Pub Date : 2023-01-02DOI: 10.1080/1013929X.2023.2167400
Aneesa Bodiat, Antoinette Pretorius
Jane Austen and her depiction of courtship during the Regency Period is particularly relevant to South African Indian Muslim women due to the similarities between contemporary Muslim engagement rituals and Austen’s representation of courtship. This can be seen in Riding the Samoosa Express (eds Jeena and Asvat 2014), a non-fiction collection of essays by South African Muslim women, relating to courtship and marriage. In examining some of the essays in that anthology, as well as the novel Ayesha at Last (Jalaluddin 2018), we explore the continued desire of Muslim women not only to re-read Austen, but to read culturally adapted versions of her classics as well. Revisiting Pride and Prejudice and its adaptations provides a window into some of the issues surrounding re-writing the canon for diversity and the representation of specific cultural contexts. These adaptations expand Austen’s universe to allow for inclusion of varying types of complex identities, inviting different types of readers to engage in the original and its adaptations in a meaningful way.
简·奥斯汀和她在摄政时期对求爱的描述与南非印度穆斯林妇女特别相关，因为当代穆斯林订婚仪式与奥斯汀对求爱的表现之间存在相似之处。这一点可以在《骑萨莫萨快车》(Jeena and Asvat主编，2014年)中看到，这是一本非虚构文集，收录了南非穆斯林女性关于求爱和婚姻的文章。通过研究该选集中的一些文章，以及小说《阿伊莎终于来了》(Jalaluddin 2018)，我们探索了穆斯林女性不仅想重新阅读奥斯汀，而且想阅读她的经典作品的文化改编版本的持续愿望。重新审视《傲慢与偏见》及其改编版，可以让我们了解到围绕着多样性和特定文化背景的再现而重写经典的一些问题。这些改编扩大了奥斯汀的世界，允许包括不同类型的复杂身份，邀请不同类型的读者以一种有意义的方式参与原著和改编。
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Pub Date : 2023-01-02DOI: 10.1080/1013929X.2023.2167402
Alana Muller
This article focuses on Imraan Coovadia’s High Low In-between and investigates how the novel’s join protagonists, Nafisa and Shakeer, navigate their contemporary Durban. The mother and son, I point out, present two disparate subjectivities that engage with both the urban milieu of the city and a globalised world in very different ways. Both experience a sense of displacement in the city, but, as thew novel progresses, they manage to embrace Durban’s contemporary cultural entanglements and feel more at home. Nafisa, a doctor in the inner city, learns to engage with the city through walking its streets while Shakeer, a globe-trotting photographer, discovers his ability to notice Durban’s local specificity and entanglement of places, people, and cultures.
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Pub Date : 2023-01-02DOI: 10.1080/1013929X.2023.2167409
Rose Symonds
This article analyses the representation of identity in Ceridwen Dovey’s In the Garden of the Fugitives. It is an autobiographical text focusing on issues of guilt, complicity and entanglement that resonates with a literature of shame, as recently identified in postcolonial studies. Vita, the protagonist, expresses how she is creatively blocked by her guilt as a beneficiary of apartheid and this is mirrored in her relationship with Royce where she is a beneficiary of his powerful and wealthy patronage. Vita’s story, highlighting feminist issues of complicity, is also a metafictional device that represents the writer’s feelings about her post-apartheid, colonial identity. In a series of confessional letters between herself and Royce, Vita maps her journey to selfhood. My paper critically examines the literary and deconstructive features of Dovey’s text in which a rite of passage is represented as a textual interrogation of self.
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Pub Date : 2023-01-02DOI: 10.1080/1013929X.2023.2167408
Greg Streak
The solo exhibition, Nothing Matters, was installed on the mezzanine floor of an industrial panel beater warehouse at 400 Sydney Road, Durban, South Africa. The exhibition was open to the public from September-December 2021. The objective of the exhibition was to create ‘something’ of conceptual and aesthetic compulsion from a language of nothingness, whether it is ‘found’ in the surrounding temper of the public space or, in art, in various manifestations of the ‘dematerialised object’: the void; the empty canvas or gallery; the ‘invisible’ work; or the detritus of the everyday? The following is a dialogue between literary critic Michael Chapman and artist Greg Streak regarding the exhibition.
{"title":"An Art of Nothing, an Art of Something: The Local in the Global or the Global in the Local?","authors":"Greg Streak","doi":"10.1080/1013929X.2023.2167408","DOIUrl":"https://doi.org/10.1080/1013929X.2023.2167408","url":null,"abstract":"The solo exhibition, Nothing Matters, was installed on the mezzanine floor of an industrial panel beater warehouse at 400 Sydney Road, Durban, South Africa. The exhibition was open to the public from September-December 2021. The objective of the exhibition was to create ‘something’ of conceptual and aesthetic compulsion from a language of nothingness, whether it is ‘found’ in the surrounding temper of the public space or, in art, in various manifestations of the ‘dematerialised object’: the void; the empty canvas or gallery; the ‘invisible’ work; or the detritus of the everyday? The following is a dialogue between literary critic Michael Chapman and artist Greg Streak regarding the exhibition.","PeriodicalId":52015,"journal":{"name":"Current Writing-Text and Reception in Southern Africa","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49567603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/1013929X.2023.2167411
S. Zulfiqar
Through a discussion of Ken Saro-Wiwa’s Sozaboy (2005) and Chimamanda Ngozi Adichie’s Half of a Yellow Sun (2006), this article argues that the creative remembrance of the Nigerian Civil War and the re-visioning of the nation state has tended to focus on the Hausa and Igbos, excluding other ethnic minorities, especially the Ogoni of the Niger Delta. Adichie and Saro-Wiwa remember and creatively evoke the war differently, and this difference facilitates the production of more complex histories. This, in turn, enables us better to comprehend the conflict’s historical wounds; it reveals that a refashioning of this history through minority narratives can produce deeper understanding. Through such historical reconstruction, the tragic past is evoked without losing sight of current realities or indulging in misplaced optimism regarding the future. Moreover, I argue, to create narratives that enable genuine healing, engagement with both peripheral and central viewpoints is crucial; what is needed are narratives that assist in the dismantling of ethnic hegemonic structures.
本文通过对Ken Saro Wiwa的《Sozaboy》（2005）和Chimamanda Ngozi Adichie的《Half of a Yellow Sun》（2006）的讨论，认为对尼日利亚内战和民族国家重建的创造性记忆往往集中在豪萨人和伊博人身上，而不包括其他少数民族，尤其是尼日尔三角洲的奥戈尼人。Adichie和Saro Wiwa以不同的方式记忆和创造性地唤起了战争，这种差异有助于产生更复杂的历史。这反过来又使我们能够更好地理解冲突的历史创伤；它揭示了通过少数民族叙事对这段历史的重塑可以产生更深的理解。通过这种历史重建，在不忽视当前现实或对未来抱有错误乐观的情况下，唤起了悲惨的过去。此外，我认为，要创造能够实现真正治愈的叙事，参与外围和中心观点至关重要；现在需要的是有助于瓦解种族霸权结构的叙事。
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Pub Date : 2023-01-02DOI: 10.1080/1013929X.2023.2167401
R. Gray
This review article seeks to trace connections among three contemporary texts that all, in their different ways, attempt to trace a new path to the future, and throw some light upon the darkness that defines quotidian reality. All three turn on comparable authoritative probity. It begins with Achile Membe’s Out of the Dark Night, a collection of essays on decolonisation that points the way to recovery via ‘Afropolitanism’. Fetson Kalua’s Re-imagining African Identity in the Twenty-First Century likewise erases racially based borders or notions of ‘otherness’, be it colour-based or cultural. Kalua deploys the term ‘intermediality’ signifying tolerance of difference, in his exploration, homing in on African identity. Yuval Noah Harari’s earlier 21 Lessons for the 21st Century has a broader cultural and technological lens. Yet all three explore what it means to be human and, by extension, why writers write as they do, implicitly interrogating what constitutes humanity and the purpose of art in the ‘write’ approach.
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Pub Date : 2022-07-03DOI: 10.1080/1013929X.2022.2114142
M. Chapman
This article has two interrelated aims: first, to offer readers a critical survey of poetry production in South Africa over the last 30 years, the 30-year period being preceded by a consideration of key markers in the poetry of the 1970s and 1980s; second, to engage in debates on distinctions between the poetry of the high mimetic and the low mimetic; on poetry of the page and the stage; and on women’s poetry and the womanist poem. With consideration of women’s poetry having raised debates among US-based poet-critics on Lyric/L.A.N.G.U.A.G.E. Poetics, the overarching objective is to pursue a language of criticism that is responsive to the aesthetic range and variety of poetry in South Africa.
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Pub Date : 2022-07-03DOI: 10.1080/1013929X.2022.2114150
Julia Martin
After 1990, and increasingly in recent years, it became possible in South Africa to extend our focus in teaching and writing about literature to consider how the project of social liberation might relate to ecological awareness, or even spiritual experience. This essay is about some of the poetry by the North American writer Gary Snyder that I’ve found inspirational in this regard. His work embodies a lifetime’s lively conversation between ecological engagement and Buddhist practice and invokes the idea of liberation at many levels. At the heart of this is an image of the interconnected, nondual reality he calls in one poem ‘rocks and streams.’ This aspect of Snyder’s work is fairly well known, but how does it relate to the love poetry he has continued to write since the 1950s? What, if anything, do the poems about the love of a partner have to do with spiritual practice, and the core eco-Buddhist insights that have defined his writing? These are the questions that interest me here.
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Pub Date : 2022-07-03DOI: 10.1080/1013929X.2022.2114149
Dirk Klopper
Focusing on the figures of Makanna, the ‘Bushman’, Vytjé Vaal, Hinza Marossi, Arend Plessis, and Johannes van der Kemp in Thomas Pringle’s African Sketches, the paper traces their refiguration in Matthew Shum’s Improvisations of Empire: Thomas Pringle in Scotland, the Cape Colony and London, 1789–1834 and Zoë Wicomb’s Still Life. The figures make interesting company. While Makanna and the ‘Bushman’ resist colonial rule and denounce the hypocrisy of the Christian faith by which this rule was justified, Vytjé Vaal and Hinza Marossi are assimilated into the colonial order as Khoikhoi servant and adopted Motswana boy, respectively. The young renegade Boer, Arend Plessis, elopes with a Khoikhoi servant girl, and Van der Kemp’s missionary work offers an instructive perspective on Pringle’s colonial positioning.
本文以Thomas Pringle的《非洲素描》中的Makanna、“丛林人”、vytj Vaal、Hinza Marossi、Arend Plessis和Johannes van der Kemp为重点，追溯了他们在Matthew Shum的《帝国即兴创作:Thomas Pringle在苏格兰、开普殖民地和伦敦，1789-1834》和Zoë Wicomb的《静物》中的重塑。这些数据构成了有趣的伙伴。当Makanna和“布须曼人”抵制殖民统治并谴责基督教信仰的虚伪时，vytj Vaal和Hinza Marossi分别作为Khoikhoi仆人和被收养的Motswana男孩被同化到殖民秩序中。年轻的布尔叛变者阿伦特·普莱西斯(Arend Plessis)与一名科伊科伊侍女私奔，范德肯普的传教工作为普林格尔的殖民定位提供了有益的视角。
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Pub Date : 2022-07-03DOI: 10.1080/1013929X.2022.2114140
M. Chapman
This is the second of two issues on ‘Literature in South Africa: The Last 30 Years, Looking Back, Going Forward.’ The first issue (Current Writing 34.1. 2022) focused on prose fiction; this issue planned to focus on poetry. It does focus on poetry, albeit in somewhat unexpected ways. Chapman’s article offers a critical overview and a particular response to the contemporary and near-contemporary poetry scene in South Africa. He draws selectively on key developments that both anticipated and did not anticipate directions in the 1990s and up to today: from the Soweto poets of the 1970s, through modernist and anti-poetry pursuits, to poetry that explores women’s voices, both written and oral, while considering the local influence of US-based L.A.N.G.U.A.G.E. Poetics. Quite differently, Klopper returns to a figure who, in the 1820s, sought to adapt, intermittently at least, his inheritance – the Scottish Enlightenment; a revival of European Romanticism – to his settler condition on the eastern frontier of the then British Cape Colony. Thomas Pringle, both as poet and social commentator, continues to stir controversy. Did this ‘1820 Settler’ push the boundaries of new indigenous concerns or did he remain trapped in a metropolitan, classicalliberal worldview that was at odds with the harsh and divisive politics of frontier? The landing in 1820 of parties of settlers had been celebrated by many English-speaking South Africans as securing the English language, church, education, and trade in the colony; the landing, however, hardly received notice on its 200th anniversary in 2020. Yet the year 2020 saw the publication of Matthew Shum’s study of Pringle, Improvisations of Empire, while Zoë Wicomb published Still Life, a ‘postcolonial’ novel of Pringle’s life or afterlife, or still life. It is these two books that provoke Klopper’s fresh perspective on Pringle’s ‘ghosts’ of the colony. If Pringle helped focus the local environment to a wider world, such a turn is reflected in the formulation of the title of these two ‘theme’ issues: not South African Literature, but literature in South Africa. As in other ex-, or post-, colonies, the metropolitan ideas, conventions, fashions, and publishing interests retain a hold on South Africa. It is not books on South Africa or by South African authors that strike the book browser in the much-reduced bookshop outlets particularly since COVID-19; rather, the book browser is confronted by shelves of the latest bestsellers from London and New York. Avoiding the ‘bestseller’ allure, Martin confirms that reading interests in South Africa are not confined to any locality. She extends considerations of poetry beyond apartheid or post-apartheid; beyond what the new (post-1990) South Africa has achieved or failed to achieve. (‘Can South Africa Survive?’ is a thread in many books of non-fiction.) It is the North American poet, Gary Snyder, who accompanies Martin on a journey, both ecological and spiritual, on the possibilities of
这是《南非文学：过去30年，回顾，前进》两期中的第二期第一期（当前写作34.1。2022）专注于散文小说；本期计划以诗歌为主题。它确实关注诗歌，尽管有些出人意料。查普曼的文章提供了一个批判性的概述，并对南非的当代和近现代诗歌场景做出了特别的回应。他选择性地借鉴了20世纪90年代和今天的关键发展，这些发展既预见到了方向，也没有预见到方向：从20世纪70年代的索韦托诗人，到现代主义和反诗歌追求，再到探索女性声音的诗歌，无论是书面的还是口头的，同时考虑到美国L.A.N.G.A.G.E.诗学在当地的影响。完全不同的是，克洛普回到了一个在19世纪20年代试图适应其遗产的人物——苏格兰启蒙运动；欧洲浪漫主义的复兴——他在当时的不列颠开普殖民地东部边境的定居条件。托马斯·普林格尔，既是诗人又是社会评论家，继续引发争议。这位“1820年的定居者”是突破了新的土著人关注的界限，还是仍然被困在一种大都市的、古典自由的世界观中，这种世界观与严酷而分裂的边境政治相矛盾？1820年，许多讲英语的南非人庆祝定居者的登陆，认为这确保了殖民地的英语、教会、教育和贸易；然而，在2020年登陆200周年之际，几乎没有收到通知。然而，在2020年，Matthew Shum对普林格尔的研究《帝国的即兴创作》出版，而ZoëWicomb出版了《静物》，这是一部关于普林格尔生活或死后或静物的“后殖民”小说。正是这两本书激发了克洛普对普林格尔的殖民地“幽灵”的新视角。如果普林格尔帮助将当地环境聚焦到更广阔的世界，那么这种转变就反映在这两个“主题”问题的标题的制定中：不是南非文学，而是南非文学。与其他前殖民地或后殖民地一样，大都市的思想、惯例、时尚和出版利益仍然控制着南非。在数量大幅减少的书店里，尤其是自新冠肺炎以来，不是关于南非或南非作家的书在浏览器上出现；相反，图书浏览器面临着来自伦敦和纽约的最新畅销书货架。为了避免“畅销书”的诱惑，马丁证实，南非的阅读兴趣并不局限于任何地方。她将对诗歌的思考扩展到种族隔离或后种族隔离之外；超越了新的（1990年后）南非已经取得或未能取得的成就。（《南非能幸存吗？》是许多非小说类书籍中的一条线索。）正是北美诗人加里·斯奈德陪伴马丁踏上了一段生态和精神之旅，探索诗人的使命和灵感的可能性。同样，Dimitriu在J M Coetzee的“耶稣”三部曲中发现，这些作品更具全球性，而非地方性。她在耶稣的小说中找到了一个让文学评论家和读者都感到震惊但很少有人愿意提及的理由：即三本书的标题中都有“耶稣”一词。主要但不限于《耶稣之死》，
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