Pub Date : 2022-09-13DOI: 10.25159/1753-5387/11001
K. Goddard, Sheena Goddard
This article argues that Abdulrazak Gurnah’s By the Sea (2001) is unusual in contemporary fiction in that it suggests a way in which the lost past can be recuperated, both in the sense of being reclaimed and in the sense of healing past conflicts. The primary means by which this is shown to happen is through a dialectical encounter between the hitherto opposing groups or ideologies. The novel uses migrant distancing from the African past to ameliorate the pain experienced in that past and the close encounter between the two protagonists, Saleh Omar and Latif Mahmud, with long and bitter family histories, to explore how a dialectical relationship can be developed. By having to reframe past assumptions, each character must change not only his way of thinking about the other, but also about the past and himself. The theory used in the paper is mostly Hegelian, but also psychoanalytic.
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Pub Date : 2022-09-01DOI: 10.25159/1753-5387/11455
Ndumiso Ncube
Contemporary South African campus fiction has always been concerned with questions of power, being, and knowledge production. Kopano Matlwa’s novel Spilt Milk, like most campus fiction, evokes and challenges the South African academy, and looks at ways of making the school and/or university a hospitable place. Unlike Matlwa’s sister novels Coconut and Period Pain, Spilt Milk has received few scholarly reviews. I examine how the novel reveals and can be read as a starting point in exploring the intellectual dimensions of colonialism. I investigate the decolonial concept of the coloniality of knowledge and Matlwa’s seeming quest for decolonial education by foregrounding the educational institution Sekolo sa Ditlhora as the prime setting of the novel. The argument around the coloniality of knowledge I advance here is akin to current debates seeking to decolonise (or Africanise) education in South African schools and universities. Theoretically, this article draws from the decolonial ideas on the coloniality of knowledge whose foundations were laid by the Peruvian sociologist Aníbal Quijano, who suggested that, for global domination, colonisers imposed their own modes of knowing and methods of producing knowledge. The concept of the coloniality of knowledge in Matlwa’s fiction is multifaceted since it speaks to the colonisation of space, education, languages, and the ways of life of the colonised people. Following the 2015 #RhodesMustFall protests at South African universities, I argue that the characterisation of Mohumagadi, and her foregrounding of Africa as an epistemic site from which she interprets the world, is an attempt at moving the centre.
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Pub Date : 2022-08-24DOI: 10.25159/1753-5387/11793
C. Sandwith
Book Review
书评
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Pub Date : 2022-08-22DOI: 10.25159/1753-5387/11259
Xinshuo Zhou, Quan Wang
This article proposes a posthumanist reading of Joyce Carol Oates’s “Poe Posthumous; or, The Light-House,” and argues that posthumanism provides human beings with a new way of living. In the story, the narrator comes to the Light-House at Viña de Mar to participate in a scientific experiment. As an “exemplary specimen of Homo sapiens,” the narrator endeavours to preserve human knowledge, which symbolises his superiority over nonhuman species. However, on becoming further involved in nature, he gradually abandons his anthropocentric thought, and learns to live with other species. The posthumanist thought finds its full expression in the symbiotic coexistence of multiple species and culminates in the narrator’s cross-species marriage to a female Cyclophagus. The juxtaposition of the decentring of anthropocentrism with the ascent of nonhuman agents highlights the posthumanist coexistence of humans and nonhumans.
本文对乔伊斯·卡罗尔·奥茨的《坡死后》进行了后人文主义解读。或《灯塔》，并认为后人文主义为人类提供了一种新的生活方式。在故事中，叙述者来到Viña de Mar的灯塔参加一个科学实验。作为“智人的典范”，叙述者努力保存人类的知识，这象征着他比非人类物种优越。然而，随着与自然的进一步接触，他逐渐放弃了以人类为中心的思想，学会了与其他物种一起生活。后人类主义思想在多物种的共生共存中得到了充分的表达，并在叙述者与雌性独眼巨兽的跨物种婚姻中达到高潮。人类中心主义的衰落与非人类主体的崛起并置，突显了人类与非人类的后人类主义共存。
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Pub Date : 2022-08-17DOI: 10.25159/1753-5387/11721
Alan Northover
The Art of Astonishment: Reflections on Gifts and Grace (2022) by Alice Brittan is a rich tapestry of extensive cultural knowledge and intimate personal experience. The stories of Hermes and other trickster figures are strands woven throughout the narrative revealing the flexible and often surprising presence of grace. Although Brittan’s book stands on its own, familiarity with Lewis Hyde’s The Gift: How the Creative Spirit Transforms the World and Trickster Makes This World: Mischief, Myth, and Art will enrich a reading of her book, two texts that especially inspired Brittan and which she cites throughout. Brittan’s style is also indebted to Hyde, as she intersperses quotable pithy statements—for instance, “Grace is always undue, an event that can never be earned or willed” (32) and “Grace is a form of excess, which is why it is always an experience of refreshment and increase” (144)—with in-depth explorations of case studies and insightful readings of a diverse range of texts. Brittan’s erudition emulates Hyde’s, as she coherently synthesises
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Pub Date : 2022-07-28DOI: 10.25159/1753-5387/10889
L. Graham
In 1999 and 2000, two texts appeared that aimed to grapple with post-apartheid South Africa as a new nation, and that doubled back on national myths of origin. One of these, a massive painting entitled T’kama Adamastor by Cyril Coetzee, commissioned for the William Cullen Library at the University of the Witwatersrand, focused on the figure of Adamastor that had been created by Luís Vaz de Camões in his epic poem The Lusiads (1572), but as reinterpreted by André Brink in his novel Cape of Storms: The First Life of Adamastor (1993). In 2000, another text appeared that re-examined and reimagined creation myths, and also referenced the Adamastor story. This was K. Sello Duiker’s award-winning debut novel Thirteen Cents. As I argue, Thirteen Cents presents a radical break with the ways in which the Adamastor story has been imagined by white writers and artists. Part of the aim of the essay is to revisit and assess Andries Walter Oliphant’s critical interventions on the question of a national South African culture, and on the Adamastor story itself.
1999年和2000年，出现了两份文本，旨在将后种族隔离时代的南非作为一个新国家来应对，并在民族起源的神话上翻了一番。其中一幅是西里尔·库切为威特沃特斯兰德大学威廉·库伦图书馆委托创作的巨幅油画《T’kama Adamastor》，这幅画的主题是Luís Vaz de Camões在他的史诗《卢西ads》(1572)中创造的Adamastor形象，但安德烈·布林克在他的小说《风暴之角:Adamastor的第一次生活》(1993)中重新诠释了这一形象。2000年，另一个文本出现，重新审视和重新想象创造神话，也引用了Adamastor的故事。这是K. Sello Duiker的获奖处女作《十三美分》。正如我所说，《十三美分》与白人作家和艺术家想象亚当马斯托故事的方式截然不同。本文的部分目的是重新审视和评估安德烈斯·沃尔特·奥列芬特对南非民族文化问题和阿达马斯托故事本身的批判性干预。
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Pub Date : 2022-06-17DOI: 10.25159/1753-5387/10742
Moffat Sebola
Tshivenda poetry thematises varied notions of selfhood and culture, among others. Within this thematisation, longings for the freedom to self-identify and (re)present the self or selves show up as recurrent themes. For analytical convenience, 10 Tshivenda poems were purposively selected and analysed in this article. The analysis is based on a predetermined set of themes, namely, the quest for identity and authenticity, notions of being and belonging, and intersections of identity, memory, home and renaissance. The paper deployed a qualitative research approach and was theoretically undergirded by Afrocentricity. The analysis reveals that Tshivenda poetry demystifies the metanarratives propounded by colonialists and apartheid exponents to negate African people’s selfhood and culture. The analysis further reveals that the indigenes have always had ways to express their selfhood and ideological outlook, including agentively challenging false hegemonic discourses about them. This paper adds to the ongoing discourse on the politics of identity, belonging and discourses focused on how the formerly colonised asserted and still assert their presence and agency during and after decades of marginalisation and repression. It is recommended that aspects of African selfhood and culture captured in Tshivenda literature should form part of African indigenous knowledge systems that need to be studied in institutions of basic and higher education.
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Pub Date : 2022-06-01DOI: 10.25159/1753-5387/12574
Ina Wolfaardt-Gräbe
Opinion Piece
评论文章
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Pub Date : 2022-06-01DOI: 10.25159/1753-5387/12603
Reinhardt Fourie, R. A. Northover, H. Viljoen
Introduction
介绍
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Pub Date : 2022-05-30DOI: 10.25159/1753-5387/10744
S. Loots
This article discusses Chaka (1981) by Thomas Mofolo as a transcultural text written by a transcultural author. It had hybrid origins, was written with local and global audiences in mind and forges linkages between different ethnicities, nations, languages and literary traditions. In this way it disrupts the centre periphery polarity associated with stark distinctions between “European” and “African” literatures. In shifting the attention to the transcultural entanglements without which Chaka would never have been written or read, I am being mindful of the view of Rebecca Walkowitz, outlined in her book Born Translated (2015), that some literary works begin collaboratively and comparatively, in multiple languages and geographical locations, and are targeted to readerships in various cultures and languages. Walkowitz examines the importance of these literary processes in contemporary Anglophone literature, but I will argue that Mofolo’s novel was in its own way “born translated” and displays many of the characteristics highlighted by Walkowitz in her discussions of writers like J. M. Coetzee, Haruki Marukami and Jamaica Kincaid. The article outlines how translation shaped Mofolo’s novel and became a condition of its production, how its literary and political meanings are influenced by the fact that it exists in different editions in different languages and in different markets, and the multiple ways in which Mofolo’s novel can be understood as “born translated” writing.
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