Kenyan comedy: transmogrifying stereotypes and fashioning a ‘Kenyanness’ of aesthetic escapism
- Authors: Lumasia, Patrick Chesi
- Date: 2023-10-13
- Subjects: Comedy in popular culture Kenya , Stereotypes (Social psychology) , Kenyans Attitudes , Kenyans Humor , Escapism , Aesthetics in popular culture
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432477 , vital:72874 , DOI 10.21504/10962/432477
- Description: Despite the proliferation of stereotypes in Kenyan comedy, little research exists to show the two intersect to shape a peculiar notion of ‘Kenyanness’. Indeed, Kenyan comedy, besides reproducing and playing on the quotidian and the historical, is heavily invested with ethnic and gender stereotypes that reflect the Kenyan milieu as it intersects with the global. This comedy is oftentimes seen by some critics as detrimental to Kenyan society because it supposedly shapes and reinforces ethnic and/or gender relations in the country. However, this study contends that Kenyan comedy is open to multiple interpretations and meaning contestations that are not necessarily clear to the comedians and audiences due to the asymmetry that abounds between the production and consumption ends of the comedy’s spectrum. The comedy is therefore ambivalent. This research seeks to demonstrate that Kenyan comedy—as a form of entertainment and critique of society—does not seek to fix and reify Kenyan identities. Instead, the comedy frees these identities from the presumed vice-hold, constricting world of stereotypes by disrupting the linearity of the stereotypes, thereby unsettling the hierarchical structure of hegemonic ideology embedded in them through postmodern humour: a form of humour amenable to postmodern sensibilities. To this end, the comedy offers Kenyans momentary escape into a comedic utopia, through which, they address pertinent issues affecting their nationhood, even as they endeavor to fashion a ‘Kenyanness’ of aesthetic escapism that is celebratory of the country’s rich socio-cultural diversity. The study employs Jörg Schweinitz’s (2011) stereotype theory and the postpositivist realist theory of identity in its study of stand-up, scripted episodic and topical comedy as transposed on to YouTube. Specifically, the thesis considers: the Churchill Show (2012 – 2022) that aired on NTV; 2012–2022; The Real Househelps of Kawangware (2014–2021) on KTN/NTV; Auntie Boss (2016–2021) on NTV; The Wicked Edition and The Trending Trend Talkers (2014–). , Thesis (PhD) -- Faculty of Humanities, Literary Studies in English, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Lumasia, Patrick Chesi
- Date: 2023-10-13
- Subjects: Comedy in popular culture Kenya , Stereotypes (Social psychology) , Kenyans Attitudes , Kenyans Humor , Escapism , Aesthetics in popular culture
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432477 , vital:72874 , DOI 10.21504/10962/432477
- Description: Despite the proliferation of stereotypes in Kenyan comedy, little research exists to show the two intersect to shape a peculiar notion of ‘Kenyanness’. Indeed, Kenyan comedy, besides reproducing and playing on the quotidian and the historical, is heavily invested with ethnic and gender stereotypes that reflect the Kenyan milieu as it intersects with the global. This comedy is oftentimes seen by some critics as detrimental to Kenyan society because it supposedly shapes and reinforces ethnic and/or gender relations in the country. However, this study contends that Kenyan comedy is open to multiple interpretations and meaning contestations that are not necessarily clear to the comedians and audiences due to the asymmetry that abounds between the production and consumption ends of the comedy’s spectrum. The comedy is therefore ambivalent. This research seeks to demonstrate that Kenyan comedy—as a form of entertainment and critique of society—does not seek to fix and reify Kenyan identities. Instead, the comedy frees these identities from the presumed vice-hold, constricting world of stereotypes by disrupting the linearity of the stereotypes, thereby unsettling the hierarchical structure of hegemonic ideology embedded in them through postmodern humour: a form of humour amenable to postmodern sensibilities. To this end, the comedy offers Kenyans momentary escape into a comedic utopia, through which, they address pertinent issues affecting their nationhood, even as they endeavor to fashion a ‘Kenyanness’ of aesthetic escapism that is celebratory of the country’s rich socio-cultural diversity. The study employs Jörg Schweinitz’s (2011) stereotype theory and the postpositivist realist theory of identity in its study of stand-up, scripted episodic and topical comedy as transposed on to YouTube. Specifically, the thesis considers: the Churchill Show (2012 – 2022) that aired on NTV; 2012–2022; The Real Househelps of Kawangware (2014–2021) on KTN/NTV; Auntie Boss (2016–2021) on NTV; The Wicked Edition and The Trending Trend Talkers (2014–). , Thesis (PhD) -- Faculty of Humanities, Literary Studies in English, 2023
- Full Text:
- Date Issued: 2023-10-13
Enabling violence: the ethics of writing and reading rape in South Africa
- Authors: Lloyd, Dylan Reumen
- Date: 2020
- Subjects: Rape -- South Africa , Rape -- Fiction , Rape in literature , Rape in literature -- South Africa , Psychic trauma in literature , Post-traumatic stress disorder in literature , Dystopias in literature , Coetzee, J. M., 1940- Disgrace , South African fiction (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/166173 , vital:41335
- Description: This thesis is concerned with describing the stakes of reading, writing and criticising fictional depictions of rape in a country plagued by high levels of sexual violence. I consider the capacity of rape representations to cause harm to women and rape survivors, and worsen the various injuries suffered by survivors as a direct or indirect consequence of rape. The possibility of such harm prompts me to examine the role and responsibilities of readers and critics in facilitating or preventing such harm. I further discuss the potential strategies of harm prevention that readers of novelistic portrayals of rape might adopt as well as the positive outcomes that such reading strategies make possible, and which might balance out the risks that accompany them. My description of the potential harm of rape representations combines postmodern critical feminist analysis with Miranda Fricker’s work on epistemic justice and Judith Herman’s work on trauma in order to illustrate the way that these representations shape our conception of rape in a manner that affects everything from how it is enacted to our treatment of survivors to the possibility of their recovery from posttraumatic stress disorder. In order to situate my analysis in the context of South African literature and to explore the notion of responsibility in relation to the writing of scenes of rape, I utilise a close reading of J.M. Coetzee’s Disgrace. Furthermore, I discuss the utility and limits of the critical feminist strategy of using a normative critical approach to rape representations in order to prevent harm. Ultimately, I argue that the use of such a strategy, along with the development of a purpose-honed adaptive critical style, is essential to the fulfilment of our responsibilities as readers and to the prevention of further suffering.
- Full Text:
- Date Issued: 2020
- Authors: Lloyd, Dylan Reumen
- Date: 2020
- Subjects: Rape -- South Africa , Rape -- Fiction , Rape in literature , Rape in literature -- South Africa , Psychic trauma in literature , Post-traumatic stress disorder in literature , Dystopias in literature , Coetzee, J. M., 1940- Disgrace , South African fiction (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/166173 , vital:41335
- Description: This thesis is concerned with describing the stakes of reading, writing and criticising fictional depictions of rape in a country plagued by high levels of sexual violence. I consider the capacity of rape representations to cause harm to women and rape survivors, and worsen the various injuries suffered by survivors as a direct or indirect consequence of rape. The possibility of such harm prompts me to examine the role and responsibilities of readers and critics in facilitating or preventing such harm. I further discuss the potential strategies of harm prevention that readers of novelistic portrayals of rape might adopt as well as the positive outcomes that such reading strategies make possible, and which might balance out the risks that accompany them. My description of the potential harm of rape representations combines postmodern critical feminist analysis with Miranda Fricker’s work on epistemic justice and Judith Herman’s work on trauma in order to illustrate the way that these representations shape our conception of rape in a manner that affects everything from how it is enacted to our treatment of survivors to the possibility of their recovery from posttraumatic stress disorder. In order to situate my analysis in the context of South African literature and to explore the notion of responsibility in relation to the writing of scenes of rape, I utilise a close reading of J.M. Coetzee’s Disgrace. Furthermore, I discuss the utility and limits of the critical feminist strategy of using a normative critical approach to rape representations in order to prevent harm. Ultimately, I argue that the use of such a strategy, along with the development of a purpose-honed adaptive critical style, is essential to the fulfilment of our responsibilities as readers and to the prevention of further suffering.
- Full Text:
- Date Issued: 2020
Disrupting the familiar family in postcolonial literature
- Authors: Laubscher, Emma Kate
- Date: 2019
- Subjects: Postcolonialism in literature , Families -- Fiction , Interpersonal relations in literature , Families in literature , Gender identity in literature , Gappah, Petina, 1971- -- Criticism and interpretation , Enright, Anne, 1962- -- Criticism and interpretation , Owuor, Yvonne Adhiambo
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/153757 , vital:39516
- Description: Anne Enright’s The Green Road, Petina Gappah’s The Book of Memory and Yvonne Adhiambo Owuor’s Dust offer various disruptive representations that challenge the normative family, and allow for an excavation of the potency and pervasiveness of the notion of family as an organising social principle, in a postcolonial context. Through these novels’ depictions of unorthodox families, it becomes possible to unpack the metaphorical architecture that underpins the normative family – by which I mean that social formation which enables and relies upon gender binaries, heteronormative constructions of sexuality and exclusionary racial structures. Additionally, I will attempt to examine the role that the normative family plays in shaping the subject, and determining its avenues of association, through encountering the disruptive possibilities portrayed in Gappah, Owuor and Enright’s works. My analysis is concerned with how the family orientates the subject in particular ways that regulate and delimit the subject’s means of relating to herself, those who surround her and the historic and mnemonic pasts in which she is embedded. In representing alternate kinship structures, these novels expand the aesthetic and imaginative landscape of the family and allow for new forms of relation to emerge. These transgressive and radical ways of being, knowing and loving have disruptive consequences for those social formations which are structured by, and draw on, the family – in particular the nation state. This reworking of the nation state, as well as the destabilisation of the relations between nations states, provides new avenues for inhabiting the postcolonial world. In particular, my reading argues that representations of the unfamiliar family offer different ways of receiving and relating to the self, others, and the past within a social order ruptured by the violent legacies of colonisation.
- Full Text:
- Date Issued: 2019
- Authors: Laubscher, Emma Kate
- Date: 2019
- Subjects: Postcolonialism in literature , Families -- Fiction , Interpersonal relations in literature , Families in literature , Gender identity in literature , Gappah, Petina, 1971- -- Criticism and interpretation , Enright, Anne, 1962- -- Criticism and interpretation , Owuor, Yvonne Adhiambo
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/153757 , vital:39516
- Description: Anne Enright’s The Green Road, Petina Gappah’s The Book of Memory and Yvonne Adhiambo Owuor’s Dust offer various disruptive representations that challenge the normative family, and allow for an excavation of the potency and pervasiveness of the notion of family as an organising social principle, in a postcolonial context. Through these novels’ depictions of unorthodox families, it becomes possible to unpack the metaphorical architecture that underpins the normative family – by which I mean that social formation which enables and relies upon gender binaries, heteronormative constructions of sexuality and exclusionary racial structures. Additionally, I will attempt to examine the role that the normative family plays in shaping the subject, and determining its avenues of association, through encountering the disruptive possibilities portrayed in Gappah, Owuor and Enright’s works. My analysis is concerned with how the family orientates the subject in particular ways that regulate and delimit the subject’s means of relating to herself, those who surround her and the historic and mnemonic pasts in which she is embedded. In representing alternate kinship structures, these novels expand the aesthetic and imaginative landscape of the family and allow for new forms of relation to emerge. These transgressive and radical ways of being, knowing and loving have disruptive consequences for those social formations which are structured by, and draw on, the family – in particular the nation state. This reworking of the nation state, as well as the destabilisation of the relations between nations states, provides new avenues for inhabiting the postcolonial world. In particular, my reading argues that representations of the unfamiliar family offer different ways of receiving and relating to the self, others, and the past within a social order ruptured by the violent legacies of colonisation.
- Full Text:
- Date Issued: 2019
“Something past provoked by something to come”: the dystopian complex in selected texts by Lauren Beukes
- Authors: Forrest, Catherine
- Date: 2017
- Subjects: Beukes, Lauren -- Moxyland , Beukes, Lauren -- Zoo City , Dystopias in literature , Science fiction -- History and criticism , South African fiction (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/18604 , vital:22360
- Description: This thesis examines Lauren Beukes’s novels, Moxyland and Zoo City, in relation to spectral theory, a tool of critique which enables an inspection of the author’s fictional societies, by looking at the return of that which has previously been repressed. It will be argued that, by portraying the country’s future imaginaries in a dystopian light, Beukes predicts the dissatisfaction that continues to be felt in the urbanised present as having extended into the near-future. Such discontent results not solely from the country’s history of apartheid and the poverty-stricken period of recovery that has followed, but in the lack of agency found in the future subject. The concerns of this thesis lie with the programmed conditions placed on the societies depicted in Beukes’s novels and the citizens that are made to inhabit these predetermined spaces. Arising from these fixed conditions are spectral subjectivities, protagonists who, having been denied recognition by the hegemonic powers at hand, are made inherently aware of the discourse of othering imposed upon them. Constructed from the writings of Jacques Derrida and contemporary spectral theorists, I present a framework capable of dealing with the popularity of ghosts/spectres, and the propensity for haunting, within post-transitional literature. Spectrality, then, is understood as a conceptual metaphor and a mode of characterisation that Beukes employs in her writing to highlight various inconsistencies about the spectralised subject and the future. By working with a theory capable of blurring the divide between the living and the dead, the self and other, it is possible to read Beukes’s fiction as possessing the potential to destabilise supposedly secure positions on otherness and alterity. Furthermore, it will be argued that, by tracking the spectre’s capacity to haunt and the multiplicity of responses which it invokes, it is possible to conceive of alterity, and the response which it generates, as responsible for determining the conditions for the coming of a radically unknowable and therefore open future.
- Full Text:
- Date Issued: 2017
- Authors: Forrest, Catherine
- Date: 2017
- Subjects: Beukes, Lauren -- Moxyland , Beukes, Lauren -- Zoo City , Dystopias in literature , Science fiction -- History and criticism , South African fiction (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/18604 , vital:22360
- Description: This thesis examines Lauren Beukes’s novels, Moxyland and Zoo City, in relation to spectral theory, a tool of critique which enables an inspection of the author’s fictional societies, by looking at the return of that which has previously been repressed. It will be argued that, by portraying the country’s future imaginaries in a dystopian light, Beukes predicts the dissatisfaction that continues to be felt in the urbanised present as having extended into the near-future. Such discontent results not solely from the country’s history of apartheid and the poverty-stricken period of recovery that has followed, but in the lack of agency found in the future subject. The concerns of this thesis lie with the programmed conditions placed on the societies depicted in Beukes’s novels and the citizens that are made to inhabit these predetermined spaces. Arising from these fixed conditions are spectral subjectivities, protagonists who, having been denied recognition by the hegemonic powers at hand, are made inherently aware of the discourse of othering imposed upon them. Constructed from the writings of Jacques Derrida and contemporary spectral theorists, I present a framework capable of dealing with the popularity of ghosts/spectres, and the propensity for haunting, within post-transitional literature. Spectrality, then, is understood as a conceptual metaphor and a mode of characterisation that Beukes employs in her writing to highlight various inconsistencies about the spectralised subject and the future. By working with a theory capable of blurring the divide between the living and the dead, the self and other, it is possible to read Beukes’s fiction as possessing the potential to destabilise supposedly secure positions on otherness and alterity. Furthermore, it will be argued that, by tracking the spectre’s capacity to haunt and the multiplicity of responses which it invokes, it is possible to conceive of alterity, and the response which it generates, as responsible for determining the conditions for the coming of a radically unknowable and therefore open future.
- Full Text:
- Date Issued: 2017
“We’ve Tamed the World by Framing It”: Islam, ‘Justifiable Warfare,’ and situational responses to the war on terror in selected post-9/11 novels, films and television
- Authors: Sulter, Philip Eric John
- Date: 2017
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/5544 , vital:20940
- Description: This thesis explores geopolitically diverse fictional responses to 9/11 and the War on Terror. Drawing on Judith Butler’s (2009) notion of the “frames of war,” Jacques Derrida’s (2005) conception of the ‘friend’/‘enemy’ binary, and Mahmood Mamdani’s (2004) critique of the ‘good’ Muslim, ‘bad’ Muslim dichotomy (delineated in 2001 by President George W. Bush) I examine how selected examples of contemporary literature, as well as a popular television series, depict the War on Terror; and analyse how these differently situated texts structure their respective depictions of Islam and Muslims. In the first chapter, I focus on how The Reluctant Fundamentalist (2007), a novel by the Pakistani author, Mohsin Hamid, problematises the ‘good’ Muslim, ‘bad’ Muslim binary, and argue that the protagonist’s decision to leave the United States in the wake of 9/11 represents an important political comment on global perceptions of American foreign policy and the human cost of millennial capitalism. Chapter 2 is an investigation of two novels: The Silent Minaret (2005) and I See You (2014), by the South African writer, Ishtiyaq Shukri. By situating his characters in a variety of geopolitical spaces and temporal realities, Shukri encourages the reader to discard the structuring frames of nation, race, and religion, and links the vulnerability and violence implicit in the War on Terror to a longer history of conquest, colonialism, and apartheid. In the process, Shukri illustrates the importance of understanding repressive local contexts as interwoven with global and historical power dynamics. Chapter 3 is a study of the popular American television series, Homeland (2011—), created by Alex Gansa and Howard Gordon, and focuses on the manner in which the Central Intelligence Agency’s “Overseas Contingency Operations” are portrayed by the show. I argue that Homeland initially problematises the ‘friend’/‘enemy’ binary, but subsequently collapses into a narrative in which these two polarities are construed by prevailing American attitudes towards Islam and the notion of the War on Terror as a necessity. This thesis concludes that texts that characterise the War on Terror as a global phenomenon, and situate it within a broad historical discourse, are able to subvert the singularity ascribed to the 9/11 attacks, as well as the epochal connotations of the ‘post-9/11 ’ literary genre. I argue that the novels I have chosen scrutinise the ways in which perceptions are framed by dominant forms of media, historiography, and political rhetoric, and not only offer unique insights on the repercussions of the global War on Terror but attempt to conceive of humanity in its totality, and therefore destabilise the ontological and reductive operation of the frame itself.
- Full Text:
- Date Issued: 2017
- Authors: Sulter, Philip Eric John
- Date: 2017
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/5544 , vital:20940
- Description: This thesis explores geopolitically diverse fictional responses to 9/11 and the War on Terror. Drawing on Judith Butler’s (2009) notion of the “frames of war,” Jacques Derrida’s (2005) conception of the ‘friend’/‘enemy’ binary, and Mahmood Mamdani’s (2004) critique of the ‘good’ Muslim, ‘bad’ Muslim dichotomy (delineated in 2001 by President George W. Bush) I examine how selected examples of contemporary literature, as well as a popular television series, depict the War on Terror; and analyse how these differently situated texts structure their respective depictions of Islam and Muslims. In the first chapter, I focus on how The Reluctant Fundamentalist (2007), a novel by the Pakistani author, Mohsin Hamid, problematises the ‘good’ Muslim, ‘bad’ Muslim binary, and argue that the protagonist’s decision to leave the United States in the wake of 9/11 represents an important political comment on global perceptions of American foreign policy and the human cost of millennial capitalism. Chapter 2 is an investigation of two novels: The Silent Minaret (2005) and I See You (2014), by the South African writer, Ishtiyaq Shukri. By situating his characters in a variety of geopolitical spaces and temporal realities, Shukri encourages the reader to discard the structuring frames of nation, race, and religion, and links the vulnerability and violence implicit in the War on Terror to a longer history of conquest, colonialism, and apartheid. In the process, Shukri illustrates the importance of understanding repressive local contexts as interwoven with global and historical power dynamics. Chapter 3 is a study of the popular American television series, Homeland (2011—), created by Alex Gansa and Howard Gordon, and focuses on the manner in which the Central Intelligence Agency’s “Overseas Contingency Operations” are portrayed by the show. I argue that Homeland initially problematises the ‘friend’/‘enemy’ binary, but subsequently collapses into a narrative in which these two polarities are construed by prevailing American attitudes towards Islam and the notion of the War on Terror as a necessity. This thesis concludes that texts that characterise the War on Terror as a global phenomenon, and situate it within a broad historical discourse, are able to subvert the singularity ascribed to the 9/11 attacks, as well as the epochal connotations of the ‘post-9/11 ’ literary genre. I argue that the novels I have chosen scrutinise the ways in which perceptions are framed by dominant forms of media, historiography, and political rhetoric, and not only offer unique insights on the repercussions of the global War on Terror but attempt to conceive of humanity in its totality, and therefore destabilise the ontological and reductive operation of the frame itself.
- Full Text:
- Date Issued: 2017
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