Disrupting the familiar family in postcolonial literature
- Authors: Laubscher, Emma Kate
- Date: 2019
- Subjects: Postcolonialism in literature , Families -- Fiction , Interpersonal relations in literature , Families in literature , Gender identity in literature , Gappah, Petina, 1971- -- Criticism and interpretation , Enright, Anne, 1962- -- Criticism and interpretation , Owuor, Yvonne Adhiambo
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/153757 , vital:39516
- Description: Anne Enright’s The Green Road, Petina Gappah’s The Book of Memory and Yvonne Adhiambo Owuor’s Dust offer various disruptive representations that challenge the normative family, and allow for an excavation of the potency and pervasiveness of the notion of family as an organising social principle, in a postcolonial context. Through these novels’ depictions of unorthodox families, it becomes possible to unpack the metaphorical architecture that underpins the normative family – by which I mean that social formation which enables and relies upon gender binaries, heteronormative constructions of sexuality and exclusionary racial structures. Additionally, I will attempt to examine the role that the normative family plays in shaping the subject, and determining its avenues of association, through encountering the disruptive possibilities portrayed in Gappah, Owuor and Enright’s works. My analysis is concerned with how the family orientates the subject in particular ways that regulate and delimit the subject’s means of relating to herself, those who surround her and the historic and mnemonic pasts in which she is embedded. In representing alternate kinship structures, these novels expand the aesthetic and imaginative landscape of the family and allow for new forms of relation to emerge. These transgressive and radical ways of being, knowing and loving have disruptive consequences for those social formations which are structured by, and draw on, the family – in particular the nation state. This reworking of the nation state, as well as the destabilisation of the relations between nations states, provides new avenues for inhabiting the postcolonial world. In particular, my reading argues that representations of the unfamiliar family offer different ways of receiving and relating to the self, others, and the past within a social order ruptured by the violent legacies of colonisation.
- Full Text:
- Date Issued: 2019
- Authors: Laubscher, Emma Kate
- Date: 2019
- Subjects: Postcolonialism in literature , Families -- Fiction , Interpersonal relations in literature , Families in literature , Gender identity in literature , Gappah, Petina, 1971- -- Criticism and interpretation , Enright, Anne, 1962- -- Criticism and interpretation , Owuor, Yvonne Adhiambo
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/153757 , vital:39516
- Description: Anne Enright’s The Green Road, Petina Gappah’s The Book of Memory and Yvonne Adhiambo Owuor’s Dust offer various disruptive representations that challenge the normative family, and allow for an excavation of the potency and pervasiveness of the notion of family as an organising social principle, in a postcolonial context. Through these novels’ depictions of unorthodox families, it becomes possible to unpack the metaphorical architecture that underpins the normative family – by which I mean that social formation which enables and relies upon gender binaries, heteronormative constructions of sexuality and exclusionary racial structures. Additionally, I will attempt to examine the role that the normative family plays in shaping the subject, and determining its avenues of association, through encountering the disruptive possibilities portrayed in Gappah, Owuor and Enright’s works. My analysis is concerned with how the family orientates the subject in particular ways that regulate and delimit the subject’s means of relating to herself, those who surround her and the historic and mnemonic pasts in which she is embedded. In representing alternate kinship structures, these novels expand the aesthetic and imaginative landscape of the family and allow for new forms of relation to emerge. These transgressive and radical ways of being, knowing and loving have disruptive consequences for those social formations which are structured by, and draw on, the family – in particular the nation state. This reworking of the nation state, as well as the destabilisation of the relations between nations states, provides new avenues for inhabiting the postcolonial world. In particular, my reading argues that representations of the unfamiliar family offer different ways of receiving and relating to the self, others, and the past within a social order ruptured by the violent legacies of colonisation.
- Full Text:
- Date Issued: 2019
‘Jujutech’: exploring cultural and epistemological hybridity in African science fiction
- Authors: Stier, Jordan Daniel
- Date: 2019
- Subjects: Science fiction, African -- History and criticism , Tutuola, Amos. The palm-wine drunkard , Mkize, Loyiso, 1987- .Kwezi , Black Panther (Comic book) , Dila, Dilman, 1977-. A killing in the sun , Superheroes, Black , Mbvundula, Ekari. Montague's last
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96908 , vital:31346
- Description: This thesis aims to respond to the rise in the production of science fiction in Africa over the last decade, and to show how what I describe as the juju orientation of many of these works does not disqualify them from the genre of science fiction. Rather, I advocate for the recognition of juju ontologies as genuine sources of knowledge about the world, which have been overlooked by the globally dominant scientism that has informed science fiction theorisation to date. In my introduction I outline the theoretical frameworks of juju, science fiction and epistemology with which the thesis is in communication. In my second chapter I re-read Amos Tutuola’s novel The Palm-Wine Drinkard, showing the inherently science fictional structure of the juju-based storytelling that characterises colonial and pre-colonial African literature, as well as the essentiality of science fictional modes to Tutuola’s own prose. My third chapter considers Ian MacDonald’s theorisation of a jujutech aesthetic in African science fiction, wherein the speculations of the genres are rooted in both technoscientific and juju ontologies simultaneously. I account for the role this literary aesthetic plays in Ekari Mbvundula’s “Montague’s Last” to blur the divisions of worldly knowledge enforced by global epistemological inequalities, before showing how Dilman Dila’s A Killing in the Sun presents a critically frontier African epistemology in literary practice, and the value thereof. My fourth chapter considers the role of popular culture and consumption, and how the global literary industry resists juju-based texts. I conclude that juju-based nova and the jujutech aesthetic are not only essentially science fictional literary modes, but important players in science fiction’s role in being epistemologically productive in the future.
- Full Text:
- Date Issued: 2019
- Authors: Stier, Jordan Daniel
- Date: 2019
- Subjects: Science fiction, African -- History and criticism , Tutuola, Amos. The palm-wine drunkard , Mkize, Loyiso, 1987- .Kwezi , Black Panther (Comic book) , Dila, Dilman, 1977-. A killing in the sun , Superheroes, Black , Mbvundula, Ekari. Montague's last
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96908 , vital:31346
- Description: This thesis aims to respond to the rise in the production of science fiction in Africa over the last decade, and to show how what I describe as the juju orientation of many of these works does not disqualify them from the genre of science fiction. Rather, I advocate for the recognition of juju ontologies as genuine sources of knowledge about the world, which have been overlooked by the globally dominant scientism that has informed science fiction theorisation to date. In my introduction I outline the theoretical frameworks of juju, science fiction and epistemology with which the thesis is in communication. In my second chapter I re-read Amos Tutuola’s novel The Palm-Wine Drinkard, showing the inherently science fictional structure of the juju-based storytelling that characterises colonial and pre-colonial African literature, as well as the essentiality of science fictional modes to Tutuola’s own prose. My third chapter considers Ian MacDonald’s theorisation of a jujutech aesthetic in African science fiction, wherein the speculations of the genres are rooted in both technoscientific and juju ontologies simultaneously. I account for the role this literary aesthetic plays in Ekari Mbvundula’s “Montague’s Last” to blur the divisions of worldly knowledge enforced by global epistemological inequalities, before showing how Dilman Dila’s A Killing in the Sun presents a critically frontier African epistemology in literary practice, and the value thereof. My fourth chapter considers the role of popular culture and consumption, and how the global literary industry resists juju-based texts. I conclude that juju-based nova and the jujutech aesthetic are not only essentially science fictional literary modes, but important players in science fiction’s role in being epistemologically productive in the future.
- Full Text:
- Date Issued: 2019
‘That mountain cannot be beautiful for nothing’: Zakes Mda’s aesthetics of liberation
- Dilinga, Siyamthanda Iribagiza
- Authors: Dilinga, Siyamthanda Iribagiza
- Date: 2019
- Subjects: Mda, Zakes -- Criticism and interpretation , South African fiction (English) -- History and criticism , South Africa -- In literature
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/70452 , vital:29662
- Description: Zakes Mda is a prominent post-apartheid black South African novelist whose style has been described as experimental. He also wrote plays intended to ‘rally people to action’ during the apartheid years. The changes in the political and social situation in South Africa since 1994 have had significant implications for those writers and artists who produced protest literature and art. The changes in Mda’s own practice and approach to art are themselves quite telling. His experimental novels place him among those African artists pioneering a new chapter for black South African art and the self-reflexive nature of his novels suggest that he is aware of the fact and is consciously forming and reforming his ideas about what it means to be an artist in post-apartheid South Africa. This study will unpack the role of the artist and the function of art in the becoming new South Africa as represented in Zakes Mda’s novels, thereby hypothesizing Mda’s aesthetic philosophy, as may be deduced from his practice, for what an African artist and art should be. This will be done first by locating Mda in the debates around art and literature within the sociopolitical context of a South Africa in transition. Despite the fact that when it comes to public action in the post-apartheid situation, Mda distinguishes between his own role in society as an artist who is a social activist and the role intended for his work, his own novels reveal a desire for the artefact (or artwork) to have a developmental, educational or conscientizing function. This is evident in representations of the effects of art in what this study proposes to be his extended South African black Kunstlerroman, which spans three novels. It is also demonstrated in his ekphrastic novel, The Madonna of Excelsior, in which visual art is interpreted in the process of description, thereby educating the reader. Not only that, but the reader is made into an ‘almost viewer’ and taught how to ‘see’ art. What emerges in the process of this study is Mda’s aesthetic philosophy or what may be termed his ‘aesthetics of liberation’ concerning the role of the artist in post-apartheid South Africa, a suitable African audience and how art works theoretically, as expressed through his fiction.
- Full Text:
- Date Issued: 2019
- Authors: Dilinga, Siyamthanda Iribagiza
- Date: 2019
- Subjects: Mda, Zakes -- Criticism and interpretation , South African fiction (English) -- History and criticism , South Africa -- In literature
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/70452 , vital:29662
- Description: Zakes Mda is a prominent post-apartheid black South African novelist whose style has been described as experimental. He also wrote plays intended to ‘rally people to action’ during the apartheid years. The changes in the political and social situation in South Africa since 1994 have had significant implications for those writers and artists who produced protest literature and art. The changes in Mda’s own practice and approach to art are themselves quite telling. His experimental novels place him among those African artists pioneering a new chapter for black South African art and the self-reflexive nature of his novels suggest that he is aware of the fact and is consciously forming and reforming his ideas about what it means to be an artist in post-apartheid South Africa. This study will unpack the role of the artist and the function of art in the becoming new South Africa as represented in Zakes Mda’s novels, thereby hypothesizing Mda’s aesthetic philosophy, as may be deduced from his practice, for what an African artist and art should be. This will be done first by locating Mda in the debates around art and literature within the sociopolitical context of a South Africa in transition. Despite the fact that when it comes to public action in the post-apartheid situation, Mda distinguishes between his own role in society as an artist who is a social activist and the role intended for his work, his own novels reveal a desire for the artefact (or artwork) to have a developmental, educational or conscientizing function. This is evident in representations of the effects of art in what this study proposes to be his extended South African black Kunstlerroman, which spans three novels. It is also demonstrated in his ekphrastic novel, The Madonna of Excelsior, in which visual art is interpreted in the process of description, thereby educating the reader. Not only that, but the reader is made into an ‘almost viewer’ and taught how to ‘see’ art. What emerges in the process of this study is Mda’s aesthetic philosophy or what may be termed his ‘aesthetics of liberation’ concerning the role of the artist in post-apartheid South Africa, a suitable African audience and how art works theoretically, as expressed through his fiction.
- Full Text:
- Date Issued: 2019
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