Safundi-The Journal of South African and American Studies最新文献

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Metaphysical exile: on J. M. Coetzee’s Jesus fiction 形而上的放逐:论库切的耶稣小说

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-04-03 DOI: 10.1080/17533171.2021.1938877

Diana Mudura

引用次数: 0

Publishing and politics under apartheid and the CIA 种族隔离和中情局统治下的出版和政治

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-04-03 DOI: 10.1080/17533171.2021.1947026

S. Kitchen

References Graham, Shane. Cultural Entanglements: Langston Hughes and the Rise of African and Caribbean Literature. Charlottesville: University of Virginia Press, 2020. “Javits Sees U.S. Lag in ‘War’ of Culture.” New York Times (1923-Current File), September 3, 1962. https:// www-proquest-com.dist.lib.usu.edu/historical-newspapers/javits-sees-u-s-lag-war-culture/docview/ 116114569/se-2?accountid=14761 La Guma, Alex. Culture and Liberation: Exile Writings, 1966–1985, Ed. Christopher J. Lee. Kolkata: Seagull Books, 2021. Murphy, Kate, and Lucille Sherman. “Nikole Hannah-Jones considering Legal Action against UNC following Tenure Flap.” The News & Observer, May 27, 2021. https://www.newsobserver.com/news/local/education/ article251727288.html Popescu, Monica. At Penpoint: African Literatures, Postcolonial Studies, and the Cold War. Durham, NC: Duke University Press, 2020. Saunders, Frances Stonor. The Cultural Cold War: The CIA and the World of Arts and Letters. New York: The New Press, 1999.

推荐信，格雷厄姆，肖恩。文化纠葛:兰斯顿·休斯与非洲和加勒比文学的兴起。夏洛茨维尔:弗吉尼亚大学出版社，2020年。贾维茨认为美国在文化“战争”中落后。纽约时报(1923-Current File)， 1962年9月3日。https:// www-proquest-com.dist.lib.usu.edu/historical-newspapers/javits-sees-u-s-lag-war-culture/docview/ 116114569/se-2?accountid=14761拉古马，亚历克斯。《文化与解放:流亡写作，1966-1985》，克里斯托弗·j·李主编。加尔各答:Seagull Books, 2021。墨菲，凯特，还有露西尔·谢尔曼。"妮可·汉娜·琼斯考虑对北卡罗来纳大学采取法律行动"《新闻与观察家》，2021年5月27日。https://www.newsobserver.com/news/local/education/ article251727288.html波佩斯库，莫妮卡。《在彭点:非洲文学、后殖民研究和冷战》。达勒姆，北卡罗来纳州:杜克大学出版社，2020年。桑德斯，弗朗西丝·斯通。《文化冷战:中央情报局与文艺界》纽约:新出版社，1999。

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This is the Place Salt Lake City, Utah and the Voortrekker Monument Pretoria: monuments to settler constructions of history, race, and religion 这是犹他州盐湖城广场和比勒陀利亚的徒步者纪念碑:历史、种族和宗教的定居者建筑纪念碑

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-04-03 DOI: 10.1080/17533171.2021.1924504

C. Prescott, N. Rees, Rebecca Weaver-Hightower

ABSTRACT This essay compares South Africa’s Voortrekker Monument and the US’s This is the Place monument, both built to commemorate cross-country settler movements, for how the two contemporaneous monuments memorialize the nineteenth-century historical event in the service of the racial politics of the twentieth century. While the Voortrekker monument’s relief sculptures represent Black Africans as savages and intractable impediments to civilization, the This is the Place monument denies race as a factor in settlement, thus attempting to absolve settlers of the racially motivated violence that attended their colonization of the Great Basin. Perched on hilltops towering over their respective settler communities, both monuments similarly draw from the language of Beaux Arts classicism to venerate their subjects as civilizing heroes amid the chaos of Western colonialism and through comparison, we can see how both assert the colonizers’ race and religion as offering a divine sanction to their acts of conquest.

本文比较了南非的Voortrekker纪念碑和美国的This is the Place纪念碑，这两个纪念碑都是为了纪念越野移民运动而建造的，为了纪念19世纪的历史事件，这两个纪念碑是如何为20世纪的种族政治服务的。Voortrekker纪念碑的浮雕将非洲黑人描绘成野蛮人，是文明的顽固障碍，而This is the Place纪念碑否认种族是定居的一个因素，因此试图免除定居者在殖民大盆地时出于种族动机的暴力。两座纪念碑都坐落在各自的定居者社区之上的山顶上，它们同样借鉴了美术古典主义的语言，将它们的主体视为西方殖民主义混乱中的文明英雄，通过比较，我们可以看到它们是如何宣称殖民者的种族和宗教为他们的征服行为提供了神圣的认可。

引用次数: 1

Of vagabonds and fellow travelers: African diaspora literary culture and the cultural Cold War 流浪汉与旅伴:散居非洲的文学文化与文化冷战

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-04-03 DOI: 10.1080/17533171.2021.1943875

S. Graham

Throughout the writing of my book Cultural Entanglements: Langston Hughes and the Rise of African and Caribbean Literature, certain questions lurked irritatingly in the margins. The American writer Langston Hughes, I argued, spent his life cultivating networks of mutual support, promotion, translation, and influence across the pan-African world. But I also recognized that these efforts were ineluctably entangled (to use the book’s central metaphor) with systems of commodification and cultural exchange within a global capitalist system. What I had a harder time answering was the precise degree to which Hughes and the African and Caribbean writers in his orbit were knowingly complicit in the Anglo-American side of the “cultural Cold War.” When Hughes agreed to participate in and co-organize the conference sponsored by the American Society of African Culture (AMSAC) in Lagos, Nigeria, in 1961, or when he connected young African writers to the radio programs produced by the Transcription Centre in London, did he have any suspicion that both institutions were covertly funded by the CIA? When Es’kia Mphahlele moved to Paris in 1961 to become Director of the African Program at the Congress for Cultural Freedom, did he know that it, too, was a front for the CIA’s campaign to win “hearts and minds” in the decolonizing nations of Africa and Asia? The series of articles in the New York Times that revealed these connections was published in April 1966, just over a year before Hughes’s death; was he caught by surprise, or merely caught? After all, many critics, in Hughes’s time and since, have speculated that the series of lecture tours he gave in Europe in the 1960s, sponsored by the US Department of State, was part of an agreement Hughes might have reached with American authorities to promote US interests in exchange for not being blacklisted or further persecuted following his appearance before Joseph McCarthy’s senate subcommittee in 1953. How deep did these entanglements go? I found nothing in the archival record to answer these questions definitively, and they were ultimately peripheral to my argument, but I was haunted by the knowledge that their answers could change the way we think about these writers. I begin my review of Cedric Tolliver’s erudite and masterful book Of Vagabonds and Travelers with this account of some blind spots in my own book for a reason: I sorely wish I could have read Tolliver before I finished Cultural Entanglements. While he does not answer the particular questions I pose above, he does offer a framework for understanding the tensions and pressures that Hughes and other African diaspora writers of the early Cold War period had to navigate. Black writers who declined to challenge the agenda of anti-communism and racial liberalism were rewarded with opportunities to publish, have their work promoted, and win awards, effectively drowning out the voices of more radical critics who insisted that racism was woven into the basic fab

在我写《文化纠集:兰斯顿·休斯与非洲和加勒比文学的兴起》这本书的过程中，有些问题令人恼火地隐藏在书的边缘。我认为，美国作家兰斯顿·休斯(Langston Hughes)终其一生致力于在泛非世界建立相互支持、推广、翻译和影响的网络。但我也认识到，这些努力不可避免地与全球资本主义体系中的商品化体系和文化交流体系纠缠在一起(用这本书的中心隐喻来说)。我很难回答的问题是，休斯和他周围的非洲和加勒比作家在“文化冷战”的英美方面，在多大程度上是故意串通一通的。1961年，当休斯同意参加并共同组织由美国非洲文化协会(AMSAC)在尼日利亚拉各斯主办的会议时，或者当他将年轻的非洲作家与伦敦转录中心制作的广播节目联系起来时，他是否怀疑这两个机构都是由中央情报局秘密资助的?当埃斯奇亚·法赫莱1961年搬到巴黎担任文化自由大会非洲项目主任时，他知道这也是中央情报局赢得亚非非殖民化国家“民心”运动的前线吗?1966年4月，就在休斯去世前一年多，《纽约时报》发表了一系列揭露这些联系的文章;他是出其不意，还是只是被抓住了?毕竟，在休斯的时代和之后，许多批评者都推测，他在20世纪60年代在欧洲进行的由美国国务院赞助的一系列巡回演讲，可能是休斯与美国当局达成协议的一部分，目的是促进美国的利益，以换取他在1953年出席约瑟夫·麦卡锡(Joseph McCarthy)的参议院小组委员会听证会后不被列入黑名单或进一步受到迫害。这些纠缠有多深?我在档案记录中找不到任何能明确回答这些问题的东西，它们最终与我的论点无关，但我意识到，它们的答案可能会改变我们对这些作家的看法。我在评论塞德里克·托利弗(Cedric Tolliver)博学多才的巨著《流浪者与旅行者》(of Vagabonds and Travelers)时，首先提到了我自己书中的一些盲点，这是有原因的:我非常希望在读完《文化纠葛》之前就能读到托利弗。虽然他没有回答我在上面提出的具体问题，但他确实提供了一个框架来理解休斯和其他冷战早期非洲散居作家必须应对的紧张和压力。那些拒绝挑战反共产主义和种族自由主义议程的黑人作家得到了发表作品的机会，他们的作品得到了推广，并获得了奖项，有效地淹没了更激进的批评者的声音，他们坚持认为种族主义是资本主义和帝国主义的基本结构。反对反共“文化阵线”的作家“遭到同辈的蔑视”;由于他们拒绝接受新形势的纪律，他们被视为纯粹的流浪汉，并被方便地贴上了共产主义同路人的标签。托利弗并没有试图掩饰他对这些非洲流散文化产品的流浪者的钦佩，他们用边缘化的艺术表达了对右翼反共主义及其对种族自由主义的让步的基本批评和另一种看法。

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引用次数: 1

Story of a Mother: a Biopolitical Reading of Sindiwe Magona’s Mother to Mother 母亲的故事:辛迪维·玛戈纳《母亲对母亲》的生命政治解读

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-04-03 DOI: 10.1080/17533171.2021.1943847

Namrata Dey Roy

ABSTRACT Sindiwe Magona’s Mother to Mother, a fictional rendition of Amy Biehl’s murder, has been analyzed as a text that challenges the TRC’s reconciliatory philosophy, generates an empathetic dialogue across the color line, and reclaims the subdued maternal identity and voice. However, Mandisa’s narrative throws light on the condition of motherhood in apartheid South Africa. Examining Mandisa’s position as a girl, woman, and mother through a Foucauldian biopolitical lens, this paper argues that Mandisa’s story reveals the biopolitical construction of motherhood at a crucial historical juncture of South Africa. This analysis reveals that the novel is not a mere maternal testimony; rather, the narrative elucidates the creation of the docile bodies of black women under structural oppression and discursive regulation.

辛迪维·玛戈娜的《母亲对母亲》是对艾米·比尔谋杀案的虚构演绎，它挑战了TRC的和解哲学，引发了一场跨越肤色界限的移情对话，并重新唤起了被压抑的母亲身份和声音。然而，曼迪萨的叙述揭示了种族隔离时期南非母性的状况。本文通过福柯式的生命政治视角考察了曼迪萨作为女孩、女人和母亲的地位，认为曼迪萨的故事揭示了南非关键历史节点上母性的生命政治建构。这种分析表明，小说不仅仅是母亲的见证;相反，叙事阐明了黑人女性在结构性压迫和话语管制下温顺的身体的创造。

引用次数: 2

The excremental postapartheid imaginary: Niq Mhlongo’s Dog Eat Dog 种族隔离后令人讨厌的想象:尼克·姆隆戈的《狗咬狗》

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-01-02 DOI: 10.1080/17533171.2020.1869383

Bridget Grogan

ABSTRACT Niq Mhlongo’s use of scatology in Dog Eat Dog foregrounds his exploration of the temporal affects of disillusionment and disappointment. Drawing together critical and theoretical writing on affect, scatology, the postcolony, and abjection, this article contends that corporeality is symbolically and politically significant in the postapartheid imaginary. This significance is evident throughout Dog Eat Dog, especially in two episodes set in university toilets, which explore through corporeal imagery the topics of racial abjection, vulnerability, and exclusion in postapartheid South Africa. The article draws attention to the affective and political aspects of Mhlongo’s excremental postapartheid vision, a feature of his (and others’) writing which should not be dismissed, for example, as extraneous or merely comic detail. Implicit in the argument is the call for nuanced readings in postapartheid literature of the body and its processes; these representations of corporeality often signal political inequality and exclusion within the social body itself.

Niq Mhlongo在《狗吃狗》中对粪便学的运用突出了他对幻灭和失望的时间影响的探索。本文汇集了关于情感、粪便学、后殖民地和堕落的批判和理论著作，认为在后种族隔离想象中，肉体具有象征意义和政治意义。这种意义在《吃狗狗》中是显而易见的，尤其是在以大学厕所为背景的两集里，通过身体意象探讨了种族歧视、脆弱性和后种族隔离时期南非的排斥等话题。这篇文章让人们注意到Mhlongo的后种族隔离时代令人厌恶的愿景的情感和政治方面，这是他(和其他人)写作的一个特点，不应该被忽视，例如，作为无关紧要或仅仅是喜剧细节。该论点隐含着对种族隔离后的身体及其过程的文学作品进行细致入微解读的呼吁;这些对肉体的表现往往标志着社会身体本身的政治不平等和排斥。

引用次数: 3

One day in Bethlehem 有一天在伯利恒

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-01-02 DOI: 10.1080/17533171.2020.1841464

D. Roux

massive Loosing the Bonds, which also chronicles relations between the United States and South Africa over centuries in at-times excruciating detail. (It was also written by a former anti-apartheid activist and weighs in at 895 pages.) While both books are clearly works of personal passion – White Supremacy Confronted is a book that Horne has been building toward his entire life – for the reader, more often than not, less is more. Regardless, Horne’s work is an important contribution, exploring the myriad ways in which communism and anti-communism became entangled in the long struggle for liberation in southern Africa.

这本书还记录了美国和南非几个世纪以来的关系，其中有些细节令人难以忍受。(这本书也是一位前反种族隔离活动家写的，有895页。)虽然这两本书显然都是个人激情的作品——《面对白人至上主义》是霍恩一生都在写的书——但对读者来说，往往是少即是多。无论如何，霍恩的作品是一个重要的贡献，它探索了共产主义和反共产主义在南非争取解放的长期斗争中纠缠在一起的无数方式。

引用次数: 1

A tribute to Andrew van der Vlies, outgoing Lead Editor for Safundi 这是对即将离任的Safundi首席编辑Andrew van der Vlies的致敬

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-01-02 DOI: 10.1080/17533171.2021.1876972

S. Graham

The year 2020 was one of loss and mourning for most all of us. That feeling is compounded for us at Safundi by the departure of our Lead Editor. It is hard to convey how important Andrew van der Vlies has been to the operations and the identity of Safundi for more than a decade. Having spent three years as Reviews editor, he became one of the coeditors in 2010, and then stepped into the role of Lead Editor in 2014 when the founding editor, Andrew Offenburger, resigned. Now Andrew van der Vlies in turn is stepping down from the editorial team as he prepares for a move to Australia to take up a professorship at the University of Adelaide. In her moving address to the African Literature Association annual meeting in 2018, Carli Coetzee borrowed the metaphor of “holding the door open for others” for thinking about the ethics of journal editing and

对我们大多数人来说，2020年是失去和哀悼的一年。我们首席编辑的离职使我们在《萨芬迪》的这种感觉更加复杂。在过去的十多年里，很难表达安德鲁·范德弗利斯对萨凡迪的经营和身份有多重要。在担任《评论》编辑三年之后，他于2010年成为联合编辑之一，并于2014年创始编辑安德鲁·奥芬伯格辞职后担任主编。现在，安德鲁·范德弗利斯(Andrew van der Vlies)也将退出编辑团队，准备前往澳大利亚阿德莱德大学(University of Adelaide)担任教授。在2018年非洲文学协会(African Literature Association)年会上的感人演讲中，卡莉·库切(Carli Coetzee)借用了“为他人敞开大门”的比喻，来思考期刊编辑的道德规范

引用次数: 0

Culture and activism: Mongane Wally Serote’s To Every Birth Its Blood 文化与行动主义:蒙甘尼·沃利·瑟鲁特的《致每一个生命的血液》

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-01-02 DOI: 10.1080/17533171.2021.1874095

Carolyn Ownbey

ABSTRACT For South African author Mongane Wally Serote, art and activism can only operate in tandem. In the 1970s and 1980s, Serote took leadership roles in revolutionary and anti-apartheid organizations and movements, and in his writing and in these activist roles he mobilizes the one as a means to achieve the ends of the other. In his novel To Every Birth Its Blood, he uses narrative to experiment with chronology and perspective, and explore the physical spaces of township, exile, and state in ways that challenge the apartheid regime’s authority to regulate the lives of South Africans. Serote deploys the novel form against apartheid’s policies, social organization, and legacy. Through this work, he indicts the regime for human rights abuses, and imagines a new world order shaped by inclusive forms of community that carry forward the fight for equal rights.

对南非作家蒙加内·沃利·瑟罗特来说，艺术和行动主义只能携手并进。在20世纪70年代和80年代，serte在革命和反种族隔离组织和运动中担任领导角色，在他的写作和这些活动家角色中，他动员其中一个作为实现另一个目标的手段。在他的小说《每一次出生都是鲜血》中，他用叙事的方式尝试了时间和视角，探索了乡镇、流亡和国家的物理空间，以挑战种族隔离政权规范南非人生活的权威。serte运用这种新颖的形式来反对种族隔离政策、社会组织和遗产。通过这部作品，他控诉了该政权侵犯人权的行为，并设想了一个新的世界秩序，由包容性的社区形式塑造，为平等权利而战。

引用次数: 2

White supremacy confronted: U.S. imperialism and anti-communism vs. the liberation of Southern Africa, from Rhodes to Mandela 白人至上主义的对抗:美帝国主义和反共vs.南部非洲的解放，从罗兹到曼德拉

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Safundi-The Journal of South African and American Studies

Pub Date : 2021-01-02 DOI: 10.1080/17533171.2021.1885121

E. Morgan

引用次数: 5

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数据库

全部 ACS Publications Elsevier ieeexplore Springer The Royal Society of Chemistry Wiley

期刊

Safundi-The Journal of South African and American Studies

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