Pub Date : 2022-11-14DOI: 10.1080/00138398.2023.2128502
S. Bosman
Abstract Niq Mhlongo’s Paradise in Gaza (2020) uses images related to soil to emphasize the novel’s concern with the transmission of indigenous knowledge and the relationship between a sense of humanity and land ownership. Mhlongo’s novel not only explores the quotidian and practical relationship between its characters and the land they occupy and cultivate, but also suggests a transcendental and spiritual relationship between them. With reference to work by Maurice Halbwachs, James E. Young, and Viet Thanh Nguyen, I argue that Mhlongo’s inscription of soil reflects an authorial concern with the entanglements amongst collected memories, just memories, the transmission of culture, land ownership and human dignity. I present a close reading of key passages from the novel using Sarah Nuttall’s notion of entanglement to demonstrate these relationships. Ultimately, I argue that Paradise in Gaza is not only an exploration of African life in a historical setting, but that it also presents an argument for the need for some form of land restitution in contemporary South Africa while recognizing the complexities inherent in any such process.
{"title":"‘[T]o Make us Complete as Human Beings’: Soil as the Bedrock of Collected Memories in Niq Mhlongo’s Paradise in Gaza","authors":"S. Bosman","doi":"10.1080/00138398.2023.2128502","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128502","url":null,"abstract":"Abstract Niq Mhlongo’s Paradise in Gaza (2020) uses images related to soil to emphasize the novel’s concern with the transmission of indigenous knowledge and the relationship between a sense of humanity and land ownership. Mhlongo’s novel not only explores the quotidian and practical relationship between its characters and the land they occupy and cultivate, but also suggests a transcendental and spiritual relationship between them. With reference to work by Maurice Halbwachs, James E. Young, and Viet Thanh Nguyen, I argue that Mhlongo’s inscription of soil reflects an authorial concern with the entanglements amongst collected memories, just memories, the transmission of culture, land ownership and human dignity. I present a close reading of key passages from the novel using Sarah Nuttall’s notion of entanglement to demonstrate these relationships. Ultimately, I argue that Paradise in Gaza is not only an exploration of African life in a historical setting, but that it also presents an argument for the need for some form of land restitution in contemporary South Africa while recognizing the complexities inherent in any such process.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48523435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-26DOI: 10.1080/00138398.2023.2128542
Joyce Nyairo
Abstract Nikushike namna gani? (How should I hold you?) The questions that women ask motorbike taxis operators are just one of the many ways that this new mode of transportation in both urban and rural Kenya have become a vehicle for laughter, outrage, (in)dignity and wealth. This paper focuses on moments of delight in the danger-filled work of motorbike taxi operators in Kenya. How much joy do boda boda (motorbike taxis) generate in modern Kenya? The delight is measured, not simply in terms of the varied financial and psycho-social accumulation that is made possible in this industry, but also in terms of the tone of the public conversations that have been triggered by the boda boda phenomena. I interrogate the grammar that has grown out of this mode of transportation, the platforms through which this grammar circulates and the tenor of the voices of thought-leaders and policymakers as they engage the conundrum of public transport. An examination of women’s engagements with boda bodas reveals a long arc that stretches from moral panic borne of knee-jerk recourses to both ethnic mores and pious religion – which often conspire to policewomen’s bodies – to reclamation and release in moments of freedom that are performed in several ways, including the erasure of the borders of personal space. Beyond the political economies of wealth and poverty in Africa, this paper is concerned with demonstrating cultural performativity in the context of post-colonial modernity and answering key questions about how national identities are forged and reinforced in a series of rapidly circulating discourses that underline commonalities far more than they entrench the differences that many see as both indelible and emblematic of the modern African state.
抽象Nikushike namna gani？（我该怎么理解你？）女性问摩托车出租车运营商的问题只是肯尼亚城乡这种新交通方式成为欢笑、愤怒、尊严和财富的载体的众多方式之一。本文聚焦于肯尼亚摩托车出租车运营商在充满危险的工作中的喜悦时刻。在现代肯尼亚，摩托车出租车能带来多少欢乐？这种喜悦是衡量的，不仅是从这个行业可能产生的各种金融和心理社会积累来看，还从boda-boda现象引发的公众对话的基调来看。我质疑这种交通方式产生的语法，这种语法传播的平台，以及思想领袖和政策制定者在解决公共交通难题时的声音。对女性与boda-bodas交往的研究揭示了一条漫长的弧线，从下意识的资源引发的道德恐慌，到种族习俗和虔诚的宗教——这往往会对女性的身体进行监管——再到在自由时刻的开垦和释放，这些自由时刻以多种方式进行，包括消除个人空间的边界。除了非洲的贫富政治经济之外，本文关注的是在后殖民现代性的背景下展示文化表演性，并回答关于国家身份是如何在一系列快速传播的话语中形成和强化的关键问题，这些话语强调的是共同点，而不是巩固的差异，许多人认为这些差异既是现代非洲国家不可磨灭的象征。
{"title":"The Boda Boda (R)age: Economies of Affection in the Motorbike Taxis of Kenya","authors":"Joyce Nyairo","doi":"10.1080/00138398.2023.2128542","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128542","url":null,"abstract":"Abstract Nikushike namna gani? (How should I hold you?) The questions that women ask motorbike taxis operators are just one of the many ways that this new mode of transportation in both urban and rural Kenya have become a vehicle for laughter, outrage, (in)dignity and wealth. This paper focuses on moments of delight in the danger-filled work of motorbike taxi operators in Kenya. How much joy do boda boda (motorbike taxis) generate in modern Kenya? The delight is measured, not simply in terms of the varied financial and psycho-social accumulation that is made possible in this industry, but also in terms of the tone of the public conversations that have been triggered by the boda boda phenomena. I interrogate the grammar that has grown out of this mode of transportation, the platforms through which this grammar circulates and the tenor of the voices of thought-leaders and policymakers as they engage the conundrum of public transport. An examination of women’s engagements with boda bodas reveals a long arc that stretches from moral panic borne of knee-jerk recourses to both ethnic mores and pious religion – which often conspire to policewomen’s bodies – to reclamation and release in moments of freedom that are performed in several ways, including the erasure of the borders of personal space. Beyond the political economies of wealth and poverty in Africa, this paper is concerned with demonstrating cultural performativity in the context of post-colonial modernity and answering key questions about how national identities are forged and reinforced in a series of rapidly circulating discourses that underline commonalities far more than they entrench the differences that many see as both indelible and emblematic of the modern African state.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49439318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-25DOI: 10.1080/00138398.2023.2128545
D. Kiguru
Abstract Nairobi as a city has been a prominent feature in many literary works set in Kenya from the pre-independence period, when the city started taking form, to the present. The city has also continued its presence in futuristic literary representations from Kenya. This article is concerned with Nairobi as a city and its representations within short stories in the AKO Caine Prize for African Writing. It analyses selected prize-winning and shortlisted stories in a literary project that aims to map the Nairobi city space, exploring both its precarity as well as its stability as presented through literature. Through the characters in these prized stories, the article foregrounds the journey motif as a tool used by the writers to explore and present the postcolonial city though contemporary lenses, paying particular attention to the significance of the chaos and informality used to describe the city. The article seeks to read the postcolonial African city in its complexities outside of the conventional binary lenses of local versus global, rural versus urban, and modern versus traditional. It acknowledges the significance of an international literary prize not only in shaping creative narratives but also in capturing the ‘spirit of the moment’. Through an analysis of these short stories under the larger umbrella of an international literary prize, this article attempts a reading of the creative representations of a city exploring the multi-layered nature of both text and physical space.
{"title":"Journeying through Nairobi: Mapping the City through Prize-Winning Stories","authors":"D. Kiguru","doi":"10.1080/00138398.2023.2128545","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128545","url":null,"abstract":"Abstract Nairobi as a city has been a prominent feature in many literary works set in Kenya from the pre-independence period, when the city started taking form, to the present. The city has also continued its presence in futuristic literary representations from Kenya. This article is concerned with Nairobi as a city and its representations within short stories in the AKO Caine Prize for African Writing. It analyses selected prize-winning and shortlisted stories in a literary project that aims to map the Nairobi city space, exploring both its precarity as well as its stability as presented through literature. Through the characters in these prized stories, the article foregrounds the journey motif as a tool used by the writers to explore and present the postcolonial city though contemporary lenses, paying particular attention to the significance of the chaos and informality used to describe the city. The article seeks to read the postcolonial African city in its complexities outside of the conventional binary lenses of local versus global, rural versus urban, and modern versus traditional. It acknowledges the significance of an international literary prize not only in shaping creative narratives but also in capturing the ‘spirit of the moment’. Through an analysis of these short stories under the larger umbrella of an international literary prize, this article attempts a reading of the creative representations of a city exploring the multi-layered nature of both text and physical space.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41451432","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-25DOI: 10.1080/00138398.2023.2128532
Charles Kebaya
Abstract Over the last two decades, social protests in Kenya have shifted to using art. Social protests involving art, such as the ‘State-Burial-ballot-Revolution’ and ‘Occupy-Parliament Movement,’ among others, have been witnessed in the country in the recent past. These artistic productions interpellate the spaces they interact with – the street, parliament, buildings, perimeter fences and public arenas – to denounce various issues, such as corruption, extra-judicial killings, political greed and other social injustices afflicting the nation. Espousing concepts of the carnivalesque by Mikhail Bakhtin, this article analyzes street art – street theatre and graffiti – utilized in Nairobi’s streets. In examining the literary aesthetics embedded in these innovative creative works, this article shows the significant potential of street art to stake, reclaim and reconfigure civil advocacy and, in the process, spur civic participation in various issues affecting the country today.
{"title":"Street Art and the Reconfiguration of Civic Advocacy in Nairobi City","authors":"Charles Kebaya","doi":"10.1080/00138398.2023.2128532","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128532","url":null,"abstract":"Abstract Over the last two decades, social protests in Kenya have shifted to using art. Social protests involving art, such as the ‘State-Burial-ballot-Revolution’ and ‘Occupy-Parliament Movement,’ among others, have been witnessed in the country in the recent past. These artistic productions interpellate the spaces they interact with – the street, parliament, buildings, perimeter fences and public arenas – to denounce various issues, such as corruption, extra-judicial killings, political greed and other social injustices afflicting the nation. Espousing concepts of the carnivalesque by Mikhail Bakhtin, this article analyzes street art – street theatre and graffiti – utilized in Nairobi’s streets. In examining the literary aesthetics embedded in these innovative creative works, this article shows the significant potential of street art to stake, reclaim and reconfigure civil advocacy and, in the process, spur civic participation in various issues affecting the country today.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42397838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-20DOI: 10.1080/00138398.2023.2128525
Nicklas Hållén
Abstract This article looks at the relatively recent tendency to aestheticize life in Nairobi’s working-class and informal neighbourhoods in different forms of art and media. It focuses on two case studies – Steve Bloom’s photobook, Trading Places: The Merchants of Nairobi (2009) and the first issue of the Kenyan literary magazine Kwani? (2003). These are compared to the collectively performed poem ‘Mistaken Identity’ (2019) by a group of poets from the neighbourhood of Kayole, to show that the street aesthetics in the two cases rest on distance, while the meaning-making in the poem rests on proximity. Distance in this context takes several forms, such as the gap between socio-economic classes and actual physical distance, but I register it on the level of epistemology. The poem also articulates a form of epistemological proximity between, first, the forms of meaning-making that can be seen in both the text and the visual and performative components of the video, and, second, the place that is portrayed. Rather than arguing that proximity is preferable to distance as a basis of meaning-making, this article attempts to theorize the emergence of a specific aesthetic. This aesthetic presents itself as an aesthetic because the particular forms of social stratification and concomitant social distance between communities and neighbourhood (which have emerged in Nairobi since 2000) allow an economic, political and cultural elite to re-discover the city, which they experience as simultaneously strange and familiar.
{"title":"Nairobi Street-Aesthetics: Distance and Proximity in the Aesthetics of Everyday Life in the Green City","authors":"Nicklas Hållén","doi":"10.1080/00138398.2023.2128525","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128525","url":null,"abstract":"Abstract This article looks at the relatively recent tendency to aestheticize life in Nairobi’s working-class and informal neighbourhoods in different forms of art and media. It focuses on two case studies – Steve Bloom’s photobook, Trading Places: The Merchants of Nairobi (2009) and the first issue of the Kenyan literary magazine Kwani? (2003). These are compared to the collectively performed poem ‘Mistaken Identity’ (2019) by a group of poets from the neighbourhood of Kayole, to show that the street aesthetics in the two cases rest on distance, while the meaning-making in the poem rests on proximity. Distance in this context takes several forms, such as the gap between socio-economic classes and actual physical distance, but I register it on the level of epistemology. The poem also articulates a form of epistemological proximity between, first, the forms of meaning-making that can be seen in both the text and the visual and performative components of the video, and, second, the place that is portrayed. Rather than arguing that proximity is preferable to distance as a basis of meaning-making, this article attempts to theorize the emergence of a specific aesthetic. This aesthetic presents itself as an aesthetic because the particular forms of social stratification and concomitant social distance between communities and neighbourhood (which have emerged in Nairobi since 2000) allow an economic, political and cultural elite to re-discover the city, which they experience as simultaneously strange and familiar.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46574563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-19DOI: 10.1080/00138398.2023.2128514
E. Kowalská
Abstract Despite geo-political distances, the Beat Generation writers, and individuals or groups within Polish and South African literature of the period 1948–1968, shared similar artistic outlooks, literary concerns, and thematic as well as formal experimentation in response to their socio-political situations and mainstream national literatures. In addition, there is evidence to suggest that they sought out each other’s work, despite language barriers and censorship, and that several points of confluence can be identified. This article focuses on five significant encounters or movements and considers how these might be illustrative of broader issues within transnational studies of these groups and writers.
{"title":"Literary Encounters: The Beat Generation, Poland and South Africa, 1948–1968","authors":"E. Kowalská","doi":"10.1080/00138398.2023.2128514","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128514","url":null,"abstract":"Abstract Despite geo-political distances, the Beat Generation writers, and individuals or groups within Polish and South African literature of the period 1948–1968, shared similar artistic outlooks, literary concerns, and thematic as well as formal experimentation in response to their socio-political situations and mainstream national literatures. In addition, there is evidence to suggest that they sought out each other’s work, despite language barriers and censorship, and that several points of confluence can be identified. This article focuses on five significant encounters or movements and considers how these might be illustrative of broader issues within transnational studies of these groups and writers.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41916538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-12DOI: 10.1080/00138398.2023.2128490
E. Smuts
Abstract In this essay I read Bessie Head’s novel When Rain Clouds Gather from a broadly eco-materialist perspective, arguing that the social transformation of the protagonist, Makhaya Maseko, is fundamentally bound up with the text’s nuanced descriptions of the physical environment. Charting Maseko’s departure from the toxic milieu of apartheid South Africa, and his gradual process of settling into a new lifeworld in the village of Golema Mmidi, I argue that his familiarization with the material grounds of life in a new clime provides an elemental coherence that enables the structuring of his personal narrative into a meaningful system. Through a series of close readings, I demonstrate that the novel’s expression of a composite ecological being is also reflected in the stylistic idiosyncrasies of Head’s writing. Throughout, I draw on Head’s correspondence, and on biographical aspects of her life, to situate Makhaya’s journey against a larger theme of struggling to make a home in the face of social alienation and the bureaucratic indifference of the nation-state. Reference to the work of anthropologists like Tim Ingold and Hannah Knox situates my argument in the context of a larger ontological move in debates around the relationship between nature and culture.
{"title":"Elemental Humanity in Bessie Head’s When Rain Clouds Gather","authors":"E. Smuts","doi":"10.1080/00138398.2023.2128490","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128490","url":null,"abstract":"Abstract In this essay I read Bessie Head’s novel When Rain Clouds Gather from a broadly eco-materialist perspective, arguing that the social transformation of the protagonist, Makhaya Maseko, is fundamentally bound up with the text’s nuanced descriptions of the physical environment. Charting Maseko’s departure from the toxic milieu of apartheid South Africa, and his gradual process of settling into a new lifeworld in the village of Golema Mmidi, I argue that his familiarization with the material grounds of life in a new clime provides an elemental coherence that enables the structuring of his personal narrative into a meaningful system. Through a series of close readings, I demonstrate that the novel’s expression of a composite ecological being is also reflected in the stylistic idiosyncrasies of Head’s writing. Throughout, I draw on Head’s correspondence, and on biographical aspects of her life, to situate Makhaya’s journey against a larger theme of struggling to make a home in the face of social alienation and the bureaucratic indifference of the nation-state. Reference to the work of anthropologists like Tim Ingold and Hannah Knox situates my argument in the context of a larger ontological move in debates around the relationship between nature and culture.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48241991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-12DOI: 10.1080/00138398.2023.2128508
Majed Aladylah
Abstract In The Arsonists’ City (2021), Arab American novelist Hala Alyan casts a piercing spotlight on how diasporic and transnational voices are burdened with cultural ambivalences, negative stereotypes, prejudices and discriminations. This paper shows how Hollywood cinema does not help the protagonist, Mazna, to remodel her diasporic identity to be a successful actress. A Syrian actress who has emigrated from Syria to Lebanon and then to the USA to achieve her dream and identity, Mazna’s life turns upside down when Hollywood forces her to take on negative terrorist, sexualized and culturally insensitive roles in films. As this article discusses, Alyan uncovers how these roles dehumanize and trample the Arab races and cultures. It is in this sense that the diasporic novelist draws attention to Hollywood’s negative stereotypes, prejudices and injustices in relation to the representation of an Arab actress in Hollywood cinema. In being thus represented, Mazna is exploited and humiliated when she is forced to perform in naïve and trivial scenes in American movies. Alyan explores Mazna’s diasporic journey as an exterior space over which political, religious and cultural dilemmas conglomerate. Consequently, Alyan opens up spaces based upon cross-cultural tolerance, acceptance, living with difference and valuing religious and cultural diversity.
{"title":"Acting Across Diaspora: Transnational Spaces and Voices in Hala Alyan’s The Arsonists’ City","authors":"Majed Aladylah","doi":"10.1080/00138398.2023.2128508","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128508","url":null,"abstract":"Abstract In The Arsonists’ City (2021), Arab American novelist Hala Alyan casts a piercing spotlight on how diasporic and transnational voices are burdened with cultural ambivalences, negative stereotypes, prejudices and discriminations. This paper shows how Hollywood cinema does not help the protagonist, Mazna, to remodel her diasporic identity to be a successful actress. A Syrian actress who has emigrated from Syria to Lebanon and then to the USA to achieve her dream and identity, Mazna’s life turns upside down when Hollywood forces her to take on negative terrorist, sexualized and culturally insensitive roles in films. As this article discusses, Alyan uncovers how these roles dehumanize and trample the Arab races and cultures. It is in this sense that the diasporic novelist draws attention to Hollywood’s negative stereotypes, prejudices and injustices in relation to the representation of an Arab actress in Hollywood cinema. In being thus represented, Mazna is exploited and humiliated when she is forced to perform in naïve and trivial scenes in American movies. Alyan explores Mazna’s diasporic journey as an exterior space over which political, religious and cultural dilemmas conglomerate. Consequently, Alyan opens up spaces based upon cross-cultural tolerance, acceptance, living with difference and valuing religious and cultural diversity.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47401454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-12DOI: 10.1080/00138398.2023.2128495
Charika Swanepoel
Abstract This paper considers the shared preoccupation with unity in the later works of W.B. Yeats and T.S. Eliot with the aim of emphasizing the likeness in their thinking despite their vastly different theological stances. The unity strived for by both poets involves a dedicated resolution or transformation of contraries. Yeats scholars such as George Bornstein have termed Yeats’s dedication to all things opposite his ‘antinomial vision’ and Eliot scholars such as Jewel Spears Brooker refer to Eliot’s ‘dialectical imagination’. This paper is aimed at further developing the established view of these comparable tendencies by pointing to a three-part pattern that emerges from Yeats and Eliot’s later works. This pattern suggests a similar process behind their ‘antinomial vision’ and ‘dialectical imagination’ that entails: 1) a concern with opposites, 2) an ensuing inarticulacy, and 3) a capacity for incarnation. While this paper analyses Yeats and Eliot’s individual contributions, it draws broad philosophical patterns between them and illustrates the similarities and parallels that incidentally emerge from the comparison.
{"title":"‘For a Further Union’: Conceptions of Unity in the Later W.B. Yeats and T.S. Eliot","authors":"Charika Swanepoel","doi":"10.1080/00138398.2023.2128495","DOIUrl":"https://doi.org/10.1080/00138398.2023.2128495","url":null,"abstract":"Abstract This paper considers the shared preoccupation with unity in the later works of W.B. Yeats and T.S. Eliot with the aim of emphasizing the likeness in their thinking despite their vastly different theological stances. The unity strived for by both poets involves a dedicated resolution or transformation of contraries. Yeats scholars such as George Bornstein have termed Yeats’s dedication to all things opposite his ‘antinomial vision’ and Eliot scholars such as Jewel Spears Brooker refer to Eliot’s ‘dialectical imagination’. This paper is aimed at further developing the established view of these comparable tendencies by pointing to a three-part pattern that emerges from Yeats and Eliot’s later works. This pattern suggests a similar process behind their ‘antinomial vision’ and ‘dialectical imagination’ that entails: 1) a concern with opposites, 2) an ensuing inarticulacy, and 3) a capacity for incarnation. While this paper analyses Yeats and Eliot’s individual contributions, it draws broad philosophical patterns between them and illustrates the similarities and parallels that incidentally emerge from the comparison.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45456208","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-27DOI: 10.1080/00138398.2022.2096764
Published in English Studies in Africa (Vol. 65, No. 2, 2022)
《非洲英语研究》(第65卷第2期，2022年)
{"title":"Notes on Contributors","authors":"","doi":"10.1080/00138398.2022.2096764","DOIUrl":"https://doi.org/10.1080/00138398.2022.2096764","url":null,"abstract":"Published in English Studies in Africa (Vol. 65, No. 2, 2022)","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138492535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：