Pub Date : 2021-01-02DOI: 10.1080/00138398.2021.1969120
C. Devroop, M. Titlestad
The opposites, science and the arts, have always enjoyed a relationship. Recently, this relationship has been expressed in sonification, a branch of science seeking to add sound to data, giving data music-like intelligibility. Scientists believe that our aural capabilities are a potentially rich source of data that could assist in problem solving. In 2020, a sonic realization of the coronavirus was generated using its spike protein data. This sonification endeavoured to probe the coronavirus aurally. However, the creators of this sonified scientific probe are now claiming that their experiment is also a music composition. We examine this claim. This paper is underpinned by the conviction that not all sound is music. Music cannot represent anything other than itself because our understanding of music is always via allegory. Therefore, the efforts of Buehler, it is argued, are misdirected and trivial when placed in the stressed socio-political context of COVID-19.
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Pub Date : 2021-01-02DOI: 10.1080/00138398.2021.1969107
Beth Wyrill
This article takes as premise that the onset of the COVID-19 pandemic in 2020 has left South Africans, along with the rest of the world, feeling acutely aware of their own historicity. The idea of historical self-awareness coalescing around major social and historical shifts has been expertly theorized already, but I hope to offer a reading of this phenomenon through three post-2000 South African novels that deal with the theme of plague. A reading of Ricoeur’s work on time and narrative, combined with Bakhtin’s theorization of polyvocality in the novel leads me to suggest, following Gérard Genette, Ken Barris and Ronit Frenkel, that the idea of the palimpsest in South African writings has particular potency for thinking about historical change. I propose that these ideas are skilfully fictionalized and rendered imaginatively accessible in Diane Awerbuck’s Home Remedies (2012), Marcus Low’s Asylum (2017) and Russel Brownlee’s Garden of the Plagues (2005).
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Pub Date : 2020-10-09DOI: 10.1080/00138398.2020.1780759
Phyllis van Slyck
This essay explores ways faculty in the humanities may guide students through current manifestations of populism, specifically, this movement’s encouragement of xenophobia. As a member of an Englis...
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Pub Date : 2020-07-02DOI: 10.1080/00138398.2020.1852694
Yanbin Kang
Considering assistance ‘the finest of Joys’ (Fr1729), Dickinson singularly espouses withdrawing or withholding giving, regarding at times ‘leaving alone’ as an essential aspect of perfect assistance. This essay offers a reading of several of Dickinson’s poems that relate to the ethics of withholding: including ‘To offer brave assistance’ (Fr492), ‘We grow accustomed to the Dark -’ (Fr428), ‘I rose - because He sank -’ (Fr454), and ‘It came his turn to beg -’ (Fr1519), arguing that Dickinson’s idiosyncratic non-service stems from a creative conversation with the work of Ralph Waldo Emerson.
{"title":"‘I gave him Leave to Live’: Emily Dickinson’s Non-service and Ralph Waldo Emerson","authors":"Yanbin Kang","doi":"10.1080/00138398.2020.1852694","DOIUrl":"https://doi.org/10.1080/00138398.2020.1852694","url":null,"abstract":"Considering assistance ‘the finest of Joys’ (Fr1729), Dickinson singularly espouses withdrawing or withholding giving, regarding at times ‘leaving alone’ as an essential aspect of perfect assistance. This essay offers a reading of several of Dickinson’s poems that relate to the ethics of withholding: including ‘To offer brave assistance’ (Fr492), ‘We grow accustomed to the Dark -’ (Fr428), ‘I rose - because He sank -’ (Fr454), and ‘It came his turn to beg -’ (Fr1519), arguing that Dickinson’s idiosyncratic non-service stems from a creative conversation with the work of Ralph Waldo Emerson.","PeriodicalId":42538,"journal":{"name":"ENGLISH STUDIES IN AFRICA","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00138398.2020.1852694","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46900267","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 : 2020-07-02DOI: 10.1080/00138398.2020.1852688
Ö. Öktem
In this paper, I focus on an offstage character in Shakespeare’s The Tempest, Claribel, the Neapolitan princess who is given to the King of Tunis by her father King Alonso in an arranged marriage. First, I emphasize the significance of this union in terms of the sexual and political dynamics of the play. Drawing attention to the exchange value of women in establishing hierarchies or alliances between groups in patriarchal societies, I argue that Claribel’s miscegenated union with the African king undermines the play’s overconfident postcolonial interpretations based on the Prospero-Caliban relationship. Reading the play against the historical and political conditions in the Mediterranean, which is the play’s topography, in the second part of the essay, I speculate on the young princess’s possible future in Tunis. Claribel’s story is suggestive of the hundreds of Christian maidens that populated the Islamic harems in this period. While most of these women were acquired through abduction, not through exogamy, their stories and the esteem and power they attained in Muslim royal families may be helpful in envisaging a destiny for Claribel.
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Pub Date : 2020-07-02DOI: 10.1080/00138398.2020.1852691
Ewa Kębłowska-Ławniczak
Although the genres assembled in Ivan Vladislavić’s The Loss Library and Other Unfinished Stories have been discussed more than once, the collection encourages further enquiry and diverse comparisons with experimental fiction. This essay, drawing on the writer’s choice and stylistic tendency to hover on the verges of fiction and non-fiction, proposes to re-view the hybrid material of the volume as a collection of paratexts immersed in a rich history of paratextual writing. Vladislavić’s spectrum of inspiration is broad, and several of its sources are mentioned explicitly in The Loss Library (Laurence Sterne, François Rabelais and Jorge Luis Borges), but the discussion that follows refers only to two collections: A Perfect Vacuum: Perfect Reviews of Nonexistent Books and Imaginary Magnitude, both by Stanisław Lem. The essay argues that the decision to withdraw from either mainstream or experimental literature into paratextual writing is aesthetically and politically meaningful. The withdrawal entails a spectrum of consequences involving the assemblage and leporello-like architecture of the collection, a typically paratextual emphasis on transition, an obliteration of borders between the text and the extratextual, as well as a notable emphasis on communication. Additionally, a multiplicity of voices taken from everyday life, resulting in a proliferation of focalizers, and the politics of pronouns, including the plurality of the first-person narrative, to name but a few, create a sense of community, inviting the reader to participate in the creative process. Instead of authorship as authority, instruction and guidance, the collection proposes a sincerity of communication and tenderness on the part of the narrator.
尽管伊万·弗拉迪斯拉维奇（Ivan Vladislavić）的《失落的图书馆》（the Loss Library）和《其他未完成的故事》（Other Unfinished Stories）中汇集的流派已经被讨论过不止一次，但该系列鼓励进一步探究，并与实验小说进行多样化的比较。本文借鉴了作者在小说和非小说边缘徘徊的选择和风格倾向，建议将该卷的混合材料重新视为一个沉浸在丰富的文本写作历史中的文本集。弗拉迪斯拉维奇的灵感范围很广，《失落图书馆》（The Loss Library）中明确提到了其中的几个来源（劳伦斯·斯特恩（Laurence Sterne）、弗朗索瓦·拉贝莱（François Rabelais）和豪尔赫·路易斯·博尔赫斯（Jorge Luis Borges。本文认为，从主流文学或实验文学中退出到副文本写作的决定在美学和政治上都是有意义的。撤回带来了一系列后果，包括集合和leporello式的建筑，典型的对过渡的副文本强调，文本和文本外之间边界的消除，以及对沟通的显著强调。此外，日常生活中的多种声音，导致焦点人物的激增，代词的政治性，包括第一人称叙事的多样性，创造了一种社区感，邀请读者参与创作过程。该集没有将作者作为权威、指导和指导，而是提出了叙述者真诚的沟通和温柔。
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Pub Date : 2020-07-02DOI: 10.1080/00138398.2020.1857117
Zhiyong Mo
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Pub Date : 2020-07-02DOI: 10.1080/00138398.2020.1852683
Catherine Addison
Woman at Point Zero, by Nawal El Saadawi, has been neglected by African feminist commentary, probably because of its radicalism. 20th-century African feminisms, under different names and descriptions, generally advocated a moderate approach to gender relations, refusing to exclude or stigmatize men. However, a change is underway in the attitudes of younger African feminists, especially in South Africa, as the recent #MenAreTrash and #AmINext hashtags and protests about rape culture have demonstrated. The protagonist of Saadawi’s novel, Firdaus, who discovers her true vocation in the action of killing a man, matches and outstrips the anger of these younger feminists. So radical is Woman at Point Zero that it appears to advocate androcide as a response to patriarchy, which, to Firdaus, represents multiple types of abuse and injustice, including capitalism. This paper explores degrees of feminist radicalism as well as developments in African feminist thought, before considering Woman at Point Zero as an example of the radical extreme whose time may have come. The novel exists, if not as a provocation to direct action, at least as a terrible warning to men – and members of other genders – and hence as a trigger of radical change.
Nawal El Saadawi的《零点的女人》一直被非洲女权主义评论所忽视，可能是因为它的激进主义。20世纪的非洲女权主义者，以不同的名字和描述，普遍主张对性别关系采取温和的态度，拒绝排斥或污蔑男性。然而，正如最近关于强奸文化的#MenAreTrash和#AmINext标签和抗议活动所表明的那样，年轻的非洲女权主义者的态度正在发生变化，尤其是在南非。萨达维小说的主人公费尔道斯在杀人中发现了自己的真正使命，她与这些年轻女权主义者的愤怒相匹配，并超越了他们。《零点女人》是如此激进，以至于它似乎主张将杀雄作为对父权制的回应，而对费尔道斯来说，父权制代表了包括资本主义在内的多种虐待和不公正。本文探讨了女权主义激进主义的程度以及非洲女权主义思想的发展，然后将《零点的女人》作为一个激进极端的例子，其时代可能已经到来。这部小说的存在，如果不是对直接行动的挑衅，至少是对男性和其他性别成员的可怕警告，因此也是彻底变革的导火索。
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