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Through an analysis of selected representative poems from Ingrid de Kok's Familiar Ground, this article examines the role played by feminist poetry in the quest to address gender-related issues as well as to contribute constructively to South Africa's liberation from patriarchal apartheid. The article further argues that feminist writers desire to (re)negotiate the space within which they can (re)construct and articulate their identities as women and mothers, and that in such a context the politics of identity cannot be detached from other aspects within the struggle for socio-political and economic emancipation. Thus characteristics of apartheid oppression are contrasted with the patriarchal domination opposed by feminist writers.

International audience ; The work of British photographer Ingrid Pollard constantly weaves the threads of imperial history, personal history, and visual and symbolic representations of English identity. Using the genre of the landscape, Ingrid Pollard raises the issue of the symbolic investment of rural and seaside places with values of purity and order in the production of discourses and representations of national identity. In the series « Pastoral Interlude » (1987), the literal intrusion of lone Black figures in Lake District landscapes gives a material reality to the historically and socially produced boundaries which organise the exclusion of Black people from rural spaces. The artist's highly constructed images challenge mainstream narratives of English identity by bringing to the fore more complex layers of history and experience. At the end of the 1980s characterised by the rise of Black photographers, Ingrid Pollard's visual research engaged in a fundamental critical debate on multicultural identities in post-colonial England. ; Le travail de la photographe britannique Ingrid Pollard tisse des fils entre l'histoire impériale, l'histoire personnelle, et les représentations visuelles et symboliques de l'identité anglaise. Utilisant le genre du paysage, Ingrid Pollard met en question l'investissement symbolique des espaces ruraux et maritimes par des valeurs de pureté et d'ordre, dans la production de discours et représentations identitaires. Dans la série « Pastoral Interlude » (1987), l'intrusion littérale de sujets noirs isolés dans les paysages du Lake District donne une réalité matérielle aux frontières historiquement et socialement produites qui continuent d'organiser l'exclusion des Noirs de ces espaces. Les images très construites de l'artiste mettent à l'épreuve les récits dominants de l'identité anglaise en convoquant des niveaux de lecture historique et subjective plus complexes. À la fin des années quatre-vingt, marquées par l'arrivée de photographes noirs sur la scène artistique, la recherche ...