An ideological analysis of the construction of masculinity in the South African superhero comic book, Kwezi
- Authors: Reyneke, Brendon George
- Date: 2020
- Subjects: Mkize, Loyiso, 1987- -- Kwezi , Superheroes -- South Africa , Comic books, strips, etc. -- South Africa , Graphic novels -- South Africa , Masculinity in literature , Violence in literature , Superheroes, Black
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/144533 , vital:38354
- Description: In 2014, South African artist and comic book illustrator, Loyiso Mkize created Kwezi, South Africa’s first superhero comic book. His comic features the titular Kwezi as a young, black man living alone on the outskirts of Gold City who discovers he has superpowers. Along with Kwezi, the comic is populated by predominantly black African characters – both good and bad. The creation of Kwezi is an important step in the development of comic books in South Africa as it draws from the cultural and physical landscape of the country and speaks to young black people without them having to look outside of the country for superheroes to identify with. Stuart Hall (Hall, 1997, pp. 272-274) asserts that attempts to reclaim the black subject in popular culture tend to go through two phases. In the first phase blackness is liberated from negative representations and is replaced with more positive depictions. Thereafter though, the black subject is produced inside contemporary “regimes of representation”. In this thesis, I will show how Mkize’s representation of Kwezi follows Stuart Hall’s description of the reclamation of black subjectivity. Using narrative theory, visual social semiotics and Thompson’s modes of operational ideology I will show how in his attempt to represent African blackness positively, Mkize overlooks normative genre representations of masculinity and produces a story of a South African that remains unliberated from patriarchy and hegemonic masculinity. Mkize reproduces many of the hegemonic discourses concerning the masculine body, the power difference between male and female characters and subscribes to the justified, violent actions of the masculine superhero. Typically, in superhero comics there is an erasure of the ordinary man in favour of an excessive and powerful one-dimensional masculine ideal (Brown, 1999, pp. 31-32) At the end of my analysis I will show that Kwezi is constructed in this way as a physically strong and muscular, violent and emotionless, self-made man who is in control and overcomes all obstacles.
- Full Text:
- Date Issued: 2020
- Authors: Reyneke, Brendon George
- Date: 2020
- Subjects: Mkize, Loyiso, 1987- -- Kwezi , Superheroes -- South Africa , Comic books, strips, etc. -- South Africa , Graphic novels -- South Africa , Masculinity in literature , Violence in literature , Superheroes, Black
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/144533 , vital:38354
- Description: In 2014, South African artist and comic book illustrator, Loyiso Mkize created Kwezi, South Africa’s first superhero comic book. His comic features the titular Kwezi as a young, black man living alone on the outskirts of Gold City who discovers he has superpowers. Along with Kwezi, the comic is populated by predominantly black African characters – both good and bad. The creation of Kwezi is an important step in the development of comic books in South Africa as it draws from the cultural and physical landscape of the country and speaks to young black people without them having to look outside of the country for superheroes to identify with. Stuart Hall (Hall, 1997, pp. 272-274) asserts that attempts to reclaim the black subject in popular culture tend to go through two phases. In the first phase blackness is liberated from negative representations and is replaced with more positive depictions. Thereafter though, the black subject is produced inside contemporary “regimes of representation”. In this thesis, I will show how Mkize’s representation of Kwezi follows Stuart Hall’s description of the reclamation of black subjectivity. Using narrative theory, visual social semiotics and Thompson’s modes of operational ideology I will show how in his attempt to represent African blackness positively, Mkize overlooks normative genre representations of masculinity and produces a story of a South African that remains unliberated from patriarchy and hegemonic masculinity. Mkize reproduces many of the hegemonic discourses concerning the masculine body, the power difference between male and female characters and subscribes to the justified, violent actions of the masculine superhero. Typically, in superhero comics there is an erasure of the ordinary man in favour of an excessive and powerful one-dimensional masculine ideal (Brown, 1999, pp. 31-32) At the end of my analysis I will show that Kwezi is constructed in this way as a physically strong and muscular, violent and emotionless, self-made man who is in control and overcomes all obstacles.
- Full Text:
- Date Issued: 2020
An investigation of masculinity in J. M. Coetzee's disgrace (1999)
- Authors: Kok, Marina Susan
- Date: 2008
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Masculinity in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8463 , http://hdl.handle.net/10948/783 , Coetzee, J. M., 1940- -- Criticism and interpretation , Masculinity in literature
- Description: The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.
- Full Text:
- Date Issued: 2008
- Authors: Kok, Marina Susan
- Date: 2008
- Subjects: Coetzee, J. M., 1940- -- Criticism and interpretation , Masculinity in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8463 , http://hdl.handle.net/10948/783 , Coetzee, J. M., 1940- -- Criticism and interpretation , Masculinity in literature
- Description: The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.
- Full Text:
- Date Issued: 2008
Portrayals of masculinity in selected Nigerian plays
- Authors: Onuoha, Beatrice Nwawuloke
- Date: 2021-06
- Subjects: Masculinity in literature , Nigeria -- In literature
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10353/22131 , vital:51985
- Description: This work critically interrogates the portrayal of masculinity in plays written by both male and female Nigerian playwrights. Selected plays (three from each author) of Wole Soyinka, Femi Osofisan, Tess Onwueme and Tracie Utoh-Ezeajugh were studied in order to proffer answers to certain critical questions, some of which include determining whether the way male playwrights construct the psychosocial temperament of lead male characters differs from how such is depicted in the works of female authors. The study also sought to ascertain how the concept of masculinity has evolved through the careers of three generations of playwriting in Nigeria. While evaluating the differences that exist in the portrayal of masculinity in the male lead characters in the works of selected male playwrights when compared to those of their female counterparts, the study equally examines the portrayals of male identities in the selected texts. It also evaluates the notion of masculinity shift among the three generations of Nigerian playwrights with a view to ascertaining how textual portrayals of characters and events reflect the changing values that are held about male identities in different Nigerian societies. In executing these objectives, the study adopts a qualitative method, and then eclectically employs Raewyn Connell’s (1995) Theory of Masculinity, Judith Butler’s (1990) Theory of Performativity, and Louis Athan Althusser’s (1970) Idea of Interpellation as the Theoretical Framework to guide the analysis and interpretation of the selected texts. Furthermore, the study follows a constructivist model that involves several stages including the identification of the selected plays as the main texts, a perusal of the plays, review of the literature on gender portrayals in the plays, and a critiquing of the portrayal of masculinity in them. The findings of the analysis reveal that masculinity is a conditional, provisional and elusive subject. It is created in a certain socio-cultural and historical context and evolves according to situations. The studied texts demonstrate the artistic agency of women in constructing men’s masculinity. They imply that masculinity and femininity are like Siamese twins in the building of a peaceful, strong, and new nation. Moreover, the playwrights under study divulge that power is the key factor in (de)constructing and (re)defining of masculinity of men. Through their plays, the dramatists challenge and attempt to change the stereotypical constructs of men, dismantle the traditional gender roles and propose a new way of envisioning gender, where hegemonic principles can be nullified. It is therefore the submission of this work that Soyinka, Osofisan, Onwueme and Utoh-Ezeajugh do not affirm the social construct of masculinity but rather interrogate them. , Thesis (PhD) -- Faculty of Social Sciences and Humanities, 2021
- Full Text:
- Date Issued: 2021-06
- Authors: Onuoha, Beatrice Nwawuloke
- Date: 2021-06
- Subjects: Masculinity in literature , Nigeria -- In literature
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10353/22131 , vital:51985
- Description: This work critically interrogates the portrayal of masculinity in plays written by both male and female Nigerian playwrights. Selected plays (three from each author) of Wole Soyinka, Femi Osofisan, Tess Onwueme and Tracie Utoh-Ezeajugh were studied in order to proffer answers to certain critical questions, some of which include determining whether the way male playwrights construct the psychosocial temperament of lead male characters differs from how such is depicted in the works of female authors. The study also sought to ascertain how the concept of masculinity has evolved through the careers of three generations of playwriting in Nigeria. While evaluating the differences that exist in the portrayal of masculinity in the male lead characters in the works of selected male playwrights when compared to those of their female counterparts, the study equally examines the portrayals of male identities in the selected texts. It also evaluates the notion of masculinity shift among the three generations of Nigerian playwrights with a view to ascertaining how textual portrayals of characters and events reflect the changing values that are held about male identities in different Nigerian societies. In executing these objectives, the study adopts a qualitative method, and then eclectically employs Raewyn Connell’s (1995) Theory of Masculinity, Judith Butler’s (1990) Theory of Performativity, and Louis Athan Althusser’s (1970) Idea of Interpellation as the Theoretical Framework to guide the analysis and interpretation of the selected texts. Furthermore, the study follows a constructivist model that involves several stages including the identification of the selected plays as the main texts, a perusal of the plays, review of the literature on gender portrayals in the plays, and a critiquing of the portrayal of masculinity in them. The findings of the analysis reveal that masculinity is a conditional, provisional and elusive subject. It is created in a certain socio-cultural and historical context and evolves according to situations. The studied texts demonstrate the artistic agency of women in constructing men’s masculinity. They imply that masculinity and femininity are like Siamese twins in the building of a peaceful, strong, and new nation. Moreover, the playwrights under study divulge that power is the key factor in (de)constructing and (re)defining of masculinity of men. Through their plays, the dramatists challenge and attempt to change the stereotypical constructs of men, dismantle the traditional gender roles and propose a new way of envisioning gender, where hegemonic principles can be nullified. It is therefore the submission of this work that Soyinka, Osofisan, Onwueme and Utoh-Ezeajugh do not affirm the social construct of masculinity but rather interrogate them. , Thesis (PhD) -- Faculty of Social Sciences and Humanities, 2021
- Full Text:
- Date Issued: 2021-06
Versions of masculinity in Zukiswa Wanners work
- Authors: Scina, Nontsikelelo
- Date: 2018-07
- Subjects: Gender , Zukiswa Wanner , Masculinity in literature , Sex roles
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/11260/6708 , vital:47459
- Description: Traditional notions of masculinity which give power and authority to one dominant form of masculinity in the contemporary era are under scrutiny as they are constantly being challenged through the emergence of alternative forms of masculinity. Through the use of Wanner’s novels, this work examines how South African masculinities are constructed, how they are challenged, and how alternative forms are negotiated. It unpacks Wanner’s depiction of hegemonic, thwarted, complicit and marginalised masculinities as it traces the diversity and fluidity of masculinities in these literary texts and the resultant alternative masculinities these novels propose. Furthermore, this work foregrounds the often taken-for-granted role of women and portrays it as the centre around which masculinities are constructed. This is achieved by probing deeper into the familial unit and looking at the traditional gender roles of women, taking into consideration that the South African constitution allows them either to stick to these roles or to choose from an array of career choices presented to them. It is suggested that instead of viewing masculinity as a standard uniform entity, it is profitable to perceive it as a heterogeneous entity, comprising of different versions which are determined by different factors. It is further suggested that the role of women in the construction of masculinities should be given recognition, as they seem to play a significant role in either inhibiting or promoting the transformation of masculinities through the choices they make. , Thesis (M.Arts) -- Faculty of Humanities, Social Sciences and Law, 2018
- Full Text:
- Date Issued: 2018-07
- Authors: Scina, Nontsikelelo
- Date: 2018-07
- Subjects: Gender , Zukiswa Wanner , Masculinity in literature , Sex roles
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/11260/6708 , vital:47459
- Description: Traditional notions of masculinity which give power and authority to one dominant form of masculinity in the contemporary era are under scrutiny as they are constantly being challenged through the emergence of alternative forms of masculinity. Through the use of Wanner’s novels, this work examines how South African masculinities are constructed, how they are challenged, and how alternative forms are negotiated. It unpacks Wanner’s depiction of hegemonic, thwarted, complicit and marginalised masculinities as it traces the diversity and fluidity of masculinities in these literary texts and the resultant alternative masculinities these novels propose. Furthermore, this work foregrounds the often taken-for-granted role of women and portrays it as the centre around which masculinities are constructed. This is achieved by probing deeper into the familial unit and looking at the traditional gender roles of women, taking into consideration that the South African constitution allows them either to stick to these roles or to choose from an array of career choices presented to them. It is suggested that instead of viewing masculinity as a standard uniform entity, it is profitable to perceive it as a heterogeneous entity, comprising of different versions which are determined by different factors. It is further suggested that the role of women in the construction of masculinities should be given recognition, as they seem to play a significant role in either inhibiting or promoting the transformation of masculinities through the choices they make. , Thesis (M.Arts) -- Faculty of Humanities, Social Sciences and Law, 2018
- Full Text:
- Date Issued: 2018-07
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