are singular or plural, (iii) whether or not the conjuncts both carry the same noun class feature, and (iv) the order of the conjuncts. This thesis shows that there are various agreement resolution strategies which can beused: 1) agreement with the [+HUMAN] feature on the conjuncts, 2) agreement with the[-HUMAN] feature on the conjuncts, 3) agreement with the noun class feature on both conjuncts, 4) agreement with the noun class feature on the conjunct closest to the verb, and 5) agreement with the noun class feature on the conjunct furthest from the verb. Not all of these strategies are used by all languages, nor are these strategies interchangeable in the languages which do use them – instead, multiple factors conspire to trigger the use of a specific agreement strategy within a specific agreement featural context. I show that these effects can be captured using Optimality Theory (Prince and Smolensky 2004). The analysis makes use of seven constraints: RES#, MAX[+H], MAX[-H], DEP[-H], MAXNC, DEPNC, and AGREECLOSEST. The hierarchical ranking of these constraints not only accounts for the confinement of particular strategies to specific agreement featural contexts within a language, but also accounts for the cross-linguistic differences in the use of these strategies. I end off by examining the typological implications which follow from the OT analysis provided in this thesis.
- Full Text:
- Date Issued: 2016
Forays into contemporary South African theatre
- Authors: Krueger, Anton
- Date: 2020
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229578 , vital:49689 , xlink:href="https://doi.org/10.1080/10137548.2021.1963112"
- Description: Trying to keep up with what is going on in South African theatre today is an endlessly renewing process. The word ‘foray’ has associations of brief incursions into foreign territory. It’s an almost hesitant word, a venture into unexplored terrain. This hesitation feels apt in the sense that (at the time of writing), any description of a pre-Covid theatre is bound to feel strange. The landscape has shifted, and nobody is quite sure how things will look in a year from now. Nevertheless, this is a rich compendium of relatively recent theatre, as seen from within the country and also from the vantage of a global perspective. Almost all of the essays are drawn from a 2017 conference held in Brussels at the Université Libre de Bruxelles, called: ‘New Stage Idioms: South African Drama, Theatre and Performance in the Twenty-first Century.’Although the tone remains scholarly, the inclusion of different kinds of writers – not only academics but activists, playwrights and journalists – prevents the work from becoming overly dry.
- Full Text:
- Date Issued: 2020