Nature, narrative and language in Marlene van Niekerk's Agaat
- Authors: Moore-Barnes, Shannon-Lee
- Date: 2010
- Subjects: Van Niekerk, Marlene. Agaat , Narration (Rhetoric) , Storytelling , Women and literature -- South Africa , Afrikaans fiction -- 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8453 , http://hdl.handle.net/10948/1235 , Van Niekerk, Marlene. Agaat , Narration (Rhetoric) , Storytelling , Women and literature -- South Africa , Afrikaans fiction -- 21st century
- Description: Conrad Aiken’s observation that the “landscape and the language are the same, and we ourselves are language and are land,” depicts the material terrain we inhabit as necessarily informing the language we speak. An important corollary to Aiken’s observation is language itself writes the land. I argue that the binary division between culture and nature, as well as the attempts to universalise languages, abstracts discourse from necessary situated knowledges, alienating the land from the language it embodies. The severing of culture and nature as implied by Aiken’s observation is indicative of humanity’s progressive isolation from the land through language, as well as from their embodied natures. Remoteness results in what Marlene van Niekerk’s novel Agaat (2006) terms a “poverty disease” (2006: 251). Michiel Heyns confirms that the character Agaat relates this barrenness of spirit to her “diagnosis of spiritual ills through human dealings with the soil” (2009: 132). I illustrate the novel’s revitalisation of language as an act of ecological recuperation that alleviates dis-eased consciousnesses by potentially recognising, valuing and responding to situated knowledges revealed in land narratives.1 My argument therefore uncovers the challenges that the novel directs at an unreformed and universal Western2 To this end I use critiques of colonialism that reveal culture’s assimilation of the Other, rationalist discourse that continues to appropriate nature as resource for a hierarchical culture. 3 By combining this literary analysis with a wider eco-theoretical enquiry I position my study in an interdisciplinary field of investigation. This is in response to the damaging consequences of the inherited and fragmentary nature of specialisation. In addition, by detailing literary and feminist especially the work of Val Plumwood, Donna Haraway and Nicole Brossard. I use these critiques to analyse self/Other oppositions that Western culture constructs and patrols to maintain a defensive culture of domination. I show how nature and all those feminised and marginalised by Western discourses that hierarchise culture have been consistently overlooked and under-represented by those who purport to ‘control’ the environment and privilege the symbolic language as the carrier of culture. Agaat provides fruitful terrain for the reflection of marginalised voices; voices that confirm the environment and language as necessarily both feminist and social justice issues. 1 My preference for the hyphenated usage of the word ‘dis-ease’ signals the equation between discomfort or unease and disease or sickness. 2 While I am concerned over emphasising words such as Western and Apartheid by capitalising them, I have decided to retain this form so as not to diminish the magnitude of the effect these discourses have had on global and regional communities. 3 When referring to Others I, like Karen J. Warren, capitalise the term. Warren defines Others as all earth Others subjected to “unjustified domination-subordination relationships” (2005: 252). responses to Western patriarchal discourse and its impact on nature, I show the ways in which literature negotiates the possible re-conceptualisation of our collective cultural imagination. Van Niekerk’s novel offers a sustained critique of the oppressive Western conceptual frameworks that have dominated Others through hegemonic constructions. Furthermore, I investigate what this writer might offer as an alternative to systems of social, political and ecological control and the violence it inflicts.
- Full Text:
- Date Issued: 2010
- Authors: Moore-Barnes, Shannon-Lee
- Date: 2010
- Subjects: Van Niekerk, Marlene. Agaat , Narration (Rhetoric) , Storytelling , Women and literature -- South Africa , Afrikaans fiction -- 21st century
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8453 , http://hdl.handle.net/10948/1235 , Van Niekerk, Marlene. Agaat , Narration (Rhetoric) , Storytelling , Women and literature -- South Africa , Afrikaans fiction -- 21st century
- Description: Conrad Aiken’s observation that the “landscape and the language are the same, and we ourselves are language and are land,” depicts the material terrain we inhabit as necessarily informing the language we speak. An important corollary to Aiken’s observation is language itself writes the land. I argue that the binary division between culture and nature, as well as the attempts to universalise languages, abstracts discourse from necessary situated knowledges, alienating the land from the language it embodies. The severing of culture and nature as implied by Aiken’s observation is indicative of humanity’s progressive isolation from the land through language, as well as from their embodied natures. Remoteness results in what Marlene van Niekerk’s novel Agaat (2006) terms a “poverty disease” (2006: 251). Michiel Heyns confirms that the character Agaat relates this barrenness of spirit to her “diagnosis of spiritual ills through human dealings with the soil” (2009: 132). I illustrate the novel’s revitalisation of language as an act of ecological recuperation that alleviates dis-eased consciousnesses by potentially recognising, valuing and responding to situated knowledges revealed in land narratives.1 My argument therefore uncovers the challenges that the novel directs at an unreformed and universal Western2 To this end I use critiques of colonialism that reveal culture’s assimilation of the Other, rationalist discourse that continues to appropriate nature as resource for a hierarchical culture. 3 By combining this literary analysis with a wider eco-theoretical enquiry I position my study in an interdisciplinary field of investigation. This is in response to the damaging consequences of the inherited and fragmentary nature of specialisation. In addition, by detailing literary and feminist especially the work of Val Plumwood, Donna Haraway and Nicole Brossard. I use these critiques to analyse self/Other oppositions that Western culture constructs and patrols to maintain a defensive culture of domination. I show how nature and all those feminised and marginalised by Western discourses that hierarchise culture have been consistently overlooked and under-represented by those who purport to ‘control’ the environment and privilege the symbolic language as the carrier of culture. Agaat provides fruitful terrain for the reflection of marginalised voices; voices that confirm the environment and language as necessarily both feminist and social justice issues. 1 My preference for the hyphenated usage of the word ‘dis-ease’ signals the equation between discomfort or unease and disease or sickness. 2 While I am concerned over emphasising words such as Western and Apartheid by capitalising them, I have decided to retain this form so as not to diminish the magnitude of the effect these discourses have had on global and regional communities. 3 When referring to Others I, like Karen J. Warren, capitalise the term. Warren defines Others as all earth Others subjected to “unjustified domination-subordination relationships” (2005: 252). responses to Western patriarchal discourse and its impact on nature, I show the ways in which literature negotiates the possible re-conceptualisation of our collective cultural imagination. Van Niekerk’s novel offers a sustained critique of the oppressive Western conceptual frameworks that have dominated Others through hegemonic constructions. Furthermore, I investigate what this writer might offer as an alternative to systems of social, political and ecological control and the violence it inflicts.
- Full Text:
- Date Issued: 2010
The artistic path to virtue
- Authors: Sher, Gavin
- Date: 2007
- Subjects: Aristotle -- Nicomachean ethics , Virtue , Ethics , Fiction , Narration (Rhetoric)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2732 , http://hdl.handle.net/10962/d1004370 , Aristotle -- Nicomachean ethics , Virtue , Ethics , Fiction , Narration (Rhetoric)
- Description: Most people share a strong intuition that there is much to be learned from great literature and other forms of narrative art. This intuition is, however, philosophically contentious. Plato was the first to argue against the possibility of learning anything from narrative art, but he founded a tradition that persists to the present day. I will engage in this debate in order to examine the role narratives might be able to play in acquiring virtue on Aristotle's ethical account, as it is presented in Nicomachean Ethics. I will claim that narratives have so long seemed a problematic source of learning because philosophers have traditionally approached the issue in the wrong way. They have typically tried to show how we might acquire propositional knowledge through our engagement with art, but this approach has failed because of insoluble problems involved in satisfying the justification criterion. Fictions may be rescued from their problematic status by realising that what we truly get from them is, instead, a type of knowledge-how. I will argue that Aristotelian virtue is itself a kind of knowledge-how and so the type of learning that takes place in engaging with narratives has a role to play in its acquisition and exercise. Virtue depends on types of reasoning that are themselves kinds of knowledge-how and which are employed and improved in engaging with narrative art. These types of reasoning will be described as conceptual, emotional and imaginative understanding. I will show how each is important in relation to virtue and how each is a kind of knowledge-how that may be improved through exposure to narrative art.
- Full Text:
- Date Issued: 2007
- Authors: Sher, Gavin
- Date: 2007
- Subjects: Aristotle -- Nicomachean ethics , Virtue , Ethics , Fiction , Narration (Rhetoric)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2732 , http://hdl.handle.net/10962/d1004370 , Aristotle -- Nicomachean ethics , Virtue , Ethics , Fiction , Narration (Rhetoric)
- Description: Most people share a strong intuition that there is much to be learned from great literature and other forms of narrative art. This intuition is, however, philosophically contentious. Plato was the first to argue against the possibility of learning anything from narrative art, but he founded a tradition that persists to the present day. I will engage in this debate in order to examine the role narratives might be able to play in acquiring virtue on Aristotle's ethical account, as it is presented in Nicomachean Ethics. I will claim that narratives have so long seemed a problematic source of learning because philosophers have traditionally approached the issue in the wrong way. They have typically tried to show how we might acquire propositional knowledge through our engagement with art, but this approach has failed because of insoluble problems involved in satisfying the justification criterion. Fictions may be rescued from their problematic status by realising that what we truly get from them is, instead, a type of knowledge-how. I will argue that Aristotelian virtue is itself a kind of knowledge-how and so the type of learning that takes place in engaging with narratives has a role to play in its acquisition and exercise. Virtue depends on types of reasoning that are themselves kinds of knowledge-how and which are employed and improved in engaging with narrative art. These types of reasoning will be described as conceptual, emotional and imaginative understanding. I will show how each is important in relation to virtue and how each is a kind of knowledge-how that may be improved through exposure to narrative art.
- Full Text:
- Date Issued: 2007
Unstable ironies: narrative instability in Herman Charles Bosman's "Oom Schalk Lourens" series
- Authors: Davis, Rebecca
- Date: 2006
- Subjects: Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2215 , http://hdl.handle.net/10962/d1002258 , Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Description: This thesis examines the narrative situation within Herman Charles Bosman’s “Oom Schalk Lourens” series of stories, focussing on the nature of the relationship between author and narrator. In particular, it seeks to trace the source of the multiple ironies at work in the texts. It has been customary for critics in the past to claim that the irony within the stories stems from Bosman, operating authorially ‘above’ Oom Schalk. In terms of this theory, Oom Schalk is read as being largely unaware of the inconsistencies and contradictions within his narrative. It is the claim of this thesis, however, that Oom Schalk is the self-aware creator of the texts’ ironies much of the time. Chapter 1 commences with an attempt at defining irony, and provides a brief overview of the history of its deployment within South African literature before discussing the literary genre which Bosman was to exploit as his ironic vehicle: the “oral-style” short story. Chapter 2 examines Wayne C. Booth’s notions of “stable” and “unstable” irony: the irony of the Oom Schalk stories has, in the past, been classified as belonging to the former category, but this thesis attempts to show that its inconsistent deployment within the stories consigns it more accurately to the latter. Chapter 3 offers an assessment of the extrinsic contexts relevant to the analysis: the context of the stories’ publication, and the likely composition of Bosman’s reading public. Chapter 4 begins to examine the distance between implied author and implied narrator in the stories. Chapters 5, 6 and 7 subject stories dealing with the themes of art, race and land to detailed analysis in order to examine the shifting – and progressively, though unevenly, diminishing – distance between Bosman and Oom Schalk. The thesis concludes that the degree to which the ironic distance between author and narrator fluctuates within, and between, the stories, results in a narrative situation which must be classified as fundamentally unstable.
- Full Text:
- Date Issued: 2006
- Authors: Davis, Rebecca
- Date: 2006
- Subjects: Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2215 , http://hdl.handle.net/10962/d1002258 , Bosman, Herman Charles, 1905-1951 -- Criticism and interpretation , Irony in literature , Narration (Rhetoric)
- Description: This thesis examines the narrative situation within Herman Charles Bosman’s “Oom Schalk Lourens” series of stories, focussing on the nature of the relationship between author and narrator. In particular, it seeks to trace the source of the multiple ironies at work in the texts. It has been customary for critics in the past to claim that the irony within the stories stems from Bosman, operating authorially ‘above’ Oom Schalk. In terms of this theory, Oom Schalk is read as being largely unaware of the inconsistencies and contradictions within his narrative. It is the claim of this thesis, however, that Oom Schalk is the self-aware creator of the texts’ ironies much of the time. Chapter 1 commences with an attempt at defining irony, and provides a brief overview of the history of its deployment within South African literature before discussing the literary genre which Bosman was to exploit as his ironic vehicle: the “oral-style” short story. Chapter 2 examines Wayne C. Booth’s notions of “stable” and “unstable” irony: the irony of the Oom Schalk stories has, in the past, been classified as belonging to the former category, but this thesis attempts to show that its inconsistent deployment within the stories consigns it more accurately to the latter. Chapter 3 offers an assessment of the extrinsic contexts relevant to the analysis: the context of the stories’ publication, and the likely composition of Bosman’s reading public. Chapter 4 begins to examine the distance between implied author and implied narrator in the stories. Chapters 5, 6 and 7 subject stories dealing with the themes of art, race and land to detailed analysis in order to examine the shifting – and progressively, though unevenly, diminishing – distance between Bosman and Oom Schalk. The thesis concludes that the degree to which the ironic distance between author and narrator fluctuates within, and between, the stories, results in a narrative situation which must be classified as fundamentally unstable.
- Full Text:
- Date Issued: 2006
- «
- ‹
- 1
- ›
- »