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South African literature is the literary works of South Africa, which has 11 national languages: Afrikaans, English, Zulu, Xhosa, Sotho, Pedi, Tswana, Venda, SiSwati, Tsonga, and Ndebele.
Elleke Boehmer (cf. Cullhed, 2006: 79) composes, "Nationalism, like patriarchy, favours singleness-- one identity, one development pattern, one birth as well as blood for all ... [and also] will promote specifically unitary or 'one-eyed' types of consciousness." The initial trouble any type of student of South African literature is faced with, is the diversity of the literary systems. Gerrit Olivier notes, "While it is not unusual to listen to academics and politicians discuss a 'South African literature', the situation at round level is qualified by diversity or even fragmentation". Robert Mossman includes that "Among the sustaining as well as saddest traditions of the discrimination system could be that nobody-- White, Black, Coloured (definition of mixed-race in South Africa), or Asian-- can ever before talk as a "South African." The problem, nevertheless, pre-dates Apartheid considerably, as South Africa is a country comprised of neighborhoods that have always been linguistically as well as culturally varied. These societies have actually all maintained autonomy to some extent, making a compilation such as the questionable Southerly African Literatures by Michael Chapman, challenging. Chapman increases the concern:

[W] tube language, culture, or story could be said to have authority in South Africa when the end of apartheid has raised challenging inquiries as to exactly what it is to be a South African, what it is to reside in, whether South Africa is mlg, and also, if so, exactly what its mythos is, what calls for to be failed to remember and just what bore in mind as we scour the past in order to recognize the present and also look for a course ahead into an unidentified future.

South Africa has 11 nationwide languages:,. Any kind of definitive literary background of South Africa should, it could not be suggested, review literary works created in all eleven languages. Yet the only literature ever before to embrace qualities that can be stated to be "nationwide" is kid. Olivier says: "Of all the literatures in South Africa, Afrikaans literary works has actually been the only one to have actually come to be a national literary works in the feeling that it created a clear image of itself as a separate entity, and that using institutional entrenchment through teaching, circulation, a review society, journals, etc. it can ensure the extension of that idea." Part of the problem is that English literary works has been seen within the greater context of English creating in the world, and also has, due to English's worldwide setting as ', not been viewed as independent or indigenous to South Africa-- in Olivier's words: "English literature in South Africa remains to be a sort of extension of British or global English literature." The African languages, on the other hand, are spoken across the boundaries of Southern Africa - for example, Tswana is talked in Botswana, and in Zimbabwe, and in Lesotho. South Africa's boundaries were drawn up by the British Realm and, as with all other nests, these borders were drawn without respect for the people living within them. Consequently: in a history of South African literary works, do we include all Tswana writers, or the ones with South African citizenship? Chapman bypasses this issue by consisting of "Southern" African literary works. The 2nd issue with the African languages is access, due to the fact that given that the African languages are local languages, none could declare the readership on a national scale similar to Afrikaans as well as English. Sotho, as an example, while oversteping the national borders of the RSA, is on the other hand mainly spoken in the Free State, as well as births an excellent quantity of relationship to the language of for instance, Zulu. So the language can not declare a national audience, while on the other hand being "international" in the feeling that it oversteps the nationwide boundaries.

Olivier says that "There is no evident reason that it need to be unhealthy or unusual for different literary works to co-exist in one nation, each having its very own framework and allowing theoreticians to develop outstanding concepts concerning polysystems". Yet political idealism suggesting a combined "South Africa" (a remnant of the colonial British technique) has seeped right into literary discourse and requires a unified nationwide literary works, which does not exist and needs to be made. It is unrealistic to ever think of South Africa and South African literary works as uniform, now or in the close to or long run, since the only reason it is a country in all is the disturbance of European colonial powers. This is not a racial problem, but rather concerns culture, heritage and tradition (as well as undoubtedly the constitution celebrates variety). Rather, it seems a lot more reasonable to review South African literature as literature produced within the nationwide borders by the different societies and language teams populating these borders. Otherwise the threat is emphasising one literary system at the expense of one more, as well as most of the time, the beneficiary is English, with the African languages being neglected. The distinction "black" as well as "white" literature is further a residue of manifest destiny that must be replaced by drawing distinctions in between literary systems based upon language affiliation as opposed to race.
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