Pub Date : 2021-01-02DOI: 10.1080/00138398.2021.1972602
Omar Moumni
Abstract The emergence of the novel coronavirus has led to panic, vulnerability and racism all over the world. This paper traces the roots and routes of the different faces and facets of such responses and explores their impact on individual and collective behaviour. It focuses on the un/ethics of self-care and collective care and the impacts these responses have had on Moroccan society. It argues that the pandemic pushed individuals to behave ‘globally’ against local and cultural norms, demonstrating new societal behaviour that is based on avarice, self-interest and self-care.
{"title":"COVID-19: Between Panic, Racism and Social Change","authors":"Omar Moumni","doi":"10.1080/00138398.2021.1972602","DOIUrl":"https://doi.org/10.1080/00138398.2021.1972602","url":null,"abstract":"Abstract The emergence of the novel coronavirus has led to panic, vulnerability and racism all over the world. This paper traces the roots and routes of the different faces and facets of such responses and explores their impact on individual and collective behaviour. It focuses on the un/ethics of self-care and collective care and the impacts these responses have had on Moroccan society. It argues that the pandemic pushed individuals to behave ‘globally’ against local and cultural norms, demonstrating new societal behaviour that is based on avarice, self-interest and self-care.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42156983","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 : 2021-01-02DOI: 10.1080/00138398.2021.1969123
Phelelani Makhanya
{"title":"Two Poems by Phelelani Makhanya","authors":"Phelelani Makhanya","doi":"10.1080/00138398.2021.1969123","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969123","url":null,"abstract":"","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45751941","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 : 2021-01-02DOI: 10.1080/00138398.2021.1972599
M. D. El Maarouf, Taieb Belghazi, Ute Fendler
This paper examines games during the COVID-19 pandemic as ontological barriers or barzakhs (singular: barzakh). The traditional meaning of barrier as separation is coupled with the Greek meaning of play as Poiesis (which may also be understood as describing acts of creation). We expand the semantics of ‘barrier’ so as to describe pandemic phenomena that exist at the points at which opposites meet: synthetic game and the world of real game; the infected and the healthy; the player and the character being played; life and death. Our perception of both home and the exterior world has changed significantly in the time of the plague. At-home gaming, far from signalling our modern confinement, enables moments in which we may challenge our imprisonment. To bring this idea home, we deploy barzakh as a moral imperative, a site of both necessary isolation and opportunities of engagement, proof of our need for both interaction and distance, a place for the enactment of our knowing and strategic waiting in relation to the pandemic. Through the term, we theorize the link between barrier and other similar categorical divides (distances, masks, gloves, borders and quarantines) which we activate during lockdown to work through our puzzlement, win the social game of civil goodness and to downplay, and ultimately survive, the pandemic of our times.
{"title":"Active Thumbs, Confined Bodies: Eluding the ‘Insect’ in Times of the Plague","authors":"M. D. El Maarouf, Taieb Belghazi, Ute Fendler","doi":"10.1080/00138398.2021.1972599","DOIUrl":"https://doi.org/10.1080/00138398.2021.1972599","url":null,"abstract":"This paper examines games during the COVID-19 pandemic as ontological barriers or barzakhs (singular: barzakh). The traditional meaning of barrier as separation is coupled with the Greek meaning of play as Poiesis (which may also be understood as describing acts of creation). We expand the semantics of ‘barrier’ so as to describe pandemic phenomena that exist at the points at which opposites meet: synthetic game and the world of real game; the infected and the healthy; the player and the character being played; life and death. Our perception of both home and the exterior world has changed significantly in the time of the plague. At-home gaming, far from signalling our modern confinement, enables moments in which we may challenge our imprisonment. To bring this idea home, we deploy barzakh as a moral imperative, a site of both necessary isolation and opportunities of engagement, proof of our need for both interaction and distance, a place for the enactment of our knowing and strategic waiting in relation to the pandemic. Through the term, we theorize the link between barrier and other similar categorical divides (distances, masks, gloves, borders and quarantines) which we activate during lockdown to work through our puzzlement, win the social game of civil goodness and to downplay, and ultimately survive, the pandemic of our times.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45976216","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 : 2021-01-02DOI: 10.1080/00138398.2021.1969092
M. Titlestad, G. Musila, Karl van Wyk
This is not the apocalypse. While some of the customary signs are there – deserted streets, masks and hazmat suits, empty supermarket shelves, hospitals and morgues overflowing – the four horsemen are not gathering at the horizon. Yet the pervasive register in reportage and on social media over the last two years has been biblical, as if eschatology dictates that we conceive of the COVID-19 pandemic as, paradoxically, an iteration of the last days. Without making the routine observation that the apocalypse is never now but always deferred, we might wonder why apocalypticism is the default script in relation to immanent disasters and future imaginaries. Until recently, we largely lacked a lexicon and grammar for global contagion, its social and political consequences and its possible containment. Bubonic plague and even Spanish flu are too remote to be serviceable in this respect and, anyway, our epidemiological knowledge has meant that our experience of COVID-19 has been distinct from historical pandemics. HIV, the cause of one of our most recent pandemics, could have been comparable were it not for the medical developments of ARV therapy, which, in many cases, has turned the disease into a chronic illness. It has also proved less likely to mutate than coronaviruses. It is glib and unethical to suggest that this absence amounts to a ‘crisis of representation,’ for the only real ‘crises’ are infection, death and bereavement, in comparison with which the struggle to come to terms with the coronavirus and its effects is at least secondary. Yet, the humanities must concern itself with representation: how the virus, its spread and its effects have been inscribed and understood existentially and mobilized politically. It is too brazen to suggest that the world will never be the same again because the pandemic has only exacerbated existing dynamics: it has fuelled populism, reinforced capitalism and increased the reach of hedge fund managers and others who profit off risk. And climate change – despite a short-lived lull in carbon emissions and a brief flourishing of wildlife in empty cities – is only becoming more evident in its effects and its outcomes increasingly predictable. Much has remained the same. But even as humanity marches unwaveringly (even triumphantly) towards its own destruction, we can acknowledge that representation is integral to both understanding and mobilization, even if not constitutive. It is in this that the current volume coheres: how has COVID-19 entered discourses; on what archives have we drawn in
{"title":"The Plague Years: An Introduction","authors":"M. Titlestad, G. Musila, Karl van Wyk","doi":"10.1080/00138398.2021.1969092","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969092","url":null,"abstract":"This is not the apocalypse. While some of the customary signs are there – deserted streets, masks and hazmat suits, empty supermarket shelves, hospitals and morgues overflowing – the four horsemen are not gathering at the horizon. Yet the pervasive register in reportage and on social media over the last two years has been biblical, as if eschatology dictates that we conceive of the COVID-19 pandemic as, paradoxically, an iteration of the last days. Without making the routine observation that the apocalypse is never now but always deferred, we might wonder why apocalypticism is the default script in relation to immanent disasters and future imaginaries. Until recently, we largely lacked a lexicon and grammar for global contagion, its social and political consequences and its possible containment. Bubonic plague and even Spanish flu are too remote to be serviceable in this respect and, anyway, our epidemiological knowledge has meant that our experience of COVID-19 has been distinct from historical pandemics. HIV, the cause of one of our most recent pandemics, could have been comparable were it not for the medical developments of ARV therapy, which, in many cases, has turned the disease into a chronic illness. It has also proved less likely to mutate than coronaviruses. It is glib and unethical to suggest that this absence amounts to a ‘crisis of representation,’ for the only real ‘crises’ are infection, death and bereavement, in comparison with which the struggle to come to terms with the coronavirus and its effects is at least secondary. Yet, the humanities must concern itself with representation: how the virus, its spread and its effects have been inscribed and understood existentially and mobilized politically. It is too brazen to suggest that the world will never be the same again because the pandemic has only exacerbated existing dynamics: it has fuelled populism, reinforced capitalism and increased the reach of hedge fund managers and others who profit off risk. And climate change – despite a short-lived lull in carbon emissions and a brief flourishing of wildlife in empty cities – is only becoming more evident in its effects and its outcomes increasingly predictable. Much has remained the same. But even as humanity marches unwaveringly (even triumphantly) towards its own destruction, we can acknowledge that representation is integral to both understanding and mobilization, even if not constitutive. It is in this that the current volume coheres: how has COVID-19 entered discourses; on what archives have we drawn in","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42744834","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 : 2021-01-02DOI: 10.1080/00138398.2021.1969115
Kyle Allan
On 31 December 2019, scientists announced to the world the discovery of a new strain of coronavirus, COVID-19, in the city of Wuhan, China. COVID-19 soon spread globally, and by March had been declared a pandemic by the World Health Organization. In that same month, South Africa began a nationwide lockdown, which was divided into various stages, implemented according to the severity of the pandemic and its potential to cause extreme and rapid loss of life, particularly among South Africa’s vulnerable populations. The impact of COVID-19 further exposed all the wounds and ruptures within contemporary society. Using the poetry of Mxolisi Nyezwa and Angifi Dladla as an analytical lens, this article critiques the distinction between a recognized state of disaster and the everyday state of violence in which the marginalized live and argues that the precarious are living in a state of continuous disaster. It recognizes the vitality and power of critique through literature that engages with the actuality of the present moment. Furthermore, it foregrounds the term ‘the actual’ as preferable to ‘the real’ or ‘reality,’ framed as those terms are by realist epistemologies and the heroic materialism of real capitalism.
{"title":"Dust Explodes for All to See: Narrating the Actual in a Time of Continuous Disaster","authors":"Kyle Allan","doi":"10.1080/00138398.2021.1969115","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969115","url":null,"abstract":"On 31 December 2019, scientists announced to the world the discovery of a new strain of coronavirus, COVID-19, in the city of Wuhan, China. COVID-19 soon spread globally, and by March had been declared a pandemic by the World Health Organization. In that same month, South Africa began a nationwide lockdown, which was divided into various stages, implemented according to the severity of the pandemic and its potential to cause extreme and rapid loss of life, particularly among South Africa’s vulnerable populations. The impact of COVID-19 further exposed all the wounds and ruptures within contemporary society. Using the poetry of Mxolisi Nyezwa and Angifi Dladla as an analytical lens, this article critiques the distinction between a recognized state of disaster and the everyday state of violence in which the marginalized live and argues that the precarious are living in a state of continuous disaster. It recognizes the vitality and power of critique through literature that engages with the actuality of the present moment. Furthermore, it foregrounds the term ‘the actual’ as preferable to ‘the real’ or ‘reality,’ framed as those terms are by realist epistemologies and the heroic materialism of real capitalism.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41957356","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 : 2021-01-02DOI: 10.1080/00138398.2021.1969125
R. Frenkel
Abstract Zadie Smith’s Intimations: Six Essays (2020) is a partial history of affectivity of the present, which I am speculatively positioning as a type of transnational archive of privileged pandemic-circumscribed life. Raymond Williams’ work on a ‘structure of feeling’ is useful here to understand new patterns of experience that have emerged during this pandemic. Williams uses the phrase a ‘structure of feeling’ to distinguish between formally held beliefs or ideologies, and meanings and values as they are lived and felt in relation to those beliefs or ideologies. Theories of emotion, atmosphere and feeling broadly correspond to Williams’s correlation of material, social and affective structures. Smith can help us theorize emergent affectivity from inside a pandemic-strained world through the narration of the ambiguous operational logic that her essays describe. She has created a continuum made up of affective normativities and transformative affectivities on either end, with her essays tracing the rhythms of privileged life across locales, to help us understand pandemic inspired change.
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Pub Date : 2021-01-02DOI: 10.1080/00138398.2021.1969098
Yanbin Kang
Abstract China’s campaign against the COVID-19 epidemic has triggered an upsurge in literary creation and animated discussions on writing about disaster. This essay explores the emergence of a disaster poetics in the COVID-19 war which considers poetry as revelatory, ameliorative and cathartic in both personal and national terms. This strand of poetry, which blends humanism, philosophical exploration, and a skeptical impulse, reexamines the isolated state of being, resists glorification, concerns individual lives and redefines heroism as quiet courage, love and compassion in despair among ordinary people, displaying a Chinese forbearance, wisdom and wry humor in facing grim reality. These poetic voices register admirable artistic courage, spiritual depth, self-critical reflection and stylistic ingenuity.
{"title":"Towards a Poetics of Disaster: Chinese Poetry in Combatting COVID-19","authors":"Yanbin Kang","doi":"10.1080/00138398.2021.1969098","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969098","url":null,"abstract":"Abstract China’s campaign against the COVID-19 epidemic has triggered an upsurge in literary creation and animated discussions on writing about disaster. This essay explores the emergence of a disaster poetics in the COVID-19 war which considers poetry as revelatory, ameliorative and cathartic in both personal and national terms. This strand of poetry, which blends humanism, philosophical exploration, and a skeptical impulse, reexamines the isolated state of being, resists glorification, concerns individual lives and redefines heroism as quiet courage, love and compassion in despair among ordinary people, displaying a Chinese forbearance, wisdom and wry humor in facing grim reality. These poetic voices register admirable artistic courage, spiritual depth, self-critical reflection and stylistic ingenuity.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44305429","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 : 2021-01-02DOI: 10.1080/00138398.2021.1969093
Sally‐Ann Murray
This paper creatively re-thinks Masked Masterpieces, a COVID-19 public art fundraising initiative for financially at-risk students, organized by Stellenbosch University (SU) and underwritten by donors. The project features five portraits by famous South African artists, re-purposed with protective masks, and installed in large-scale reproductions around Stellenbosch town. In the paper, Masked Masterpieces serves as a generative critical prompt: not for a simplistic ‘unmasking,’ but for a female scholar’s process of thinking through ‘the fold,’ an ‘en/folding’ engagement that turns and returns, erratically reviewing difficult, overlapping subjects linked to masking and mastery. In exploring both the substance and the shape of my thought process, I draw loose inspiration from innovations in mixed-materials structural design, where ‘folded surfaces … respond to spatial inquiries by transforming not into aggregates of fragments but into catalytically interconnected elements’ (Vyzoviti and Sotiriou 524).
{"title":"Masked Masterpieces: in R≡lational Folds","authors":"Sally‐Ann Murray","doi":"10.1080/00138398.2021.1969093","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969093","url":null,"abstract":"This paper creatively re-thinks Masked Masterpieces, a COVID-19 public art fundraising initiative for financially at-risk students, organized by Stellenbosch University (SU) and underwritten by donors. The project features five portraits by famous South African artists, re-purposed with protective masks, and installed in large-scale reproductions around Stellenbosch town. In the paper, Masked Masterpieces serves as a generative critical prompt: not for a simplistic ‘unmasking,’ but for a female scholar’s process of thinking through ‘the fold,’ an ‘en/folding’ engagement that turns and returns, erratically reviewing difficult, overlapping subjects linked to masking and mastery. In exploring both the substance and the shape of my thought process, I draw loose inspiration from innovations in mixed-materials structural design, where ‘folded surfaces … respond to spatial inquiries by transforming not into aggregates of fragments but into catalytically interconnected elements’ (Vyzoviti and Sotiriou 524).","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43392098","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 : 2021-01-02DOI: 10.1080/00138398.2021.1969096
L. Wright
Abstract Poe’s ‘The Masque of the Red Death’ turns on the paradox of a privileged elite succumbing to a plague that is ravaging society at large, and from which they believe themselves completely protected. The horror of the story consists not in the devastation of external society – that is taken for granted – but in the abject failure of the elite’s supposedly impregnable defences, their faith in which is exposed by the ‘Red Death’ as utterly delusory. ‘Put not your trust in Princes’ (Ps. 146.3) takes on an entirely new meaning.
{"title":"Plague and Cultural Panic: Edgar Allan Poe’s ‘The Masque of the Red Death’","authors":"L. Wright","doi":"10.1080/00138398.2021.1969096","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969096","url":null,"abstract":"Abstract\u0000 Poe’s ‘The Masque of the Red Death’ turns on the paradox of a privileged elite succumbing to a plague that is ravaging society at large, and from which they believe themselves completely protected. The horror of the story consists not in the devastation of external society – that is taken for granted – but in the abject failure of the elite’s supposedly impregnable defences, their faith in which is exposed by the ‘Red Death’ as utterly delusory. ‘Put not your trust in Princes’ (Ps. 146.3) takes on an entirely new meaning.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41927884","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 : 2021-01-02DOI: 10.1080/00138398.2021.1969128
Josiah Nyanda
Future communities have been imagined. When such communities confront us, we respond not by imagining but re-imagining the emerging communities so that we can cope with the new reality. But are there new realities, or is what we imagine as new a case and curse of historical recurrence? The COVID-19 pandemic has disrupted communities as we have known them. Disruptions enable transformation through creativity. Disruptions introduce a semblance of newness that requires new ways of doing, seeing, reading and telling reality. This paper discusses how, in the face of global lockdown, quarantine and social distancing rules – the new normal ‒ the creative impulse of humans has responded and adapted to COVID-19 pandemic-induced change.
{"title":"Re-imagining a New Normal: COVID-19 Pandemic and the Changing Face of Social Interaction","authors":"Josiah Nyanda","doi":"10.1080/00138398.2021.1969128","DOIUrl":"https://doi.org/10.1080/00138398.2021.1969128","url":null,"abstract":"Future communities have been imagined. When such communities confront us, we respond not by imagining but re-imagining the emerging communities so that we can cope with the new reality. But are there new realities, or is what we imagine as new a case and curse of historical recurrence? The COVID-19 pandemic has disrupted communities as we have known them. Disruptions enable transformation through creativity. Disruptions introduce a semblance of newness that requires new ways of doing, seeing, reading and telling reality. This paper discusses how, in the face of global lockdown, quarantine and social distancing rules – the new normal ‒ the creative impulse of humans has responded and adapted to COVID-19 pandemic-induced change.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982916","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}
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