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Although the tension which Christianity, in continuance with the Sache Jesu, first displayed with its surrounding culture, gradually conformed to the predominate culture of the ancient Mediterranean world, probably to avoid further conflict, it seems that the author of 1 Peter, despite my preference for a later dating ( circa the turn of the 1st century AD), was set on maintaining this tension. 1 Peter employs a ‘revolutionary subordination’. When the author of 1 Peter urges wives to be submissive or slaves to obey their masters, he is not perpetuating normative conservatism. Rather, wives and slaves as followers of Christ were to subvert injustice the same way Jesus did. Wives therefore do not submit to their non-believing husbands because they buy in to society’s evaluation of them as inferior to their male counterparts. Rather, wives can submit to their non-believing husbands because they are triumphant in Christ and therefore emancipated moral agents, who may win over their non-believing husbands by their moral and godly conduct.

Hierdie artikel ondersoek die vraag of formeel gepubliseerde dramatekste, dit wil sê dramatekste wat in papierformaat by uitgewerye verskyn het, 'n getroue voorstelling van die stand van die Afrikaanse drama en teater in 2008 en 2009 bied. In die bespreking word aangedui dat die korpus Afrikaanse dramatekste in dié twee jaar, soos in vorige jare, verbreed het indien die betekenis van die konsep publiseer uitgebrei word. In die artikel word dié konsep geïnterpreteer om ook die beskikbaarstelling van dramas wat nie net in papierformaat by uitgewerye verskyn het nie, maar in enige ander vorm in die openbare domein beskikbaar gestel is, in te sluit. Teen die agtergrond van dié interpretasie sluit die artikel gevolglik verwysings na dramas in wat in 2008-9 in papierformaat uitgegee is, asook dramaopvoerings tydens kunstefeeste, radiodramauitsendings, die plasing van dramas op internet en dramatekste wat in reaksie op skryfkompetisies voorgelê is. Die bespreking kom tot die gevolgtrekking dat, soos in 1989, toe die indaba met die titel Afrikaanse drama: hoeksteen of grafsteen plaasgevind het, verskeie gevaarligte vir die Afrikaanse drama in 2008 en 2009 geflikker het. Nogtans is tekste deur gevestigde dramaturge, soos Deon Opperman (Kaburu, 2008) en Reza de Wet (Blou uur, 2009), en 'n opkomende dramaturg, naamlik Adriaan Meyer met Prinsloo versus (2009), steeds gepubliseer. Met Opperman, De Wet en Meyer se dramas as vertrekpunte blyk daar wel ooreenkomste tussen sommige formeel gepubliseerde dramas en dramas in ander gepubliseerde kategorieë te wees, onder andere die verskynsel van globalisering, die voorstelling van kunstenaars en hul kunstenaarskap, en die beperkte voorkoms van In-Yer-Face Theatre. This article investigates the question whether formally published plays, i.e. plays published in paper format, present a reliable picture of the state of Afrikaans drama and theatre in 2008 and 2009. Continuing a trend from previous years, the article shows that the number of unpublished plays contributed considerably to the expansion of Afrikaans drama and theatre in 2008 and 2009. The discussion departs from the idea that published plays may include plays that are not presented in paper format. As applied in the article, the notion of published plays, therefore, include plays published in paper format, as well as performances at arts festivals, radio broadcasts, the publication of plays on internet, and plays submitted to drama competitions. Despite an expansion in the number of published Afrikaans plays similar to previous years, the article concludes that one can discern a number of threats to Afrikaans drama. Examples include discouraging attendances of stage performances of plays at arts festivals in general, the financial consequences of the down-turn in the global and South African economy that adversely influence patrons' ability to attend festivals, and publishers favouring play scripts that could potentially be prescribed for the school market. Despite these threats, and similar to the situation during the decade following the conference titled Afrikaanse drama: hoeksteen of grafsteen (Afrikaans drama: cornerstone or tombstone) in 1989, plays such as Kaburu (2008) by Deon Opperman, Blou uur (2009) by Reza de Wet, and Prinsloo versus (2009) by Adriaan Meyer, continue to be published. These plays reflect continuances and ruptures in Afrikaner society and culture at the time of their publication. Kaburu (2008), for instance, reflects the continuing focus the playwright has on topicalities that broadly relate to his representation of Afrikaner identity, in this case his portrayal of identity framed by the theme of an Afrikaner diaspora. Blou uur (2009), on the other hand, refl ects de Wet's exploration of representations of nostalgia and magical realism associated with some of her previous plays, such as Op dees aarde (1991). Similar to some plays in her trilogies, Trits and Vrystaat-trilogie, Blou uur additionally focuses on the relationships between female and (absent) male characters. Meyer's play, Prinsloo versus, which the playwright based on the life and writing of controversial Afrikaans novelist Koos Prinsloo, represents both continuances and ruptures. Thematically, Prinsloo versus relates to Afrikaans plays reflecting metatheoretical issues. Employing devices labelled by Sierz (2001) as In-Yer-Face Theatre, along with its use of gay codes, strong language and blasphemy, clearly indicate a rupture from plays produced in the period covered by this article.