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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Pub Date : 2022-05-30DOI: 10.25159/1753-5387/11054
Craig Smith
In this article, I reconsider J.M. Coetzee’s Disgrace, often interpreted in the context of South Africa’s transition to post apartheid life and with an eye to the nation’s Truth and Reconciliation Commission, by instead reading it in light of the international twenty first century MeToo movement. I contend that, in retrospect, Disgrace both demonstrates affinities with MeToo and proleptically envisions, from the postcolonial periphery, the contours of the movement decades before its forceful emergence as a watershed moment in the West. Disgrace tells a story echoed in many MeToo accounts, depicting the public exposure and fall from grace of a privileged white man following his sexual exploitation of a non white student. My interests lie not in the matter of David Lurie’s potential redemption; rather, I explore Coetzee’s exposure of the persistence of institutionalized gendered and racial privileges through moments of historical transformation. I argue that Disgrace’s highlighting of its own unnarrated perspectives anticipates the forceful challenge to a lingering white heterosexual hegemony that characterizes MeToo, while at the same time exposing the perpetual marginalization of non white and non Western traumas in discourses of transitional justice in South Africa and globally.
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Pub Date : 2022-05-26DOI: 10.25159/1753-5387/11187
Fiona Moolla
Book Review
书评
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Pub Date : 2022-05-04DOI: 10.25159/1753-5387/10884
Marisa Keuris
In this article, I give a bird’s eye view of the development of Kaaps (Afrikaans) drama: from the early days of Dutch Afrikaans drama when the use of so called “Hottentots Dutch” was first introduced to contemporary works that make use of Kaaps. Since “language” in drama is foregrounded by the use of dialogue by the characters in a play, the focus of this discussion is mainly on dramatic dialogue. Some insights of Vimala Herman as discussed in her seminal study, Dramatic discourse: dialogue as interaction in plays (1995), are used to structure this article’s theoretical parameters. She makes the point that dramatic dialogue is not simply the reflection of ordinary speech between speakers or even the “refinement” of such speech but is, in fact, much more complicated and should rather be seen as an imitation of the rules and conventions underpinning real life discourse. The playwright simply creates the illusion that a specific conversation is taking place between characters. An analysis of dramatic dialogue should, however, also be accompanied by an understanding of the greater contextual context of a play (eg. the socio political issues addressed or implied in such a work). From the various examples given in the article, one can discern through the use of dramatic language a particular development from the early Dutch Afrikaans play’s paternalistic depictions of so called “Hottentot” characters by white playwrights, to more sympathetic contemporary depictions of Khoisan characters by white playwrights. Today the use of Kaaps is increasingly used by their own playwrights to give authentic portrayals of urban coloured communities. Opsomming In hierdie artikel word 'n voelvlug van die ontwikkeling van Kaapse Afrikaans (Kaaps) in die Afrikaanse drama verskaf: vanaf die vroee dae van Hollands Afrikaanse drama tot by kontemporere werke wat van Kaaps gebruik maak. Aangesien “taal” in drama hoofsaaklik na te gaan is in die dialoog wat karakters gebruik, is die fokus in hierdie bespreking op dramatiese dialoog. Die artikel se teoretiese raamwerk word gerig deur die toepassing van sommige insigte soos bespreek in Vimala Herman (1995) se seminale studie, Dramatic Discourse: Dialogue as Interaction in Plays. Herman verwerp 'n dikwels algemene oortuiging dat dramatiese diskoerse grotendeels 'n weerspieeling is van alledaagse gesprekke—moontlik net fyner verwerk of aangepas deur 'n dramaturg vir die verhoog. Dramatiese dialoog is in der waarheid die nabootsing van die spraakreels en spraakkonvensies wat gewone gesprekke onderle en skep gewoon die illusie dat 'n bepaalde gesprek gevoer word. 'n Analise van dramatiese dialoog moet egter ook vergesel word van 'n begrip van die groter konteks waarbinne 'n drama geplaas is (byvoorbeeld die sosiopolitieke aangeleenthede wat die werk aanspreek of impliseer). 'n Mens kan wel 'n bepaalde ontwikkeling opmerk uit die onderskeie voorbeelde wat kortliks bespreek word, naamlik vanaf die vroee Hollands Afrikaanse dramas se
在这篇文章中，我对南非荷兰语戏剧的发展进行了鸟瞰:从荷兰荷兰语戏剧的早期，所谓的“霍屯督荷兰语”的使用首次被引入到使用荷兰语的当代作品。由于戏剧中的“语言”是通过剧中人物对对话的使用来强调的，所以本文的讨论重点主要是戏剧对话。Vimala Herman在其开创性研究《戏剧话语:对话作为戏剧中的互动》(1995)中讨论的一些见解被用来构建本文的理论参数。她指出，戏剧对话不仅仅是说话者之间日常话语的反映，甚至也不是对这种话语的“提炼”，事实上，它要复杂得多，更应该被视为对支撑现实生活话语的规则和惯例的模仿。剧作家只是创造了一种人物之间正在进行特定对话的错觉。然而，对戏剧对话的分析也应该伴随着对戏剧更大的上下文背景的理解。在这样的作品中处理或暗示的社会政治问题)。从文章中给出的各种例子中，人们可以通过戏剧语言的使用看出一个特殊的发展，从早期荷兰南非荷兰语戏剧中白人剧作家对所谓的“霍屯督人”角色的家长式描述，到当代白人剧作家对科伊桑人角色的更富有同情心的描述。今天，他们自己的剧作家越来越多地使用卡普来描绘城市有色人种社区的真实写照。OpsommingIn hierdie artikel word 'n voelvlug van die ontwikkeling van Kaaps南非荷兰语(Kaaps)在南非荷兰语戏剧verskaf: vanaf die vroee dae van荷兰荷兰语戏剧由kontemporere werke van Kaaps gebruik maak。戏剧中的“对话”就像演员的对话一样，是戏剧对话中的“对话”，是戏剧对话中的“对话”。在维玛拉·赫尔曼(Vimala Herman, 1995)的研究《戏剧话语:戏剧中的对话与互动》一书中，作者提出了一种深刻的观点，认为这是一种对“戏剧话语”的理解。Herman ververp ' s和他的同事们共同创作了一篇关于戏剧对话的文章，而《周传》则是一篇关于戏剧对话的文章。戏剧性的对话是在一个充满活力的世界里，一个充满活力的世界，一个充满活力的世界，一个充满活力的世界，一个充满活力的世界，一个充满活力的世界。在分析戏剧对话的过程中，我们可以看到一个简单的词，一个简单的词，一个简单的词，一个简单的词，一个简单的词，一个简单的词，一个简单的词，一个简单的词。《荷兰人可以很好》和《荷兰人可以很好地》这两种类型的戏剧有着相似的特点，比如《荷兰人可以很好地》、《荷兰人可以很好地》、《荷兰人可以很好地》、《荷兰人可以很好地》、《荷兰人可以很好地》、《荷兰人可以很好地》等。Vandag的意思是说:“我喜欢在外面的舞台上表演，我喜欢在外面的舞台上表演。”
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Pub Date : 2022-05-03DOI: 10.25159/1753-5387/10883
R. Nethersole
Opinion Piece
评论文章
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Pub Date : 2022-04-04DOI: 10.25159/1753-5387/10688
M. Marais
Rick de Villiers’s principal contention in Eliot and Beckett’s Low Modernism: Humility and Humiliation is that the work of both these writers evinces a concern with suffering and one of its possible effects, that is, “the extinction of personality” (2). For this reason, he begins his argument with a discussion of the ambivalent relation of humiliation to humility. In its secular, post-Enlightenment guise, humility is associated with humanist and rationalist notions of individual autonomy, the preservation of human dignity, progress, perfectability, and the betterment of society. So, although humility, in the context of the Enlightenment project’s emancipatory narrative, is premised on a recognition of the individual’s shortcomings and of universal limitations, it asserts “with equal force the inherent dignity of each individual” (11). From this perspective, humility cannot but eschew humiliation, which is aligned with a divestiture of human dignity and an erosion of notions of progress and human upliftment. What De Villiers shows, however, is that humility and humiliation were once closely affined, with the latter designating the personal act of self-abasement rather than the interpersonal act of degrading another person. Moreover, a corollary of humility, in this Christian tradition, is self-knowledge, which is understood to mean not only knowledge of one’s own weaknesses, but also of human fallibility. Indeed, it is the latter which inspires a negative self-regard and, with it, self-forgetfulness and self-lowering. In this connection, De Villiers cites Simone Weil’s reflection that “Once we have understood that we are nothing, the object of all of our efforts is to become nothing” (15). When humility and humiliation are aligned, knowledge translates into self-sacrifice.
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Pub Date : 2022-03-16DOI: 10.25159/1753-5387/10410
W. K. Barure, D. R. Tivenga
This article focuses on the bourgeoning Covid-19 life narratives written by South African authors, who narrate their ordeals and the “new normal” in a bid to make sense of the impact of the pandemic through the lens of their everyday experiences that are different to those mediatised in mainstream media. Through a close reading and textual analysis of three personal narratives, we discuss how they reconstruct the first lockdown in South Africa, and take stock of the situation by confronting an immediate and distant past, daily acts of survival, private lives and imagined futures. The article also considers how the narrators envision themselves as vulnerable subjects, hence uniquely capturing the intense mood of the lockdown and how it led to a renewed interest in life writing. Opsomming Hierdie artikel fokus op die florerende Covid-19-lewensvertellings deur Suid-Afrikaanse outeurs waarin hulle hul beproewinge en die “nuwe normaal” weergee in 'n poging om sin te maak van die uitwerking van die pandemie, deur die lens van hulle alledaagse ervarings wat verskil van die ervarings wat in die hoofstroommedia uitgebeeld word. Na die noukeurige lees en tekstuele ontleding van drie persoonlike narratiewe, bespreek ons hoe hierdie outeurs die eerste inperkingstyd in Suid-Afrika gerekonstrueer het, die situasie krities in oënskou geneem het deur die onmiddellike en verre verlede, daaglikse oorlewingsaksies, privaat lewens en verbeelde toekoms gekonfronteer het. Die artikel neem ook die feit in ag dat die vertellers hulleself as weerlose persone sien, en vang gevolglik op ’n unieke wyse die intense gemoedstemming van die grendeltyd, en hoe dit tot hernieude belangstelling in die skryf oor die lewe gelei het, vas.
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Pub Date : 2022-03-16DOI: 10.25159/1753-5387/10416
N. Nkealah
This article explores what it means to be human in a time of health catastrophe, and introduces the concept of feminist humaneness. Feminist humaneness is an offshoot of African feminism and is about women practicalising their feminism by expressing kindness, care, compassion, empathy and consideration for other women in times of sickness, disease, pandemics and other health catastrophes. The article establishes connections between being feminist and being humane using the poetry of Cameroonian writer Joyce Ash. Ash’s poetry constructs feminist humaneness as a socially responsive and practical feminism that fosters human relationships. Opsomming Hierdie artikel bestudeer wat menswees in ’n tyd van gesondheidskatastrofe behels, en stel die konsep van feministiese menslikheid bekend. Feministiese menslikheid is ’n vertakking van Afrika-feminisme en handel oor vroue se praktikalisering van hul feminisme deur welwillendheid, sorg, medelye, empatie en bedagsaamheid teenoor ander vroue in tye van siekte, pandemies, en ander gesondheidskatastrofes te toon. Die artikel gebruik die poësie van die Kameroense skrywer Joyce Ash deur ’n verband daar te stel tussen feministies wees en menslik wees. Ash se poësie konstrueer feministiese menslikheid as ’n maatskaplik responsiewe en praktiese feminisme wat menslike verhoudings koester.
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Pub Date : 2022-03-16DOI: 10.25159/1753-5387/10409
I. Manase, T. Ndlovu
Special Issue Introduction
特刊简介
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Pub Date : 2022-03-16DOI: 10.25159/1753-5387/10413
E. Nabutanyi
Uganda, like most countries on the African continent, has in the recent past grappled with existential pandemics such as AIDS, Marburg disease, cholera, Ebola, and currently the Covid-19 pandemic. All the above-mentioned disease outbreaks have often unleashed unimaginable suffering on Uganda’s population. This is perhaps why Ugandan scholars and public intellectuals—especially its writers such as Mary Karooro Okurut, Moses Isegawa, Jennifer Nansubuga Makumbi, and Austin Ejeit—have used fiction to offer insights into the various contours of these contagions. For example, in their interrogation of one of the worst pandemics to hit the Ugandan society—AIDS—a host of writers have centred a cautionary tale motif and verisimilitude to show how behavioural change can effectively combat disease outbreaks. This article builds on this substantial Ugandan archive of plague writing by focusing on one genre of Ugandan writing—science fiction—that has not received much critical attention for its exploration of pandemics. I explore how Dilman Dila’s “A Leafy Man,” “Where Rivers Go to Die” and “The Taking of Oleng” use science fiction tropes to proffer insights in contemporary Ugandan plagues. I argue that Dila uses science fiction to effectively delineate the causes of, how to cope with and the myths that circulate about these catastrophic occurrences in the Ugandan public sphere. Opsomming Soos die meeste lande op die Afrika-vasteland het Uganda onlangs met eksistensiële pandemies soos vigs, Marburg, cholera en ebola geworstel, benewens die huidige Covid-19-pandemie. Al die bogenoemde siekte-uitbrekings het dikwels ondenkbare lyding vir Uganda se bevolking meegebring. Dalk is dit die rede waarom Ugandese vakkundiges en openbare intellektuele—veral skrywers soos Mary Karooro Okurut, Moses Isegawa, Jennifer Nansubuga Makumbi, en Austin Ejeit—fiksie gebruik het om insig in die verskillende kontoere van hierdie besmettings te bied. Byvoorbeeld, in hul ondersoeke oor een van die ergste pandemies wat die Ugandese samelewing getref het, naamlik vigs, het vele skrywers ’n waarskuwende verhaalmotief en skynwaarheid die middelpunt gemaak om te wys hoe gedragsverandering die uitbreking van siektes doeltreffend kan bekamp. Hierdie artikel bou voort op dié omvattende Ugandese argief van skryfwerk oor siektes, deur te fokus op een genre van Ugandese skryfwerk—wetenskapsfiksie—wat nie veel kritiese aandag gekry het vir die bestudering van pandemies nie. Ek ondersoek hoe Dilman Dila se “A Leafy Man,” “Where Rivers Go to Die” en “The Taking of Oleng” wetenskapsfiksie-stylfigure gebruik om insig oor hedendaagse Ugandese plae te bied. Ek voer aan dat Dila wetenskapsfiksie gebruik om ’n doeltreffende beeld te skep van die oorsake van hierdie katastrofiese verskynsels wat in die Ugandese openbare sfeer sirkuleer, hoe om dit te hanteer en die mites daaromtrent.
与非洲大陆的大多数国家一样，乌干达最近一直在努力应对艾滋病、马尔堡病、霍乱、埃博拉病毒以及目前的Covid-19大流行等存在的流行病。上述所有疾病的爆发往往给乌干达人民带来难以想象的痛苦。这也许就是为什么乌干达的学者和公共知识分子——尤其是像玛丽·卡鲁罗·奥库鲁特、摩西·伊泽加瓦、詹妮弗·南苏布加·马库姆比和奥斯汀·埃杰特这样的乌干达作家——用小说来提供对这些传染病的不同轮廓的见解。例如，在他们对袭击乌干达社会的最严重的流行病之一——艾滋病的调查中，许多作家集中了一个警世故事的主题和真实性，以展示行为改变如何有效地对抗疾病爆发。这篇文章建立在乌干达大量的瘟疫写作档案的基础上，把重点放在乌干达写作的一种类型——科幻小说上，这种类型由于对流行病的探索而没有受到太多的批评。我探讨了迪尔曼·迪拉的《叶人》、《河流灭亡的地方》和《夺去奥伦》是如何使用科幻小说的比喻来揭示当代乌干达瘟疫的。我认为Dila用科幻小说有效地描述了乌干达公共领域中这些灾难性事件的起因、如何应对以及流传的神话。在非洲广袤的土地上，乌干达等地发生了eksistensiële流行性感冒、马尔堡、霍乱和埃博拉疫情，以及2019冠状病毒病大流行。在乌干达的一个小镇上，人们发现了一种名为“人类基因”的病毒。Dalk是乌干达的一名女大学生，她在公开的情报机构工作，几名女大学生，包括Mary Karooro Okurut, Moses Isegawa, Jennifer Nansubuga Makumbi，以及Austin Ejeit-fiksie gebrik，她在学校工作，在学校工作。到目前为止，我们已经了解到，即使是在乌干达发生的大规模流行病中，也有可能发生类似的疾病，比如流感、流感、流感、流感、流感、流感、流感等，这些疾病都是由流感病毒引起的，而这些疾病是由流感病毒引起的。文章介绍了一种流行的流行文化，一种流行文化，一种流行文化，一种流行文化，一种流行文化，一种流行文化，一种流行文化，一种流行文化，一种流行文化，一种流行文化。迪拉(dilman Dila)的《枝繁叶茂的人》(A Leafy Man)、《河流走向死亡的地方》(Where Rivers to Die)和《夺去奥伦》(The Taking of Oleng)，都是他在拍摄乌干达电影时拍摄的一幅带有科幻风格的作品。本周早些时候，Dila在一份声明中说:“我的朋友们，我的朋友们，我的朋友们，我的朋友们，我的朋友们，我的朋友们，我的朋友们，我的朋友们，我的朋友们，我的朋友们。”
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