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.
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- 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.
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Localising the global: the use of a postmodernist aesthetic in the fiction of Alain Mabanckou
- Authors: Ngulube, Innocent Akilimale
- Date: 2020
- Subjects: Mabanckou, Alain, 1966- , Mabanckou, Alain, 1966- -- Blue, white, red , Mabanckou, Alain, 1966- -- African psycho , Mabanckou, Alain, 1966- -- Broken glass , Mabanckou, Alain, 1966- -- Memoirs of a porcupine , Mabanckou, Alain, 1966- -- The Lights of Pointe-Noire , Mabanckou, Alain, 1966- -- Tomorrow I'll be twenty , Mabanckou, Alain, 1966- Black bazaar , Postcolonialism in literature , African fiction (French) -- History and criticism , Postmodernism (Literature)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/167153 , vital:41442
- Description: This thesis explores the use of a postmodernist aesth etic in Alain Mabanckou’s oeuvre, namely Blue White Red, African Psycho, Broken Glass, Memoirs of a Porcupine, Black Bazaar, Tomorrow I’ll Be Twenty, The Lights of Pointe-Noire, and Black Moses. In particular, I show how and why this Afrodiasporic author localises strategies associated with Western postmodernist writing in an African postcolonial context. My central argument is that if postmodernism is a critique of modernity in the West, then it must also be a respon se to enforced modernity in the African postcolonial context. In mounting this argument, I conduct a close reading of Mabanckou’s novels from within the theoretical frameworks of postmodernism and postcolonialism. I demonstrate that Mabanckou’s writing adu mbrates the possibility of a postcolonial postmodernism. Since he is a French-Congolese citizen, his writing evinces aesthetic glocalisation. That is, as a postcolonial writer, he conceives of, and inflects, postmodernism differently from a Western writer, for his experiences of and responses to modernity differ from the latter’s. Far from replicating a politics of disillusionment and despair that informs, even characterises, Western postmodernist fiction, Mabanckou invests hi s African postcolonial writing with a politics of decolonis ation which problematises the effects of enforced modernity. Postmodernism, in other words, accords Mabanckou an ambivalent position from which he interrogates both Western modernity and its African version. Significantly, in this regard, Mabanckou’s writing presents both an extension of and a departure from the pioneering influence of the first generation of African writers such as Chinua Achebe, Ngugi wa Thiong’o, and Wole Soyinka.
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- Authors: Ngulube, Innocent Akilimale
- Date: 2020
- Subjects: Mabanckou, Alain, 1966- , Mabanckou, Alain, 1966- -- Blue, white, red , Mabanckou, Alain, 1966- -- African psycho , Mabanckou, Alain, 1966- -- Broken glass , Mabanckou, Alain, 1966- -- Memoirs of a porcupine , Mabanckou, Alain, 1966- -- The Lights of Pointe-Noire , Mabanckou, Alain, 1966- -- Tomorrow I'll be twenty , Mabanckou, Alain, 1966- Black bazaar , Postcolonialism in literature , African fiction (French) -- History and criticism , Postmodernism (Literature)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: http://hdl.handle.net/10962/167153 , vital:41442
- Description: This thesis explores the use of a postmodernist aesth etic in Alain Mabanckou’s oeuvre, namely Blue White Red, African Psycho, Broken Glass, Memoirs of a Porcupine, Black Bazaar, Tomorrow I’ll Be Twenty, The Lights of Pointe-Noire, and Black Moses. In particular, I show how and why this Afrodiasporic author localises strategies associated with Western postmodernist writing in an African postcolonial context. My central argument is that if postmodernism is a critique of modernity in the West, then it must also be a respon se to enforced modernity in the African postcolonial context. In mounting this argument, I conduct a close reading of Mabanckou’s novels from within the theoretical frameworks of postmodernism and postcolonialism. I demonstrate that Mabanckou’s writing adu mbrates the possibility of a postcolonial postmodernism. Since he is a French-Congolese citizen, his writing evinces aesthetic glocalisation. That is, as a postcolonial writer, he conceives of, and inflects, postmodernism differently from a Western writer, for his experiences of and responses to modernity differ from the latter’s. Far from replicating a politics of disillusionment and despair that informs, even characterises, Western postmodernist fiction, Mabanckou invests hi s African postcolonial writing with a politics of decolonis ation which problematises the effects of enforced modernity. Postmodernism, in other words, accords Mabanckou an ambivalent position from which he interrogates both Western modernity and its African version. Significantly, in this regard, Mabanckou’s writing presents both an extension of and a departure from the pioneering influence of the first generation of African writers such as Chinua Achebe, Ngugi wa Thiong’o, and Wole Soyinka.
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