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Ghandi's satyagraha, passive resistance, initiated in 1906 and Mandela's armed resistance championed by Umhkonto we Sizwe begun in 1961 very probably marked the opposite extremes of the anti-apartheid struggle. The chasm between these two strategies points in the direction of dramatic unfolding of historical events in the racist enclave necessitating a sober reappraisal in tactics. In the cultural onslaught against apartheid in which literature had a focal position the debate was not only about the authentic mode of resistance but also fundamentally about the authentic form of anti-apartheid literature itself. Apartheid South African theatre, polarised by the institutionalised inequalities of the system in white and black communities, inhibited in both by ruthless censorship laws, acknowledging different, even contrasted, philosophical and technical inspiration, offered varying spectacles of the South African experience. If Fugard's (early) drama, demonstrably indebted to Camus's The Myth of Sisyphus, valorises an essentially passive form of resistance, Nkosi's attraction to and anxiety about Fanonian revolutionary violence on the other hand respond to South African history itself.

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  • Social Sciences (miscellaneous) SJR Quartile Score (2018): Q4
  • Arts and Humanities (miscellaneous) SJR Quartile Score (2018): Q3
  • Law SJR Quartile Score (2018): Q4
  • Scimago Journal Rank (2018): 0.128
  • SJR Hirsch-Index (2018): 7

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Language English
Size B5
Year of
per Year
per Year
Founder Akadémiai Kiadó
H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
Publisher Akadémiai Kiadó
Springer Nature Switzerland AG
H-1117 Budapest, Hungary 1516 Budapest, PO Box 245.
CH-6330 Cham, Switzerland Gewerbestrasse 11.
Chief Executive Officer, Akadémiai Kiadó
ISSN 0324-4652 (Print)
ISSN 1588-2810 (Online)