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Published: 4 June 2021
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1

Botha, Marisa. "Skinned by Antjie Krog." ariel: A Review of International English Literature 44, no. 4 (2013): 233–35. http://dx.doi.org/10.1353/ari.2013.0031.

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2

Vosloo, Franci. "Vertaling en/as abjeksie: Antjie Krog." Stellenbosch Papers in Linguistics Plus 43 (July 16, 2014): 359. http://dx.doi.org/10.5842/43-0-213.

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3

van Vuuren, Helize. "Antjie Krog: Towards a syncretic identity." Current Writing 21, no. 1-2 (January 2009): 218–37. http://dx.doi.org/10.1080/1013929x.2009.9678319.

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4

Olivier, Gerrit. "The “fierce belonging” of Antjie Krog: review ofcountry of my skullby Antjie Krog, random house, Johannesburg, 1998." African Studies 57, no. 2 (December 1998): 221–28. http://dx.doi.org/10.1080/00020189808707897.

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5

Renders, Luc. "Antjie Krog: an unrelenting quest for wholeness." Dutch Crossing 30, no. 1 (June 2006): 43–62. http://dx.doi.org/10.1080/03096564.2006.11730870.

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6

Vosloo, Frances. "‘Inhabiting’ the translator'sHabitus: Antjie Krog as translator." Current Writing 19, no. 2 (January 2007): 72–93. http://dx.doi.org/10.1080/1013929x.2007.9678275.

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7

Rodrigues, Elizabeth. "Antjie Krog and the Autobiography of Postcolonial Becoming." Biography 37, no. 3 (2014): 725–44. http://dx.doi.org/10.1353/bio.2014.0056.

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8

Kollmann Adlam, Elizabeth. "Antjie Krog: An Ethics of Body and Otherness." Life Writing 13, no. 3 (February 2016): 401–4. http://dx.doi.org/10.1080/14484528.2016.1136550.

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9

Visagie, A. "Subjektiwiteit en vroulike liggaamlikheid in enkele tekste van Riana Scheepers en Antjie Krog." Literator 20, no. 2 (April 26, 1999): 107–22. http://dx.doi.org/10.4102/lit.v20i2.478.

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Subjectivity and feminine corporeality in texts by Riana Scheepers and Antjie KrogBoth Die ding in die vuur by Riana Scheepers and Gedigte 1989-1995 by Antjie Krog are characterized by a profound interest in women in relation to their bodies. As Luce Irigaray (1981:100) and Héléne Cixous (1981:256) have indicated, it is essential to approach the debate about female subjectivity from the discourse of the body. Irigaray believes that women will accede to subjectivity from an experience of their bodies as multiple and diverse. In the short stories of Riana Scheepers the bodies of women are depicted as confiscated and destroyed by the discourses of both African and Western patriarchy. However, the writing of Scheepers does not mobilize the constructive potential of the female body to create a new subjectivity. In her poetry Antjie Krog engages the female body in a transitory exploration of the masculine other. An analysis of “ek staan op 'n moerse rots langs the see by Paternoster" leads to the conclusion that the female speaker in this poem by Krog emerges from her non-appropriating journey through the masculine other within sight o f a feminine subjectivity based on the liberating potential of the female body.
10

Garman, Anthea. "Antjie Krog and the accumulation of ‘media meta‐capital’." Current Writing 19, no. 2 (January 2007): 1–23. http://dx.doi.org/10.1080/1013929x.2007.9678272.

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11

Wessels, Michael. "Antjie Krog, Stephen Watson and the metaphysics of presence." Current Writing 19, no. 2 (January 2007): 24–48. http://dx.doi.org/10.1080/1013929x.2007.9678273.

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12

Nel, A. "Die kleur van vers en verf: Antjie Krog in gesprek met Marlene Dumas." Literator 22, no. 3 (June 13, 2001): 21–38. http://dx.doi.org/10.4102/lit.v22i3.1054.

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The colours of poem and paint: Antjie Krog in conversation with Marlene Dumas Antjie Krog engages South African born painter Marlene Dumas in an intertextual dialogue in her most recent anthology Kleur kom nooit alleen nie. This series of poems is titled “skilderysonnette” (sonnets of a painting). Six of the nine of Krog’s “word paintings” are eponymous with Dumas’s paintings and therefore almost require an examination of the interplay of the respective texts. This article examines the relationship between the relevant poems and paintings. The specific conversation between Krog’s word texts and Dumas’s paintings within the context of Krog’s anthology ultimately indicates intriguing similarities. It includes, inter alia, the struggle of both artists with the problem of “belonging” – Krog from an African perspective and Dumas from a European angle. Both are also concerned with the politics of colour. The politics of sex also figures in both their oeuvres in the third instance. The complexity of sexuality, eroticism and love is examined in the work of both these artists and is ultimately expressed in the voice/vision of the emancipated woman.
13

Mwapangidza, Solomon. "A NATION BECOMING? MEDIATING POST-APARTHEID IDENTITIES IN ANTJIE KROG’S COUNTRY OF MY SKULL." Imbizo 6, no. 1 (June 21, 2017): 39–50. http://dx.doi.org/10.25159/2078-9785/2782.

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 In this paper I use postmodernism to explore Antjie Krog’s engagement with post-Apartheid identities in Country of My Skull. These identities, often complex and multiple, are mediated in the process of nation-building. I take the exercise of the Truth and Reconciliation Commission (TRC) as metonymy for the nation-building project, and I argue that Krog quite deliberately chose an ambiguous and complex genre to represent equally ambiguous and complex identities. One of the salient features of postmodernism is its anti-systemic, anti-form impulse, and the form that Krog uses refuses to be conscripted into any single conventional form. Dominated by testimonies of victims and perpetrators of apartheid violence, the form also bears aspects of autobiography, novel, poetry and journalistic snippets interlaced with quotes from psychoanalysts and philosophers. From time to time, anecdotes, fairytales, myths and legends are interpolated into the narrative to remind the reader of the porous borders between fiction and reality.
14

Garman, Anthea. "Global resonance, local amplification: Antjie Krog on a world stage." Social Dynamics 36, no. 1 (March 2010): 187–200. http://dx.doi.org/10.1080/02533950903562468.

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15

Taljard, M. "Die skryf vind plaas in selfgeveg: versoeningstrategieë in Kleur kom nooit alleen nie deur Antjie Krog." Literator 27, no. 1 (July 30, 2006): 141–62. http://dx.doi.org/10.4102/lit.v27i1.184.

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Writing takes place in wrestling the self down: strategies of reconciliation in Kleur kom nooit alleen nie (Colour never comes on its own) by Antjie Krog One of the central themes in “Kleur kom nooit alleen nie” (2000), a volume of poetry by Antjie Krog, is the reconciliation between people of different races and political orientations. Krog regards reconciliation through the medium of language and the poem as the task of the poet. In the volume under discussion these actions often take place within the liminal zone. The speaking “I” goes “underground” in the isolated space far from the centre, in order to consider ways in which people can co-exist in new, peaceful relationships. The destabilisation of textual stability by stressing the ambiguous meaning of words is a transgressive action, implying a rethinking of the meaning of words in order to aid reconciliation. Speaking abjection, the liminal action where traumatic events are made public in an attempt to reconcile with the past, is an important modus operandi in some of these poems. It therefore seems as if the liminal zone offers fertile space to the poet to think about and reconsider reconciliation and peaceful coexistence.
16

Crous, M. "Aspekte van die outeursfunksie in Antjie Krog se Lady Anne (1989)." Literator 23, no. 3 (August 6, 2002): 1–16. http://dx.doi.org/10.4102/lit.v23i3.340.

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Aspects of the author function in Antjie Krog’s Lady Anne (1989) The purpose of this essay is to investigate the Foucauldian notion of the so-called “author function” in Antjie Krog’s seventh volume of poetry, viz. Lady Anne (1989). It is an attempt to show how the notion of the death of the author (Barthes) links up with this theorisation of Foucault. Furthermore, it is also an attempt to indicate the characteristic features of the so-called “author function” in the late eighties in Afrikaans poetry, especially with regard to the conflict between aestheticism and political ideology in poetic expression. Focus is also placed on the role of the author’s name within the discursive framework of what is regarded as “Afrikaans literature”, as well as the author’s interaction with other authors within that discursive framework, in particular, Breyten Breytenbach.
17

Vitackova, Martina. "De derde leeftijd in versvorm - Verweerskrif van Antjie Krog." Tijdschrift voor Genderstudies 16, no. 2 (June 1, 2013): 68–77. http://dx.doi.org/10.5117/tvgend2013.2.vita.

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18

Pretorius, A. "Bodily disintegration and successful ageing in Body Bereft by Antjie Krog." Tydskrif vir letterkunde 52, no. 2 (September 11, 2015): 21. http://dx.doi.org/10.4314/tvl.v52i2.2.

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19

Osinubi, T. A. "Abusive Narratives: Antjie Krog, Rian Malan, and the Transmission of Violence." Comparative Studies of South Asia, Africa and the Middle East 28, no. 1 (January 1, 2008): 109–23. http://dx.doi.org/10.1215/1089201x-2007-059.

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20

Crous, M. "‘Deur ’n waaier wat die bolig…’: ’n Vers oor die huwelik uit Antjie Krog se Lady Anne." Literator 16, no. 2 (May 2, 1995): 215–24. http://dx.doi.org/10.4102/lit.v16i2.631.

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‘Deur ’n waaier wat die bolig…’: a poem on the marital relationship in Antjie Krog’s Lady Anne This essay examines one of the poems from Antjie Krog’s seventh volume of poetry Lady Anne. The poem, “Deur ’n waaier wat die bolig ... ", focuses on the marital relationship between Andrew Barnard and Lady Anne Barnard. The poem is read within the context of the volume as a whole in order to delineate the particular aspects of the marital relationship pertaining to the Barnards.
21

Meyer, Stephan. "‘The only truth stands skinned in sound‘1: Antjie Krog as translator." Scrutiny2 7, no. 2 (January 2002): 3–18. http://dx.doi.org/10.1080/18125441.2002.9709654.

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22

Sévry, Jean. "KROG Antjie, Country of my Skyll, London, Vintage Books, 1999, 454 p." Études littéraires africaines, no. 10 (2000): 68. http://dx.doi.org/10.7202/1041947ar.

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23

Tagwirei, Cuthbeth. "Antjie Krog and the Post-Apartheid Public Sphere: Speaking Poetry to Power." English Academy Review 33, no. 2 (July 2, 2016): 105–7. http://dx.doi.org/10.1080/10131752.2016.1249664.

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24

Murray, J. "“Accused by the place and face of the other”: negotiations with complicity in the work of Antjie Krog and Yvonne Vera." Literator 30, no. 3 (July 16, 2009): 1–28. http://dx.doi.org/10.4102/lit.v30i3.85.

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This article examines how Antjie Krog and Yvonne Vera use literature to explore the issue of complicity in South Africa and Zimbabwe. Both societies have histories that are characterised by violence and trauma and neither society has engaged with these past abuses in a comprehensive way. Krog and Vera’s work reveal their awareness that a failure to deal with the pain of others in a responsible manner renders societies vulnerable to a repetition of past abuses. Any responsible engagement with the pain of others must involve acknowledging one’s own complicity in those abuses, regardless of how indirect one’s involvement may have been. By reading selected extracts of Krog and Vera’s work in terms of Mark Sanders’ theory of complicity, I illustrate how these authors facilitate a responsible engagement with the pain of their characters. The article will pay particular attention to how these authors expose broad complicity in the pain of individuals – individuals who are located at the intersections between racial and gender oppression.
25

Cloete, T. T. "Tendense in vyf nuwe digbundels." Tydskrif vir Letterkunde 47, no. 1 (October 23, 2017): 145–55. http://dx.doi.org/10.17159/tl.v47i1.3352.

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This article reviews five recent (2008–2009) Afrikaans poetry collections by Antjie Krog, Johann de Lange, Joan Hambidge, Danie Marais and Loftus Marais respectively. Through an integrative discussion the reviewer establishes a number of key tendencies such as these poets’ ongoing concern with the nature of poetry or the act of writing, their exploration of intertextual meaning, their parodying or debunking of poetic conventions or their poetical appropriation of the ordinary.
26

Pieterse, Annel. "We who belong to this landscape: Antjie Krog and the politics of space." Current Writing 19, no. 2 (January 2007): 163–86. http://dx.doi.org/10.1080/1013929x.2007.9678279.

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27

Van Zyl Smit, B. "Medea praat Afrikaans." Literator 26, no. 3 (July 31, 2005): 45–64. http://dx.doi.org/10.4102/lit.v26i3.236.

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Medea speaks Afrikaans Euripides’ “Medea” is one of the Greek dramas that have been and still are being translated, performed and adapted in many different languages and countries. Although no Afrikaans translation of this tragedy has been published, several Afrikaans translations and adaptations of it have been staged. This paper explores these plays and the circumstances of their production and focuses especially on Tom Lanoye’s “Mamma Medea” which has been translated into Afrikaans by Antjie Krog.
28

Houssay-Holzschuch, Myriam. "Penser le passé, parler du passé : l'identité afrikaner chez Mark Behr et Antjie Krog." Travaux de l'Institut Géographique de Reims 25, no. 99 (1998): 157–68. http://dx.doi.org/10.3406/tigr.1998.1378.

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29

Polatinsky, A. "Living with grace on the earth: the poetic voice in Antjie Krog’s A change of tongue." Literator 30, no. 2 (July 16, 2009): 69–88. http://dx.doi.org/10.4102/lit.v30i2.79.

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“A change of tongue”, Antjie Krog’s second creative non-fiction, articulates experiences of the postapartheid quotidian in two tongues: that of the journalist and that of the poet. This article examines Krog’s various instantiations of the poetic voice, and argues that the site of the body is crucial to Krog’s understanding of how languages and landscapes are translated into human experiences of belonging, alienation and self-expression. The voice that is inspired by, and best conjures these acts of somatic translation is the poetic voice, Krog suggests. The article argues that Krog endows the poetic tongue with particular capacities for synaesthetic perception and for modes of imagining that surrender many of the limitations we ascribe to other registers and grammars. Despite the profusion of challenges and setbacks expressed by the evidence-oriented journalist, the three poetic strands in the text, which are identified and explored in this article, provide a space of meditation and of refreshed language in which processes of hopeful revivification can occur.
30

Visagie, A. "Resensie-artikel: Sinaps-opsporing tussen self en ander in Antjie Krog se Mede-wete (2014)." Tydskrif vir letterkunde 52, no. 2 (September 14, 2015): 221. http://dx.doi.org/10.4314/tvl.v52i2.21.

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Wylie, Dan. "‘Now strangers walk in that place’: Antjie Krog, modernity, and the making of //Kabbo's story." Current Writing 19, no. 2 (January 2007): 49–71. http://dx.doi.org/10.1080/1013929x.2007.9678274.

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32

Groenewald, Ilse. "Die problematiek van onthou: Die proses van herinnering in Antjie Krog seCountry of My Skull." Journal of Literary Studies 24, no. 4 (December 2008): 63–84. http://dx.doi.org/10.1080/02564710802220903.

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33

Michaud, Ginette. "Putting Truth to the Test of Forgiveness: Reading Jacques Derrida's Seminar, ‘Le parjure et le pardon’ (‘Perjury and Forgiveness’), translated by Cosmin Toma." Derrida Today 11, no. 2 (November 2018): 144–77. http://dx.doi.org/10.3366/drt.2018.0184.

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This paper has been translated from the French by Cosmin Toma. It focuses on Jacques Derrida's very last lecture, given in Rio de Janeiro, on the 16th of August 2004, which Derrida drew from his ‘Le parjure et le pardon’ (‘Perjury and Forgiveness’) seminar held at the École des hautes études en sciences sociales (EHESS), in Paris, from 1997 to 1999. In reference to this final lecture in which Derrida deals with ‘forgiveness,’ ‘truth’, ‘reconciliation’, ‘testimony’ and ‘genre’, the paper also takes up the question of justice as well as of what he calls the ‘worst violence’ via testimonial writings by Sarah Kofman and Antjie Krog so as to rethink forgiveness.
34

Van Coller, H. P. "Antjie Krog se vertaling van Henk van Woerden se roman Een mond vol glas." Literator 23, no. 2 (August 6, 2002): 129–64. http://dx.doi.org/10.4102/lit.v23i2.334.

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Antjie Krog’s translation of Henk van Woerden’s novel Een mond vol glas (A mouth full of glass) Against a historical backdrop several critical approaches to translational theory are explicated. Traditional criticism seems to imply positioning between the Source Text (ST) and the Target Text (TT). A functionalist approach (as propagated among others by Snell-Hornby, Nord and Naaijkens) is a descriptive rather than a normative approach that focuses almost exclusively on the ST. This approach is consequently adopted in the evaluation of Krog’s translation; yet even within this more relativistic paradigm, a comparison between ST and TT should not be evaded. In the case of Krog’s translation, this comparison leads to the identification of scores of lexical, grammatical and stylistic errors.
35

Daymond, M. J. "Antjie Krog: an ethics of body and otherness ed. by Judith Lütge Coullie and Andries Visagie." Transformation: Critical Perspectives on Southern Africa 89, no. 1 (2015): 112–19. http://dx.doi.org/10.1353/trn.2015.0030.

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36

Chakravarti, Sonali. "No Pain like My Own: Guilt in the Works of Jean-Jacques Rousseau and Antjie Krog." Law, Culture and the Humanities 12, no. 3 (August 2016): 603–19. http://dx.doi.org/10.1177/1743872113498469.

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37

Anker, Johan. "Poetic devices as part of the trauma narrative in Country of My Skull." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 77–95. http://dx.doi.org/10.17159/tvl.v.54i1.5.

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This article investigates the role of poetic devices in a trauma narrative like Country of My Skull. The nature and characteristics of a trauma narrative are described with reference to Country of My Skull and Antjie Krog's style as poet and journalist. The theory and role of figurative language in trauma narratives suggest an attempt to describe that which is indescribable and unrepresentable about traumatic events and experiences like Krog attempts to do in Country of My Skull. Different tropes like skull, language, body, sounds and landscape or country are identified and followed through the text as part of the working through of a traumatic experience. Krog is the narrator in this 'highly personal account', describing the traumatic testimonies of witnesses during the South African Truth and Reconciliation Commission. She is confronted with her own traumatic experience as secondary witness to these events as a reporter, journalist, and translator-interpreter of stories of unspeakable horror. The broadening of perspective in the different tropes shows signs of the working through of this trauma and the process of healing to the reintegration of a divided, fragmented identity and agency.
38

Van Schalkwyk, P. "Country of my skull/Skull of my country: Krog and Zagajewski, South Africa and Poland." Literator 27, no. 3 (July 30, 2006): 109–34. http://dx.doi.org/10.4102/lit.v27i3.203.

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In the ninth poem of the cycle “land van genade en verdriet” (“country of grace and sorrow”) in the collection “Kleur kom nooit alleen nie” (“Colour never comes on its own”), Antjie Krog contends that the old is “stinking along” ever so cheerfully/ robustly in the new South African dispensation. This could also hold true for the new democratic Poland. Krog and the Polish poet Adam Zagajewksi could, in fact, be described as “intimate strangers”, specifically with regard to the mirrored imagery of “country of my skull”/“skull of my country” present in their work. The notion of “intimate strangers” may be seen as pointing toward the feminine dimension of subjectivity, which could be elaborated along the lines of Bracha Ettinger’s concept of “matrixial borderlinking”. Ettinger has made a significant contribution to the field of psychoanalysis, building on Freud and Lacan. She investigates the subject’s relation to the m/Other, and the intimate matrixial sharing of “phantasm”, “jouissance” and trauma among several entities. Critical of the conventional “phallic” paradigm, Ettinger turns to the womb in exploring the “borderlinking” of the I and the non-I within the matrix (the psychic creative “borderspace”). With these considerations as point of departure, and with specific reference to the closing poem in Krog’s “Country of my skull” and Zagajewski’s “Fire” (both exploring “weaning” experiences in recent personal and public history), I intend to show how the public/political is connected to the personal/psychological, and vice versa, and how committed literary works like those of Krog and Zagajewski can be clarified further from a psychoanalytical perspective. The image of the skull in the texts under scrutiny is investigated with recourse to the Lacanian notion of the “cavity”, as adopted and adapted by Ettinger. True to the mirror experience as described within psychoanalysis, this exercise in mirroring Krog and Zagajewski has confirmed the ambiguous, eluding and illusory nature of identification and identity.
39

Van Rensburg, F. I. J. "Psalmberyming in Afrikaans." Verbum et Ecclesia 27, no. 3 (September 30, 2006): 1077–94. http://dx.doi.org/10.4102/ve.v27i3.205.

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The article maps the process by means of which the versification of the Hebrew Psalms in Afrikaans, with its goal of acceptance by the relevant clerical bodies and their ecclesiastical community as a whole, ran its course. The process is illustrated by the history of the two versifications officially commissioned and approved by the mainstream Afrikaans churches, namely those of Totius (professor J D du Toit) and professor T T Cloete, more than half a century separated in time and trend (1937 and 2001 respectively). In view of the fact that both versifiers, as well as professor Lina Spies and dr. Antjie Krog who additionally contributed versifications of a few Psalms, are high profile poets, the evaluation of their work does not only take into account the factor of veracity (compliance with the Hebrew original), but also that of linguistic and stylistic excellence, the Psalms being regarded as poetry.
40

Diop, Oumar Chérif. "Happiness, The Wound and the Word: Aminatta Forna Joins the Conversation on Trauma." Cambridge Journal of Postcolonial Literary Inquiry 6, no. 03 (September 2019): 388–99. http://dx.doi.org/10.1017/pli.2019.5.

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Taking into account the interconnectedness of spaces, a number of theorists and writers have investigated the impact of trauma on subjectivities within their social, cultural, and political environments. In postcolonial studies, scholars such as Veena Das (2007)2, Antjie Krog and colleagues (2009)3, and Stef Craps (2012)4 have convincingly argued that postcolonial trauma survivors are not necessarily under the tyranny of the past; to the contrary, they may take advantage of the past event by immersing themselves in the trauma. Jay Rajiva gives the example of those survivors who cannot distance themselves from the past because they are compelled “to perform the grief of the community in both clothing and gesture. Such a submersion in past trauma becomes a way for a trauma survivor to expand and even renegotiate her relationship to that same community… . Essentially, the survivor inhabits the enforced retriggering of her trauma but finds the means—in daily life, over months and years—to make sense of her trauma.”5
41

Vandermerwe, Meg. "Imagining the “forbidden” racial other: attitudes and approaches in the works of Antjie Krog, Marlene van Niekerk, Meg Vandermerwe and Zukiswa Wanner." English in Africa 45, no. 2 (August 27, 2018): 83. http://dx.doi.org/10.4314/eia.v45i2.7.

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Viljoen, Louise. "“Straddling Languages”: Aspects of the Translational and the Transnational in the Work of Afrikaans Authors Breyten Breytenbach, Marlene van Niekerk and Antjie Krog." Journal of Literary Studies 33, no. 3 (July 3, 2017): 25–46. http://dx.doi.org/10.1080/02564718.2017.1376803.

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43

Druey, Jean. "Antje Krug, Heilkunst and Heilkult. Medizin in der Antike. C. H. Beck, München 1985. 244 S." Gesnerus 43, no. 1-2 (November 21, 1986): 146–47. http://dx.doi.org/10.1163/22977953-0430102030.

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44

Jackson, Ralph. "Antje Krug, Heilkunst und Heilkult. Medizin in der Antike, Munich, C.H. Beck, 1985,8vo, pp. 244, illus., DM.38.00 (paperback)." Medical History 30, no. 2 (April 1986): 227–28. http://dx.doi.org/10.1017/s0025727300045488.

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Adonis, C. "Religion and Conflict Resolution: Christianity and South Africa's Truth and Reconciliation Commission, Megan Shore. There Was This Goat: Investigating the Truth and Reconciliation Commission Testimony of Notrose Nobomvu Konile, Antjie Krog, Nosisi Mpolweni and Kopano Ratele. Justice and Reconciliation in Post-Apartheid South Africa, eds. Francois du Bois and Antje du Bois-Pedain. Post-TRC Prosecutions in South Africa: Accountability for Political Crimes after the Truth and Reconciliation Commission's Amnesty Process, Ole Bubenzer." International Journal of Transitional Justice 4, no. 3 (November 1, 2010): 509–18. http://dx.doi.org/10.1093/ijtj/ijq022.

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Kearns, Emily. "Antje Krug: Heilkunst undHeilkult: Medizin in der Antike. (Beck's Archäologische Bibliothek.) Pp. 244; 96 text illustrations. Munich: C. H. Beck, 1985. Paper, DM 38." Classical Review 37, no. 2 (October 1987): 331–32. http://dx.doi.org/10.1017/s0009840x00111345.

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LIPPI, DONATELLA. "ANTJE KRUG, Medicina nel mondo classico, Firenze, Giunti Ed., 1990, 270 pp., L. 35.000 (tr. it. di Heilkunst und Heilkult. Medizin in der Antike, Mnchen, O. Beck, 1985)." Nuncius 6, no. 1 (1991): 281–82. http://dx.doi.org/10.1163/182539191x00498.

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King, Helen. "(A.) Krug Heilkunst und Heilkult: Medizin in der Antike. (Beck's archäologische Bibliothek.) Munich: Beck. 1985. Pp. 244, 96 illus. (incl. plates, text figs, plans). DM 38." Journal of Hellenic Studies 107 (November 1987): 220. http://dx.doi.org/10.2307/630119.

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Van Niekerk, Jacomien. "Mostly ‘black’ and ‘white’: ‘Race’, complicity and restitution in the non-fiction of Antjie Krog." Literator 37, no. 1 (August 24, 2016). http://dx.doi.org/10.4102/lit.v37i1.1264.

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Abstract:
This article analyses the role of ‘race’ in Antjie Krog’s non-fiction trilogy Country of My Skull (1998), A Change of Tongue (2003) and Begging to Be Black (2009). It explores her explicit use of terms such as ‘heart of whiteness’ and ‘heart of blackness’. Claims that Krog essentialises Africa and ‘black’ people are investigated. The article also addresses accusations of racism in Krog’s work. A partial answer to the persistent question of why Krog is so determinedly focused on ‘race’ is sought in the concept of complicity. There is definite specificity in the way Krog writes about ‘white’ perpetrators and ‘black’ victims in South Africa, but her trilogy should be read within the broader context of international restitution discourses, allowing for a somewhat different perspective on her contribution to the discussion of the issue of whether ‘white’ people belong in (South) Africa.
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Pretorius, Antoinette. "Bodily disintegration and successful ageing in Body Bereft by Antjie Krog." Tydskrif vir Letterkunde 52, no. 2 (February 20, 2017). http://dx.doi.org/10.17159/2309-9070/tvl.v.52i2.1763.

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Antjie Krog’s Body Bereft (2006) details both the bodily changes brought about by older age and the ways in which these changes fracture a person’s previously-stable sense of self. This article reads Krog’s depiction of the ageing body in a small selection of poems from this collection in relation to the unavoidable reality of bodily decay and what is referred to in gerontological theory as ‘successful ageing’. This tension dominates large parts of the gerontological field, and can be seen in Krog’s ambivalent representation of older age in Body Bereft. Through close readings of a number of poems, I will investigate the ways in which Krog problematises the relationship between the lived experience of older age with its concomitant sense of deterioration, and the societal impetus to age well and accept ageing with magnanimity. I will demonstrate that this collection foregrounds the poet’s refusal to accept pre-existing discourses that delimit ageing as something either to bemoan or celebrate. I will conclude that this refusal finds particular expression in her poems “dommelfei / crone in the woods” and “how do you say this”.
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