Pub Date : 2023-01-02DOI: 10.1080/10131752.2023.2179731
A. Adelokun
{"title":"The Myths of My Memory: A Collection of Poems","authors":"A. Adelokun","doi":"10.1080/10131752.2023.2179731","DOIUrl":"https://doi.org/10.1080/10131752.2023.2179731","url":null,"abstract":"","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"22 1","pages":"117 - 118"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88291742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/10131752.2023.2178162
R. Chetty
Abstract This article engages with the theme of contested identities and sacred spaces in Ronnie Govender’s debut play, “Beyond Calvary”. The tension between Hinduism and Christianity is explored within the context of 1960s South Africa, which saw the destruction of vibrant communities due to racial segregation, and a wave of forceful conversion campaigns by Christian missionaries that exploited the vulnerability and precarity of displaced subalterns. The antagonism of the new Christian converts towards their Hindu brethren was as despicable as white aversion towards black people. The crux of the play is formed by the Hindu–Christian conflict depicted between the key protagonists, Linda and Prabhu. The play exposes occidental blindness, prejudice, and arrogance. Govender points to a spiritual sensibility that experiences the world in different ways in order to appreciate the range of sacred spaces that characterised the early narratives of the indentured sugar slaves. The play imperceptibly moves “other” modes of thought, prayer, and sacrosanctity into the public space in order to assert the legitimacy of all modes of living and thinking. Gods, homes, and hetero-patriarchal politics are expertly drawn in the play, giving way to issues of social concern which open out to matters of class, gender, and cultural identity. The article will draw congruences with Agnes Sam’s short story “Jesus Is Indian” and Omar Badsha’s resistance photography, which disrupts dominant occidental/settler discourses in apartheid South Africa.
{"title":"Sacred Spaces and Contested Identities in Ronnie Govender’s “Beyond Calvary”","authors":"R. Chetty","doi":"10.1080/10131752.2023.2178162","DOIUrl":"https://doi.org/10.1080/10131752.2023.2178162","url":null,"abstract":"Abstract This article engages with the theme of contested identities and sacred spaces in Ronnie Govender’s debut play, “Beyond Calvary”. The tension between Hinduism and Christianity is explored within the context of 1960s South Africa, which saw the destruction of vibrant communities due to racial segregation, and a wave of forceful conversion campaigns by Christian missionaries that exploited the vulnerability and precarity of displaced subalterns. The antagonism of the new Christian converts towards their Hindu brethren was as despicable as white aversion towards black people. The crux of the play is formed by the Hindu–Christian conflict depicted between the key protagonists, Linda and Prabhu. The play exposes occidental blindness, prejudice, and arrogance. Govender points to a spiritual sensibility that experiences the world in different ways in order to appreciate the range of sacred spaces that characterised the early narratives of the indentured sugar slaves. The play imperceptibly moves “other” modes of thought, prayer, and sacrosanctity into the public space in order to assert the legitimacy of all modes of living and thinking. Gods, homes, and hetero-patriarchal politics are expertly drawn in the play, giving way to issues of social concern which open out to matters of class, gender, and cultural identity. The article will draw congruences with Agnes Sam’s short story “Jesus Is Indian” and Omar Badsha’s resistance photography, which disrupts dominant occidental/settler discourses in apartheid South Africa.","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"413 1","pages":"55 - 67"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74125469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2022.2157999
N. Tembo
Abstract The memorialisation of the various layers of the genocides in Rwanda’s history has always elicited mixed reactions, with some observers insisting that there was only one actual genocide: the 1994 Rwandan genocide. This article considers Marie Béatrice Umutesi’s contestation of genocide memorialisation in Surviving the Slaughter: The Ordeal of a Rwandan Refugee in Zaïre (Madison: University of Wisconsin Press, 2004). My contention is that in this memoir the author records her experiences to recast Rwanda’s annual commemoration discourse, which selectively memorialises Tutsi pain at the expense of Hutu suffering. The author draws on her experiences as a refugee in eastern Zaïre (today the Democratic Republic of Congo) to excavate and reinterpret Rwanda’s unheeded atrocities, reconfigure and interrogate selective mourning, and create a shared memory of a forgotten violent past. To illustrate the ideological purpose at work, I reference John Beverley’s notion of “testimonio” (Testimonio: On the Politics of Truth. Minneapolis: University of Minnesota Press, 2004) as an interpretive framework for understanding Surviving the Slaughter as a resistance narrative.
{"title":"Politics of Memorialisation in a Rwandan Witness Memoir: Marie Béatrice Umutesi’s Surviving the Slaughter","authors":"N. Tembo","doi":"10.1080/10131752.2022.2157999","DOIUrl":"https://doi.org/10.1080/10131752.2022.2157999","url":null,"abstract":"Abstract The memorialisation of the various layers of the genocides in Rwanda’s history has always elicited mixed reactions, with some observers insisting that there was only one actual genocide: the 1994 Rwandan genocide. This article considers Marie Béatrice Umutesi’s contestation of genocide memorialisation in Surviving the Slaughter: The Ordeal of a Rwandan Refugee in Zaïre (Madison: University of Wisconsin Press, 2004). My contention is that in this memoir the author records her experiences to recast Rwanda’s annual commemoration discourse, which selectively memorialises Tutsi pain at the expense of Hutu suffering. The author draws on her experiences as a refugee in eastern Zaïre (today the Democratic Republic of Congo) to excavate and reinterpret Rwanda’s unheeded atrocities, reconfigure and interrogate selective mourning, and create a shared memory of a forgotten violent past. To illustrate the ideological purpose at work, I reference John Beverley’s notion of “testimonio” (Testimonio: On the Politics of Truth. Minneapolis: University of Minnesota Press, 2004) as an interpretive framework for understanding Surviving the Slaughter as a resistance narrative.","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"33 1","pages":"37 - 51"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83104897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2023.2173860
J. Murray
Abstract This article utilises the conceptual and theoretical tools of critical animal studies to expose and interrogate the terminological lapses and possibilities in selected contemporary climate fiction novels. These novels are My Days of Dark Green Euphoria (2022) by A. E. Copenhaver, Bewilderment (2021) by Richard Powers, and Stay and Fight (2019) by Madeline Ffitch. I argue that the terminological slipperiness that confronts anyone attempting to talk about and imagine other animals in respectful modes of engagement signals more than the inadequacy of our scholarly lexicons. Rather, these gaps reveal deeply problematic epistemological and ontological assumptions about other animals and our responsibilities towards them. The selected primary texts offer me an anchor in which to ground my argument that much greater levels of nuance and complexity are demanded of us when we read representations of other animals through the lens of critical animal studies. I conclude by exploring how Eva Haifa Giraud’s theorisations of entanglement and ethical exclusion move the conversation about other animals forward in richly generative ways. I argue that the selected novels allow readings that reach far beyond simplistic, anthropocentric understandings of the more-than-human world. Finally, I suggest that vegan studies opens up new spaces in interactions with cultural texts, and that this emerging framework and reading modality brings into stark relief both the challenges and the opportunities that continue to shape our ways of being part of a world where the human animal is not the only one worthy of respect and care.
{"title":"Using Critical Animal Studies to Read Climate Change Fiction: Literary Reflections and Provocations","authors":"J. Murray","doi":"10.1080/10131752.2023.2173860","DOIUrl":"https://doi.org/10.1080/10131752.2023.2173860","url":null,"abstract":"Abstract This article utilises the conceptual and theoretical tools of critical animal studies to expose and interrogate the terminological lapses and possibilities in selected contemporary climate fiction novels. These novels are My Days of Dark Green Euphoria (2022) by A. E. Copenhaver, Bewilderment (2021) by Richard Powers, and Stay and Fight (2019) by Madeline Ffitch. I argue that the terminological slipperiness that confronts anyone attempting to talk about and imagine other animals in respectful modes of engagement signals more than the inadequacy of our scholarly lexicons. Rather, these gaps reveal deeply problematic epistemological and ontological assumptions about other animals and our responsibilities towards them. The selected primary texts offer me an anchor in which to ground my argument that much greater levels of nuance and complexity are demanded of us when we read representations of other animals through the lens of critical animal studies. I conclude by exploring how Eva Haifa Giraud’s theorisations of entanglement and ethical exclusion move the conversation about other animals forward in richly generative ways. I argue that the selected novels allow readings that reach far beyond simplistic, anthropocentric understandings of the more-than-human world. Finally, I suggest that vegan studies opens up new spaces in interactions with cultural texts, and that this emerging framework and reading modality brings into stark relief both the challenges and the opportunities that continue to shape our ways of being part of a world where the human animal is not the only one worthy of respect and care.","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"90 1","pages":"67 - 78"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79501988","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2022.2136853
K. Narayana Chandran
Abstract This article explores the flexibility and adaptability of the practice of writing acknowledgements in humanities scholarship. If this text is more than marginalia, its multiple paratextual services raise questions that largely go unaddressed. Such questions have to do with knowledge―what a writing self knows about itself, how it gets round to knowing itself for what it is, and why it feels obliged to share its discoveries in knowledge with communities that build and sustain epistemological values. A course titled “Research and Publication Ethics” for newly admitted research students in the English Department of the University of Hyderabad initiated this discussion. The responses to the following questions sometimes bordered on the meanings of the ethical as marginal to the larger concerns of publishing research. Where, to begin with, do researchers see themselves situated when they write? What motives position a voice as “authorial” at the centre while the affectational motive tosses it up to the margins? How do a writer’s prefatory remarks and remembrances, admissions of commission and omission, make for respectable reading relations? The students were fascinated by the marginalia they collected, which sometimes betrayed unsuspected meanings as acknowledgements. The difficulty of writing acknowledgements is perhaps the writing of difficulty, a realisation that led the class to see a writer as often speaking, or ventriloquising, different voices, now at the centre and now on the margins. The ethical investments made by the writing self alternate between the marginal and the paratextual when readers engage with texts designated as “acknowledgements”.
{"title":"Writing Selves in Disguise: On Reading and Writing Acknowledgements","authors":"K. Narayana Chandran","doi":"10.1080/10131752.2022.2136853","DOIUrl":"https://doi.org/10.1080/10131752.2022.2136853","url":null,"abstract":"Abstract This article explores the flexibility and adaptability of the practice of writing acknowledgements in humanities scholarship. If this text is more than marginalia, its multiple paratextual services raise questions that largely go unaddressed. Such questions have to do with knowledge―what a writing self knows about itself, how it gets round to knowing itself for what it is, and why it feels obliged to share its discoveries in knowledge with communities that build and sustain epistemological values. A course titled “Research and Publication Ethics” for newly admitted research students in the English Department of the University of Hyderabad initiated this discussion. The responses to the following questions sometimes bordered on the meanings of the ethical as marginal to the larger concerns of publishing research. Where, to begin with, do researchers see themselves situated when they write? What motives position a voice as “authorial” at the centre while the affectational motive tosses it up to the margins? How do a writer’s prefatory remarks and remembrances, admissions of commission and omission, make for respectable reading relations? The students were fascinated by the marginalia they collected, which sometimes betrayed unsuspected meanings as acknowledgements. The difficulty of writing acknowledgements is perhaps the writing of difficulty, a realisation that led the class to see a writer as often speaking, or ventriloquising, different voices, now at the centre and now on the margins. The ethical investments made by the writing self alternate between the marginal and the paratextual when readers engage with texts designated as “acknowledgements”.","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"61 1","pages":"20 - 36"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83429724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2023.2172839
Desirée John-Ukofia
{"title":"A Sad Place","authors":"Desirée John-Ukofia","doi":"10.1080/10131752.2023.2172839","DOIUrl":"https://doi.org/10.1080/10131752.2023.2172839","url":null,"abstract":"","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"22 1","pages":"102 - 102"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72706203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2023.2172837
B. Pearce
{"title":"Poems on the Theatre","authors":"B. Pearce","doi":"10.1080/10131752.2023.2172837","DOIUrl":"https://doi.org/10.1080/10131752.2023.2172837","url":null,"abstract":"","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"44 1","pages":"100 - 101"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85568966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2022.2158561
M. Chapman
Abstract Focusing on English Studies in South Africa, this article considers adaptations to university teaching in a time of Covid-19 and the potential and limitations of such adaptations post Covid-19. The argument is divided into sections, “English Studies, Yesterday and Today” and “English Studies, Today and Tomorrow”, together with a coda, “English, the Language of the Modern World”. An African folktale, “Elephant, Chameleon, and Lizard”, offers a metaphor of before, in, and beyond Covid-19.
{"title":"English Studies, Before, In, and Beyond the Time of Covid-19: Elephant, Chameleon, and Lizard","authors":"M. Chapman","doi":"10.1080/10131752.2022.2158561","DOIUrl":"https://doi.org/10.1080/10131752.2022.2158561","url":null,"abstract":"Abstract Focusing on English Studies in South Africa, this article considers adaptations to university teaching in a time of Covid-19 and the potential and limitations of such adaptations post Covid-19. The argument is divided into sections, “English Studies, Yesterday and Today” and “English Studies, Today and Tomorrow”, together with a coda, “English, the Language of the Modern World”. An African folktale, “Elephant, Chameleon, and Lizard”, offers a metaphor of before, in, and beyond Covid-19.","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"31 3 1","pages":"6 - 19"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75603570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2023.2172020
Rosanna Masiola
Abstract This article examines the representation of sacred spaces in the novels of four authors from southern Africa and their translations. It critically considers the representation of sacred spaces and the marginalisation of some areas of Africa. The selected passages feature common themes, such as the dispossession of the soil. A convenient distinction between sacred spaces is made in this article through categorising these spaces as apotropaic, chthonic, mystic and messianic, and theological and epiphanic. Translations into the Romance languages of predominantly Catholic countries show evidence of textual divergence in the cohesion of symbols, lexico-semantic shifts, and cultural domestication. Whether this is imputed to ideological barriers and sociocultural filters is a matter for further investigation. Ultimately, the challenging issue is whether there is still space for the sacred in world literature.
摘要本文考察了四位南非作家小说中神圣空间的表现及其翻译。它批判性地考虑了神圣空间的代表性和非洲一些地区的边缘化。精选的段落都有共同的主题，比如对土地的剥夺。在这篇文章中，通过将这些空间分类为apotropic, chthonic, mystic and messianic，神学和顿悟，方便地区分了神圣空间。在天主教占主导地位的国家，对罗马语的翻译显示出符号衔接、词汇语义转换和文化驯化等方面的文本差异。这是否归因于意识形态障碍和社会文化过滤是一个有待进一步调查的问题。最终，具有挑战性的问题是，世界文学中是否还有神圣的空间。
{"title":"Sacred Spaces in Southern African Literature: From Mhudi to Mutemwa","authors":"Rosanna Masiola","doi":"10.1080/10131752.2023.2172020","DOIUrl":"https://doi.org/10.1080/10131752.2023.2172020","url":null,"abstract":"Abstract This article examines the representation of sacred spaces in the novels of four authors from southern Africa and their translations. It critically considers the representation of sacred spaces and the marginalisation of some areas of Africa. The selected passages feature common themes, such as the dispossession of the soil. A convenient distinction between sacred spaces is made in this article through categorising these spaces as apotropaic, chthonic, mystic and messianic, and theological and epiphanic. Translations into the Romance languages of predominantly Catholic countries show evidence of textual divergence in the cohesion of symbols, lexico-semantic shifts, and cultural domestication. Whether this is imputed to ideological barriers and sociocultural filters is a matter for further investigation. Ultimately, the challenging issue is whether there is still space for the sacred in world literature.","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"108 1","pages":"52 - 66"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75673046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/10131752.2023.2174639
Oduor Obura
While there are various historiographies of African literature, the focus on childhood in African literature is a unique entry point in this book. Chris Ouma, in his first full-length book, initiates a monumental discussion of literature on African diasporic childhood, on the premise of failed post-independence dreams, the plurality of African diasporic identities, and the transformations that arise out of this matrix. Ouma convincingly argues that the literature on childhood—using memories, symbolic images, and figures—helps to construct contemporary identities. These identities are based on intersections of language, nation, race, ethnicity, gender, class, and spatiotemporal multi-directionality.
{"title":"Childhood in Contemporary Diasporic African Literature: Memories and Futures Past, by Christopher E. W. Ouma","authors":"Oduor Obura","doi":"10.1080/10131752.2023.2174639","DOIUrl":"https://doi.org/10.1080/10131752.2023.2174639","url":null,"abstract":"While there are various historiographies of African literature, the focus on childhood in African literature is a unique entry point in this book. Chris Ouma, in his first full-length book, initiates a monumental discussion of literature on African diasporic childhood, on the premise of failed post-independence dreams, the plurality of African diasporic identities, and the transformations that arise out of this matrix. Ouma convincingly argues that the literature on childhood—using memories, symbolic images, and figures—helps to construct contemporary identities. These identities are based on intersections of language, nation, race, ethnicity, gender, class, and spatiotemporal multi-directionality.","PeriodicalId":41471,"journal":{"name":"English Academy Review-Southern African Journal of English Studies","volume":"1 1","pages":"79 - 82"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85046585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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