Pub Date : 2020-01-02DOI: 10.1080/1013929X.2020.1743034
Godwin Makaudze
Known for his unwavering criticism of politico-economic misdemeanours, Chirikure Chirikure also focuses on past Shona practices and values in Rukuvhute (1990) and Hakurarwi (1998). Using the Afrocentricity approach, this article analyses his portrayal of these values and practices in selected poems. It observes that he exploits several techniques to criticise the repudiation of what he regards as “life-sustaining” practices and values. However, in Rukuvhute his yearning and hope for the observance of past practices and values seems no longer possible. In Hakurarwi his bleak portrayal of the future strikes the reader as a weakness. The article urges artists to assist society choose best practices and values from the past and as well to remain hopeful in their approach to life.
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Pub Date : 2020-01-02DOI: 10.1080/1013929X.2020.1743024
Bibi Burger
Mary Watson’s gothic novel, The Cutting Room (2013), deals with a woman who does not feel at home in her house. Her unease can be attributed to her conflicted feelings about being a wife in South Africa’s colonial and apartheid history, as well as to a fear of crime. Using feminist theories of women’s relationship to the domestic sphere, Freud’s writing on the unheimlich as well as Homi K Bhaba’s notion of the “postcolonial unhomely”, I argue that the genre of the gothic provides appropriate metaphors and an aptly uncanny atmosphere for the exploration of a South African woman’s complex relationship with the home.
玛丽·沃森的哥特式小说《剪辑室》（2013）讲述了一个在家里没有宾至如归的女人。她的不安可以归因于她在南非殖民和种族隔离历史上作为妻子的矛盾情绪，以及对犯罪的恐惧。利用女性主义关于女性与家庭关系的理论、弗洛伊德关于unheimlich的写作以及Homi K Bhaba关于“后殖民不和谐”的概念，我认为哥特式风格为探索南非女性与家庭的复杂关系提供了恰当的隐喻和恰当的神秘氛围。
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Pub Date : 2020-01-02DOI: 10.1080/1013929X.2020.1743031
Elke Seghers
Yewande Omotoso’s novel Bom Boy (2011), is centred on the coming-of-age of its protagonist Leke and, therefore, is related to the genre of the Bildungsroman. Leke, however, feels isolated and is struggling to find his sense of self. The novel draws upon its narrative form to engage with South Africa’s challenges, as Leke’s hindered coming-of-age is symbolic of contemporary South African society. By means of its network of characters and the spaces they move in, the novel addresses not only divisions based on race and class, but also the experience of immigration. Furthermore, isolation, exclusion and inequality are suggested to be reinforced by the influence of “supermodern” globalisation. Finally, just like Leke has difficulties coming to term with his past, the way history is dealt with in society is imagined to be problematic. Both Leke and South Africa find themselves in a liminal state.
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Pub Date : 2020-01-02DOI: 10.1080/1013929X.2020.1743026
M. Chapman
The article focuses on the ‘precari’ in universities, both young academics and postgraduate students: that is, those who experience the insecurity of casualisation and the demands of management to drive their doctoral studies to completion and/or meet the annual ‘performance’ requirement of publication outputs. Precarity is invoked, accordingly, in its fundamental definition of insecure employment and income together with the accompanying psychological distress. First, I provide a brief context of current considerations of precarity, in which the trials of millennials tend to be side-lined in higher-order ‘precarity debates’, whether economic or philosophical. My return to the vulnerable younger members of the university does not end with an explication of the ‘problem’, as do many considerations of precarity. Rather, I offer a few tips for surviving the pressures of managerial time- and cost-efficiency research where the quantity of output is expected to supersede the time necessary to reflect.
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Pub Date : 2019-07-03DOI: 10.1080/1013929X.2019.1619275
C. Mann
Neural science and cognitive psychology have in recent years established the fundamental importance of episodic memory in the formation of an individual’s personal and social identity. These models of understanding help to explain the widespread prevalence of the shades in numerous cultural and literary traditions, including those in contemporary South Africa. This paper applies these findings to the appearance of the shades in the work of poets as diverse as Homer, Dante, Hardy and Vilakazi, and argues that a fuller recognition of the universality of the shades challenges the inward and spiritual apartheid of individuals in a globalised world fissured by recalcitrant identity politics.
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Pub Date : 2019-07-03DOI: 10.1080/1013929X.2019.1618085
Leon de Kock
Current South African writing is characterised by the rise of both genre fiction and creative nonfiction as ways of responding to a widely perceived sickness in the body politic, where the plot, metaphorically speaking, is thought to have been lost, and there is a premium on uncovering actual conditions. The real issue, for writers, is to find the right story, or at the very least to get the story right. This article takes a view of South Africa’s reconstituted public sphere after 1994 and finds it riddled with symptoms of criminal pathology. Crime writing’s generic inclinations come conveniently to hand, since the crime story typically sets out to pinpoint the ‘culprit,’ or, in the crime narrative’s implicitly wider terms, the sources of social and political perversity. This article sees such acts of writing as works of social detection; the underlying context that gives rise to them may be related to both immediate pressures on the ground and more extensive transnational conditions. The diagnostic works of crime writers refract a real but perverted transformation in which the postcolonies of the late modern world are awash with criminality despite a heightened preoccupation with law and (dis)order. In particular, the “criminalisation of the state” is hardly peculiar to South Africa, but rather a common feature of postcolonial polities, of which the post-apartheid state is but a belated example. Post-apartheid writing constitutes an investigation into, and a search for, the ‘true’ locus of civil virtue in decidedly disconcerting social conditions, in an overall context of transition. In the course of this article, two main operating principles in post-apafrtheid writing in general are discussed, namely ‘overplotting’ (crime writing; creative nonfiction); and ‘underplotting’ (“fiction’s response” to the abovementioned conditions).
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Pub Date : 2019-07-03DOI: 10.1080/1013929X.2019.1618091
Rick de Villiers
The question – “how does fiction respond to nonfiction?” – implies several others. One has to do with a special kind of mimesis and asks whether formal aspects of the ‘documentary’ mode are directive for fictional modes. Another question pertains to motives. This article addresses the latter, but with an eye on criticism itself. It argues against instrumental readings that promote aesthetic values on the basis of ethical values, not because this is inherently problematic, but because such an approach risks neglecting the degree to which fiction and nonfiction alike partake in mimetic strategies that promote a ‘truth-effect’ with compelling and sometimes troubling immediacy. Without positioning it as representative of “fiction’s response”, Damon Galgut’s In A Strange Room is considered here as exemplary in its ability to disrupt the charms of mimesis through its estranging use of punctuation, self-representation, and intertextuality.
这个问题——“小说如何回应非小说？”——暗示了其他几个问题。有人问一种特殊的模仿，“纪录片”模式的形式方面是否对虚构模式有指导意义。另一个问题与动机有关。本文针对后者，但着眼于批评本身。它反对在道德价值观的基础上促进审美价值的工具性阅读，这并不是因为这本身就有问题，而是因为这种方法有可能忽视小说和非小说在多大程度上参与模仿策略，以令人信服、有时甚至令人不安的即时性促进“真相效应”。达蒙·加尔古特（Damon Galgut）的《在一个陌生的房间里》（In A Strange Room）没有将其定位为“小说的回应”的代表，但它通过标点符号、自我表征和互文性的巧妙使用，打破了模仿的魅力，在这里被认为是典范。
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Pub Date : 2019-07-03DOI: 10.1080/1013929X.2019.1618083
Isabel Carrera Suárez
It is with great sadness that we inform you of the unexpected death of our dear colleague Geoff Davis, who chaired EACLALS [European Association for Literature and Languages] from 2002 until 2014. (In the years in-between 2008–2011, he presided over ACLALS.) All who attended academic gatherings during these periods, or in the previous decades, when he was a loyal and enthusiastic participant, will have had the chance to benefit from his knowledge in a number of areas, notably African literatures, but also from his cheerful generosity, his keen welcoming of young members into the field and his endless energy and creativity. Geoff’s vast contribution to our studies is also found in his own publications and through his editing of journals such as Matatu, and of the critical series “Cross/Cultures. Readings in the Post/Colonial Literatures and Cultures in English,” which he co-edited with Gordon Collier from 1990 and which holds such significant work for postcolonial studies. As members of the present EACLALS Board, we have shared many conferences, happy moments and worries with Geoff, and we are in shock at the news that this will not continue to be so. At this sad moment, we can only thank him publicly and most sincerely for his work and feel grateful that we shared interests and some part of his life with him. We will be dedicating a place in the EACLALS webpage to tributes to Geoff, as a much-deserved homage to an essential member. In grief, and in fond memory of Geoff and his multiple achievements.
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Pub Date : 2019-07-03DOI: 10.1080/1013929X.2019.1618094
T. Voss
Although Sol Plaatje died in 1932 with many of his hopes for South Africa unfulfilled, he has not been forgotten by his fellow South Africans. In a new edition of his biography of Plaatje, Brian Willan, one of the scholars whose work revived interest in Plaatje in the 1980s, has written the life of a great South African for the new South Africa. He has made use of newly discovered documentary sources and oral memory and given us a nuanced account of a complex life. Despite suffering many disappointments and indignities, Plaatje left his countrymen and –women a rich legacy. The centenary of Native Life in South Africa (1916), still perhaps his best-known work, was celebrated in a collection of essays which testify to that work’s profound reach and continuing relevance. Plaatje continues to speak to South Africa in a way we can all understand.
虽然索尔·普拉杰死于1932年，他对南非的许多希望都没有实现，但他并没有被他的南非同胞遗忘。布赖恩·威兰(Brian Willan)是一位学者，他的作品在20世纪80年代重新引起了人们对普拉特杰的兴趣。在他的普拉特杰传记的新版本中，他为新南非写下了一个伟大的南非人的一生。他利用新发现的文献资料和口述记忆，为我们细致入微地描述了一段复杂的生活。尽管遭受了许多失望和侮辱，普拉杰还是给他的同胞们留下了丰富的遗产。1916年出版的《南非土著生活》(Native Life in South Africa)或许仍是他最著名的作品，一百周年纪念是在一本论文集中庆祝的，这些论文集证明了这部作品的深远影响和持续的相关性。普拉杰继续以一种我们都能理解的方式对南非说话。
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