Back to nowhere
- Authors: Fundakubi, Zukile Anthony
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century , Xhosa fiction 21st century , Short stories, Xhosa 21st century , Detective and mystery stories 21st century
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/5071 , vital:20763
- Description: My writing contains elements of hard-boiled detective fiction and crime writing. My stories, written in isiXhosa and English and a mixture of both, transplant these genres into a South African township setting where gang violence dominates and life is cheap. They are driven by uniquely South African characters, brutal crime scenes and fear-inspiring suspense, but none the less still full of humour. I want my work to entertain the reader while also looking realistically and critically at the problem of crime in our townships. I draw on influences of African and Latin American writers to create South African crime fiction in a realistic urban setting, with dynamic characters and sharp dialogue. , Le ngqokelela yamabali iqulathe amabali angobomi babantu abasezilokishini nabo bahlala ezilalini. Nangona umfundi angahle awafumanisa ehlekisa amanye elusizi, injongo yombhali asikukuhlekisa nakunyanzelisa imfundiso koko ikuzoba ubomi bababantu, bephila kwezi ndawo neengxaki abajongene nazo. Imeko yaba bantu kumakhaya ngamakhaya yiyo ebangele ukuba umbhali abelane nomfundi ngokuqhubekayo ebomini. , This thesis is presented in two parts: English and isiXhosa
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- Date Issued: 2017
- Authors: Fundakubi, Zukile Anthony
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century , Xhosa fiction 21st century , Short stories, Xhosa 21st century , Detective and mystery stories 21st century
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/5071 , vital:20763
- Description: My writing contains elements of hard-boiled detective fiction and crime writing. My stories, written in isiXhosa and English and a mixture of both, transplant these genres into a South African township setting where gang violence dominates and life is cheap. They are driven by uniquely South African characters, brutal crime scenes and fear-inspiring suspense, but none the less still full of humour. I want my work to entertain the reader while also looking realistically and critically at the problem of crime in our townships. I draw on influences of African and Latin American writers to create South African crime fiction in a realistic urban setting, with dynamic characters and sharp dialogue. , Le ngqokelela yamabali iqulathe amabali angobomi babantu abasezilokishini nabo bahlala ezilalini. Nangona umfundi angahle awafumanisa ehlekisa amanye elusizi, injongo yombhali asikukuhlekisa nakunyanzelisa imfundiso koko ikuzoba ubomi bababantu, bephila kwezi ndawo neengxaki abajongene nazo. Imeko yaba bantu kumakhaya ngamakhaya yiyo ebangele ukuba umbhali abelane nomfundi ngokuqhubekayo ebomini. , This thesis is presented in two parts: English and isiXhosa
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- Date Issued: 2017
Happiness is somebody’s name
- Authors: Jijana, Thabo
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7268 , vital:21237
- Description: This collection of loosely interlinked short stories is a “book of imaginary beings”. It draws its influence from amaXhosa history, religion and mythology. Written in a fluid blend of isiXhosa and English, the stories make use of innovative forms and an inventive, pared-down language to create new and strange perspectives on our past, present and future. Ranging in length from brief mini-sagas to longer vignettes, the collection touches on such diverse subjects as the lore and superstitions surrounding the mythical being of tokoloshe, sorcery in the black community, and other fantastical elements of amaXhosa folklore. Literary influences include the Syrian writer Osama Olamar, whose writing about inanimate and everyday objects is both interesting and rare; Amos Tutuola, whose appropriation of Yoruba mythology I have learned much from; the Argentinian writer Julio Cortazar who has the facility to articulate the fantastical in a straightforward narrative; and Taban Lo Liyong, the Ugandan writer, whose fabulist work has served as stimulus for many of these stories.
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- Date Issued: 2017
- Authors: Jijana, Thabo
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Short stories, South African (English) 21st century
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7268 , vital:21237
- Description: This collection of loosely interlinked short stories is a “book of imaginary beings”. It draws its influence from amaXhosa history, religion and mythology. Written in a fluid blend of isiXhosa and English, the stories make use of innovative forms and an inventive, pared-down language to create new and strange perspectives on our past, present and future. Ranging in length from brief mini-sagas to longer vignettes, the collection touches on such diverse subjects as the lore and superstitions surrounding the mythical being of tokoloshe, sorcery in the black community, and other fantastical elements of amaXhosa folklore. Literary influences include the Syrian writer Osama Olamar, whose writing about inanimate and everyday objects is both interesting and rare; Amos Tutuola, whose appropriation of Yoruba mythology I have learned much from; the Argentinian writer Julio Cortazar who has the facility to articulate the fantastical in a straightforward narrative; and Taban Lo Liyong, the Ugandan writer, whose fabulist work has served as stimulus for many of these stories.
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- Date Issued: 2017
I want to believe there is a girl here under the table
- Authors: Asfour, Fouad-Martin
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7190 , vital:21227
- Description: Written in non-linear fragments, my thesis is what Audre Lorde in her novel Zami calls a "biomythography" - the weaving together of myth, history and biography in epic narrative form, a style of composition that represents all the ways in which we perceive the world. Using repetition and shifting memories, I draw from my bicultural upbringing in Offenbach, a city in Germany populated mostly by migrants, as well as my experience of working in art and culture internationally, travelling and living in different countries. Interrogating objects, buildings, family photographs, books and movies, and listening to the silences of the unvoiced, I upset and play with experiences of othering, assumptions and expectations about identity and ask questions about home, belonging and migration, mother tongue and translation. I draw inspiration from Korean American artist Theresa Hak Kyung Cha's use of texts, documents and images to explore dislocation and memory, as well as authors who engage language, translation and belonging such as Mikhail Shishkin, Yoko Tawada, Gloria Anzaldua and Mohammed Khair-Eddine.
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- Date Issued: 2017
- Authors: Asfour, Fouad-Martin
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7190 , vital:21227
- Description: Written in non-linear fragments, my thesis is what Audre Lorde in her novel Zami calls a "biomythography" - the weaving together of myth, history and biography in epic narrative form, a style of composition that represents all the ways in which we perceive the world. Using repetition and shifting memories, I draw from my bicultural upbringing in Offenbach, a city in Germany populated mostly by migrants, as well as my experience of working in art and culture internationally, travelling and living in different countries. Interrogating objects, buildings, family photographs, books and movies, and listening to the silences of the unvoiced, I upset and play with experiences of othering, assumptions and expectations about identity and ask questions about home, belonging and migration, mother tongue and translation. I draw inspiration from Korean American artist Theresa Hak Kyung Cha's use of texts, documents and images to explore dislocation and memory, as well as authors who engage language, translation and belonging such as Mikhail Shishkin, Yoko Tawada, Gloria Anzaldua and Mohammed Khair-Eddine.
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- Date Issued: 2017
On the shop-floor: ten years at Ford
- Authors: Cilibe, Mpumelelo
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Autobiographical fiction, South African (English) 21st century , Xhosa fiction 21st century , Short stories, Xhosa 21st century
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7257 , vital:21234
- Description: My autobiographical novella covers a period of my life between 1974 and 1984, when I worked at the Ford Motor company Struandale Assembly plant in Port Elizabeth. This period predated the formation of NUMSA (the National Union of Metal Workers of South Africa) and COSATU - it was a time when automobile industry workers broke away from the race- based unions to form MACWUSA (Motor Assemblers and Component Workers Union of SA). Around the same time Rev Leon Sullivan was putting pressure on US companies, including Ford, to move away from apartheid labour practices. As quite an angry young man influenced by the Black Consciousness movement, I got deeply involved in union activities mainly for my own survival, and as a personal reaction to racism in the workplace. The story is told in a realist style, with many anecdotal detours giving the flavour of life in New Brighton in the 1980s. Important influences have been Bloke Modisane's autobiography, Blame Me on History and Studs Terkel's interviews of Ford plant workers and management in his book Working. , Growing up in New Brighton gave me so many stories that had never been written before but that were told person to person by the residents of my neighbourhood. Some of the tales in this collection are based on such stories. Others are stories that are reminiscent of childhood while growing up with an elder brother. I take the inspiration from different books that are in line with the stories that I am writing: collections of Extreme Fiction - Fabulists and Formalists that were edited by Robin Hemley and Michael Martone and The Best Bizarro Fiction of the Decade edited by Jeremy Robert Johnson and Cameron Pierce. Some stories by L.L. Ngewu and L.S. Ngcangata, and a novellette by P.T. Mtuze, Alitshoni Lingaphumi, also bring much influence as they reveal suffering in the lives of black people who endured forced removals, and other situations that are of interest to build my stories on. , Le ngqokolela yamabali iqulathe amabali asekelwe kumabali endandiweva ebaliswa ebuntwaneni bam ndisakhula. Amanye amabali angeenkumbulo zasebuntwaneni ngethuba ndandikhula nomkhuluwa wam ongasaphiliyo. Ifuthe lokuwaqamba ndilifumene kwiincwadi zababhali abanje ngabo bafumaneka kwiingqokolela ezihlelwe nguRobin Hemley no Michael Martone kwincwadi ethi Extreme Fiction - Fabulists and Formalists, noJeremy Robert Johnson enoCameron Pierce kwingqokolela ethi, The Best Bizarro Fiction of the Decade. Amanye amabali abenefuthe ndiwafumene kwiincwadi zooP.T. Mtuze, kwinovella yakhe ethi Alitshoni Lingaphumi, nakwezoL.L. Ngewu noL.S. Ngcangatha apho babalisa ngobomi basekuhlaleni ngexesha abantu babedudulwa befuduswa ngetshova ukususwa kwiindawo zabo zokuhlala. , This thesis is presented in two parts: English and isiXhosa
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- Date Issued: 2017
- Authors: Cilibe, Mpumelelo
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , Autobiographical fiction, South African (English) 21st century , Xhosa fiction 21st century , Short stories, Xhosa 21st century
- Language: English , Xhosa
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7257 , vital:21234
- Description: My autobiographical novella covers a period of my life between 1974 and 1984, when I worked at the Ford Motor company Struandale Assembly plant in Port Elizabeth. This period predated the formation of NUMSA (the National Union of Metal Workers of South Africa) and COSATU - it was a time when automobile industry workers broke away from the race- based unions to form MACWUSA (Motor Assemblers and Component Workers Union of SA). Around the same time Rev Leon Sullivan was putting pressure on US companies, including Ford, to move away from apartheid labour practices. As quite an angry young man influenced by the Black Consciousness movement, I got deeply involved in union activities mainly for my own survival, and as a personal reaction to racism in the workplace. The story is told in a realist style, with many anecdotal detours giving the flavour of life in New Brighton in the 1980s. Important influences have been Bloke Modisane's autobiography, Blame Me on History and Studs Terkel's interviews of Ford plant workers and management in his book Working. , Growing up in New Brighton gave me so many stories that had never been written before but that were told person to person by the residents of my neighbourhood. Some of the tales in this collection are based on such stories. Others are stories that are reminiscent of childhood while growing up with an elder brother. I take the inspiration from different books that are in line with the stories that I am writing: collections of Extreme Fiction - Fabulists and Formalists that were edited by Robin Hemley and Michael Martone and The Best Bizarro Fiction of the Decade edited by Jeremy Robert Johnson and Cameron Pierce. Some stories by L.L. Ngewu and L.S. Ngcangata, and a novellette by P.T. Mtuze, Alitshoni Lingaphumi, also bring much influence as they reveal suffering in the lives of black people who endured forced removals, and other situations that are of interest to build my stories on. , Le ngqokolela yamabali iqulathe amabali asekelwe kumabali endandiweva ebaliswa ebuntwaneni bam ndisakhula. Amanye amabali angeenkumbulo zasebuntwaneni ngethuba ndandikhula nomkhuluwa wam ongasaphiliyo. Ifuthe lokuwaqamba ndilifumene kwiincwadi zababhali abanje ngabo bafumaneka kwiingqokolela ezihlelwe nguRobin Hemley no Michael Martone kwincwadi ethi Extreme Fiction - Fabulists and Formalists, noJeremy Robert Johnson enoCameron Pierce kwingqokolela ethi, The Best Bizarro Fiction of the Decade. Amanye amabali abenefuthe ndiwafumene kwiincwadi zooP.T. Mtuze, kwinovella yakhe ethi Alitshoni Lingaphumi, nakwezoL.L. Ngewu noL.S. Ngcangatha apho babalisa ngobomi basekuhlaleni ngexesha abantu babedudulwa befuduswa ngetshova ukususwa kwiindawo zabo zokuhlala. , This thesis is presented in two parts: English and isiXhosa
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- Date Issued: 2017
Son of a dog
- Authors: Kolawole, Samuel
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , African fiction (English) 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7195 , vital:21228
- Description: Son of a Dog is inspired by a real-life figure whose exploits captured the Nigerian public imagination in the 1980s. Famously known as Ovbigbo (“The Law”), Lawrence Anini unleashed a nationwide reign of terror against law and order. Set against the backdrop of the political turmoil following the Nigerian civil war, the novel traces Anini’s formative years in menial jobs to his rise to the leadership of a notorious criminal gang. It fuses the established facts of his short meteoric career with my imagined version of his inner life and the contemporary myths that sprung up around his legend. It finally crosses the boundary between the real and the mythic as Lawrence Anini becomes truly invincible and elusive after a lust-struck encounter with a fantastical character. I draw inspiration from the dark visceral fiction of Michael Cisco and Brian Evenson, AyiKwei Armah’s unflinchingly descriptive prose and E.C. Osondu’s sharp contemporary humour.
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- Date Issued: 2017
- Authors: Kolawole, Samuel
- Date: 2017
- Subjects: Creative writing (Higher education) South Africa , South African fiction (English) 21st century , African fiction (English) 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/7195 , vital:21228
- Description: Son of a Dog is inspired by a real-life figure whose exploits captured the Nigerian public imagination in the 1980s. Famously known as Ovbigbo (“The Law”), Lawrence Anini unleashed a nationwide reign of terror against law and order. Set against the backdrop of the political turmoil following the Nigerian civil war, the novel traces Anini’s formative years in menial jobs to his rise to the leadership of a notorious criminal gang. It fuses the established facts of his short meteoric career with my imagined version of his inner life and the contemporary myths that sprung up around his legend. It finally crosses the boundary between the real and the mythic as Lawrence Anini becomes truly invincible and elusive after a lust-struck encounter with a fantastical character. I draw inspiration from the dark visceral fiction of Michael Cisco and Brian Evenson, AyiKwei Armah’s unflinchingly descriptive prose and E.C. Osondu’s sharp contemporary humour.
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- Date Issued: 2017
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