Narratives of South African heteroseual relationships: understanding masculine and feminine togetherness
- Authors: Tracey, Tiffany
- Date: 2007
- Subjects: Heterosexuality , Heterosexism , Homosexuality , Gender identity
- Language: English
- Type: Thesis , Doctoral , D Soc Sc (Psych)
- Identifier: vital:11601 , http://hdl.handle.net/10353/176 , Heterosexuality , Heterosexism , Homosexuality , Gender identity
- Description: Heterosexuality often appears as a monolithic way of being that has been disciplinarily defined as right and natural for all sexual subjects (Foucault, 1979). However, it may also be viewed as a social construction, subject to alteration and variation according to social and historical context. In the following research, the stories of ten couples and from the South African soap opera Isidingo reveal the ways that heteronorms shape togetherness between men and women. In the research a queer stance is used to interrogate the ways that togetherness appears as natural and normal, such that the contingency of such togetherness is revealed. The queer stance was used to unsettle the unquestioned assumption of heteronormativity by interrogating the construction from a political position not included by the norm (Stein & Plummer, 1994). Within the general queer stance the concept of performance has been used to account for the ways in which subjects are able to unsettle normative constraints: Butler’s (1993) conception of repetition, Holzman’s (1991) account of the revolutionary developmental potential of performance, Billig’s (1991) understanding of the rhetorical constructions of everyday philosophers. Further Bakhtin’s (1994) dialogic ontology suggests that utterances, performances and/or narratives Using these theoretical underpinnings, the narratives show how stories of togetherness collude with heteronorms while at the same time existing alongside alternative forms of togetherness. Possibly because norms are broad, overarching constructions, they do not define the entirety of the couples’ tales. Rather moments of resistance and alteration are interwoven with normative themes. This unpredictable ambivalence appears in the couples narratives as the assertion that all relationships are the same, and that all relationships are unique. Couples position themselves within a social network, and this network instructs the couple on heteronormative ways of being together. They also witness normative performances in a way that is similar to the observation of disciplines, suggested by Foucault (1979). Although couples often go with their social network’s observations, the manner in which couples position themselves within this network assists them in arguing for alternatives to heteronorms. Spatial expressions also at times serve to fix togetherness. Homes are structured in line with social constructions of heteronorms. However, couples can and do mould their understandings of their homes, such space is reveal as an intersection between social and individual concerns. Narratives of work again reveal that heteronorms structure but can also be ignored within heterosexual relationships. Couples tell of receiving particular benefits from normative performances, and it is likely that these dividends make it difficult to opt for an altered version of togetherness. At the same time, the gender dualism of a heteronormative division of labour inserts oppression into togetherness, and this may lead couples to seek an unusual way of being together. In these ways, heterosexuality can be read as a multiple and contingent performance, rather than an immovable, unchangeable imperative.
- Full Text:
- Date Issued: 2007
- Authors: Tracey, Tiffany
- Date: 2007
- Subjects: Heterosexuality , Heterosexism , Homosexuality , Gender identity
- Language: English
- Type: Thesis , Doctoral , D Soc Sc (Psych)
- Identifier: vital:11601 , http://hdl.handle.net/10353/176 , Heterosexuality , Heterosexism , Homosexuality , Gender identity
- Description: Heterosexuality often appears as a monolithic way of being that has been disciplinarily defined as right and natural for all sexual subjects (Foucault, 1979). However, it may also be viewed as a social construction, subject to alteration and variation according to social and historical context. In the following research, the stories of ten couples and from the South African soap opera Isidingo reveal the ways that heteronorms shape togetherness between men and women. In the research a queer stance is used to interrogate the ways that togetherness appears as natural and normal, such that the contingency of such togetherness is revealed. The queer stance was used to unsettle the unquestioned assumption of heteronormativity by interrogating the construction from a political position not included by the norm (Stein & Plummer, 1994). Within the general queer stance the concept of performance has been used to account for the ways in which subjects are able to unsettle normative constraints: Butler’s (1993) conception of repetition, Holzman’s (1991) account of the revolutionary developmental potential of performance, Billig’s (1991) understanding of the rhetorical constructions of everyday philosophers. Further Bakhtin’s (1994) dialogic ontology suggests that utterances, performances and/or narratives Using these theoretical underpinnings, the narratives show how stories of togetherness collude with heteronorms while at the same time existing alongside alternative forms of togetherness. Possibly because norms are broad, overarching constructions, they do not define the entirety of the couples’ tales. Rather moments of resistance and alteration are interwoven with normative themes. This unpredictable ambivalence appears in the couples narratives as the assertion that all relationships are the same, and that all relationships are unique. Couples position themselves within a social network, and this network instructs the couple on heteronormative ways of being together. They also witness normative performances in a way that is similar to the observation of disciplines, suggested by Foucault (1979). Although couples often go with their social network’s observations, the manner in which couples position themselves within this network assists them in arguing for alternatives to heteronorms. Spatial expressions also at times serve to fix togetherness. Homes are structured in line with social constructions of heteronorms. However, couples can and do mould their understandings of their homes, such space is reveal as an intersection between social and individual concerns. Narratives of work again reveal that heteronorms structure but can also be ignored within heterosexual relationships. Couples tell of receiving particular benefits from normative performances, and it is likely that these dividends make it difficult to opt for an altered version of togetherness. At the same time, the gender dualism of a heteronormative division of labour inserts oppression into togetherness, and this may lead couples to seek an unusual way of being together. In these ways, heterosexuality can be read as a multiple and contingent performance, rather than an immovable, unchangeable imperative.
- Full Text:
- Date Issued: 2007
An archaelogy of South Africanness: the conditions and fantasies of a post-apartheid festival
- Authors: Truscott, Ross
- Date: 2012
- Subjects: Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Language: English
- Type: Thesis , Doctoral , D Soc Sc (Psych)
- Identifier: vital:11610 , http://hdl.handle.net/10353/539 , Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Description: It has become commonplace in academic studies, particularly those with a critical bent, to view nations as being historical constructs, as being without essence, though not without effects of exclusion and inclusion, of the constitution of the „authentic‟ national subject and the „other of the nation.‟ The critical impetus at work here is to show how a nation is constructed in order to bring into view the knowledge and power relations this construction entails, to show whose interests the construction serves, and whose it does not. This study examines the discursive production, the performative enactment and the spatial emplacement of post-apartheid „South Africanness‟ through a case study of Oppikoppi music festival. Oppikoppi is an annual event that emerged in 1994, on the threshold of the „new South Africa.‟ The festival is attended predominantly by young white Afrikaans-speaking South Africans and is held on a farm in the northernmost province of Limpopo, South Africa, an area notoriously conservative in its racial politics. Yet, curiously, Oppikoppi has been repeatedly referred to, and refers to itself with an almost obsessive regularity and repetitiveness, as a „truly South African‟ event. Indeed, the festival has been promoted, since 1998, as „The Home of South African Music,‟ and in 2009 the site of the festival was unofficially declared a „national monument.‟ Through the employment of concepts drawn from the writings of French philosopher and historian, Michel Foucault – particularly his earlier archaeological works – and from Sigmund Freud – particularly his metapsychological works – this study has posed two broad sets of questions. Firstly, from a Foucauldian perspective, what have been the conditions for the production of „South Africanness‟ at this festival? What have been the requirements, the discursive „rules of the game‟ for whiteness and Afrikanerness to become „South African‟? To what extent does this constitution of the festival as a „South African‟ event preserve older lines of division, difference and oppression? To what extent does this bring about meaningful social change? Secondly, from a psychoanalytic perspective, what are the fantasies constellated in the discourse of the festival as a „South African‟ event? Who, in these fantasies, is constituted as the „other of the post-apartheid nation‟? How has fantasy provided a kind of „hallucinatory gratification,‟ a phantasmatic compensation for, and a means of conserving, the losses of privilege in the new nation? And how has fantasy oriented the festival towards post-apartheid sociality, soliciting identifications with the post-apartheid nation? The overarching argument proposed is that anti-apartheid post-apartheid nation building has cultivated a melancholic loss of apartheid for whites in general and Afrikaners in particular, a loss that cannot be grieved – indeed, a loss that should not be grieved – and, as such, a grief that takes on an unconscious afterlife. Apartheid and the life it enabled – not only racialised privilege, but also a structure of identification and idealisation, of being and having – becomes a loss that is buried in, and by, the injunctions issued to post-apartheid memory and conduct. Without the discursive resources with which to symbolise this loss, disguised repetitions of the past, a neurotic refinding of the lost objects of apartheid, and melancholia are the likely outcomes, each of which engender a set of exclusions and enjoyments that run along old and new lines.
- Full Text:
- Date Issued: 2012
- Authors: Truscott, Ross
- Date: 2012
- Subjects: Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Language: English
- Type: Thesis , Doctoral , D Soc Sc (Psych)
- Identifier: vital:11610 , http://hdl.handle.net/10353/539 , Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Description: It has become commonplace in academic studies, particularly those with a critical bent, to view nations as being historical constructs, as being without essence, though not without effects of exclusion and inclusion, of the constitution of the „authentic‟ national subject and the „other of the nation.‟ The critical impetus at work here is to show how a nation is constructed in order to bring into view the knowledge and power relations this construction entails, to show whose interests the construction serves, and whose it does not. This study examines the discursive production, the performative enactment and the spatial emplacement of post-apartheid „South Africanness‟ through a case study of Oppikoppi music festival. Oppikoppi is an annual event that emerged in 1994, on the threshold of the „new South Africa.‟ The festival is attended predominantly by young white Afrikaans-speaking South Africans and is held on a farm in the northernmost province of Limpopo, South Africa, an area notoriously conservative in its racial politics. Yet, curiously, Oppikoppi has been repeatedly referred to, and refers to itself with an almost obsessive regularity and repetitiveness, as a „truly South African‟ event. Indeed, the festival has been promoted, since 1998, as „The Home of South African Music,‟ and in 2009 the site of the festival was unofficially declared a „national monument.‟ Through the employment of concepts drawn from the writings of French philosopher and historian, Michel Foucault – particularly his earlier archaeological works – and from Sigmund Freud – particularly his metapsychological works – this study has posed two broad sets of questions. Firstly, from a Foucauldian perspective, what have been the conditions for the production of „South Africanness‟ at this festival? What have been the requirements, the discursive „rules of the game‟ for whiteness and Afrikanerness to become „South African‟? To what extent does this constitution of the festival as a „South African‟ event preserve older lines of division, difference and oppression? To what extent does this bring about meaningful social change? Secondly, from a psychoanalytic perspective, what are the fantasies constellated in the discourse of the festival as a „South African‟ event? Who, in these fantasies, is constituted as the „other of the post-apartheid nation‟? How has fantasy provided a kind of „hallucinatory gratification,‟ a phantasmatic compensation for, and a means of conserving, the losses of privilege in the new nation? And how has fantasy oriented the festival towards post-apartheid sociality, soliciting identifications with the post-apartheid nation? The overarching argument proposed is that anti-apartheid post-apartheid nation building has cultivated a melancholic loss of apartheid for whites in general and Afrikaners in particular, a loss that cannot be grieved – indeed, a loss that should not be grieved – and, as such, a grief that takes on an unconscious afterlife. Apartheid and the life it enabled – not only racialised privilege, but also a structure of identification and idealisation, of being and having – becomes a loss that is buried in, and by, the injunctions issued to post-apartheid memory and conduct. Without the discursive resources with which to symbolise this loss, disguised repetitions of the past, a neurotic refinding of the lost objects of apartheid, and melancholia are the likely outcomes, each of which engender a set of exclusions and enjoyments that run along old and new lines.
- Full Text:
- Date Issued: 2012
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