Queer as Africa: Representations of queer lives in selected Nigerian, Kenyan, and South African literature and film
- Authors: Wilson, Jon Stephen Edward
- Date: 2021-10-29
- Subjects: Africans in literature , Africans in motion pictures , Homosexuality in literature , Homosexuality in motion pictures , Sexual minorities in literature , Sexual minorities in motion pictures , African literature History and criticism , Motion pictures, African History and criticism , Sexual minorities South Africa Public opinion , Sexual minorities Kenya Public opinion , Sexual minorities Nigeria Public opinion , Sexual minorities South Africa Social conditions , Sexual minorities Kenya Social conditions , Sexual minorities Nigeria Social conditions
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/187428 , vital:44651
- Description: This thesis contests the notion that nonnormative sexualities are ‘un-African’ by examining a range of representations of queer African lives on film and in literature, produced by Africans for Africans, as a means to interrogate the role played by the interconnected histories of colonialism, religion, and the policing of queer intimacy, specifically in Kenya, Nigeria, and South Africa. Through a close reading of a selection of texts from these three countries, this thesis takes a cultural-historical approach to exploring the complex struggles engaged in by queer people in Africa to protections under the law, and to represent themselves in literary and cinematic narratives. The first chapter is focused on the Kenyan film Rafiki (2018), directed by Wanuri Kahiu, which tells the story of queer love between two young Kenyan women who face the vehement condemnation of their relationship from their homophobic community. The film was banned in Kenya, but the director was granted a temporary injunction by Kenya’s high court in order for it to be screened in Nairobi. This made Rafiki the first queer film ever to be screened in Kenya, and viable for an Academy Award nomination. The second chapter focuses on the bold assertion of a queer African identity through the short story collections Queer Africa: New and Collected Fiction (2013) and Queer Africa 2: New Stories (2017). Written by various authors from the African continent, and compiled and edited by Karen Martin and Makhosazana Xaba, both collections offer a wide variety of fictional narratives focused on queer experiences in Africa. The second chapter has a focus on stories from Kenyan and Nigerian authors and explores notions of home, queer belonging, and visibility. The third chapter presents a close reading of the South African film Inxeba (2017), also known as The Wound, directed by John Trengove and adapted by Trengove and Thando Mgqolozana from Mgqolozana’s novel, A Man Who Is Not A Man (2009). The film depicts the traditional Xhosa initiation ritual, ulwaluko, and is set in the rural Eastern Cape. Inxeba is an important case study in the history of queer representation in Africa, as the film hit a nerve with many, interrogating what South Africans believe about culture, traditions, masculinity, and the right of artists to represent sacred ritual in art. This thesis pays attention to the historical entanglements between homophobia, imperialism, and Christianity – relationships that continue to affect the experiences of queer people in Africa and attitudes towards them and interrogates why queer individuals are still being left out of efforts towards creating a new normal in postcolonial Africa. This thesis suggests that increased visibility is a key aspect of queer activism in Africa – through the act of representation, sharing lived experiences, and telling queer stories. , Thesis (MA) -- Faculty of Humanities, Literary Studies in English, 2021
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“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.
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Female identity in the post-millennial Nigerian novel: a study of Adichie, Atta, and Unigwe
- Authors: Wambui, Mary Theru
- Date: 2015
- Subjects: Adichie, Chimamanda Ngozi, 1977- -- Criticism and interpretation , Adichie, Chimamanda Ngozi, 1977-. Purple hibiscus , Atta, Sefi -- Criticism and interpretation , Atta, Sefi -- Everything good will come , Unigwe, Chika. Criticism and interpretation , Unigwe, Chika. Fata Morgana -- English , Nigerian fiction -- History and criticism , Women -- Identity , Women in literature , Feminism in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2330 , http://hdl.handle.net/10962/d1020013
- Description: This thesis project examines the work of three female Nigerian authors: Chimamanda Ngozi Adichie, Sefi Atta and Chika Unigwe. They are part of a growing number of young African writers who are receiving international acclaim and challenging narratives that have long defined the continent in pejorative terms. They question what it means to be female and African in a transcultural, global world but counter discourses that are both restrictive and prescriptive. Their female characters are not imaged in binary terms as either victims or villains. For all three writers, the African story has to be told in its entirety incorporating what some may argue are negative stereotypes but doing so in a manner that examines and undermines those same stereotypes. For the purposes of the thesis, I focus on their first novels: Adichie’s Purple Hibiscus, Atta’s Everything Good Will Come and Unigwe’s On Black Sisters’ Street. Chapter One examines Purple Hibiscus and argues that the novel is much more than a coming of age story or, as some critics have posited, an allegory of the postcolonial state. Chapter Two highlights Atta’s use of fairly familiar feminist theories but grounds them in the lived realities of the African city. All three authors are concerned with issues of violence and death. Unigwe’s novel, which forms the focus of Chapter Three, offers a critical perspective on how both of those themes intersect with the increasing commercialisation of global culture. Her characters are female sex workers whose lives are irrevocably altered by the murder of one of their colleagues. I conclude by arguing that the three novels offer a nuanced if not necessarily new understanding of the various social, economic and political forces that continue to shape the lives of women on the continent.
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Pathologies of vision : representations of deviant women and the cyborg body
- Authors: Rheeder, Elle-Sandrah
- Date: 2015
- Subjects: Haraway, Donna Jeanne -- Criticism and interpretation , Deviant behavior in art , Cyborgs in art , Cyborgs in motion pictures , Women in art , Socialist feminism , Hysteria in literature , Hysteria -- History , Science fiction -- History and criticism , Visual communication in art
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2514 , http://hdl.handle.net/10962/d1020319
- Description: This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated
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'I want to tell the story again': re-telling in selected novels by Jeanette Winterson and Alan Warner
- Authors: Collett, Jenna Lara
- Date: 2011
- Subjects: Warner, Alan Criticism and interpretation Winterson, Jeanette, 1959- -- Criticism and interpretation English fiction -- 20th century -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2248 , http://hdl.handle.net/10962/d1002291
- Description: This thesis investigates acts of ‘re-telling’ in four selected novels by Jeanette Winterson and Alan Warner.Re-telling, as I have defined it, refers to the re-imagining and re-writing of existing narratives from mythology, fairy tale, and folktale, as well as the re-visioning of scientific discourses and historiography. I argue that this re-telling is representative of a contemporary cultural phenomenon, and is evidence of a postmodern genre that some literary theorists have termed re-visionary fiction. Despite the prevalent re-telling of canonical stories throughout literary history, there is much evidence for the emergence of a specifically contemporary trend of re-visionary literature. Part One of this thesis comprises two chapters which deal with Winterson’s Sexing the Cherry (1989) and Weight (2005) respectively. In these chapters, I argue that, although the feminist and historiographic elements of her work are significant, there exist further motivations for Winterson’s acts of re-telling in both Sexing the Cherry and Weight. In Chapter One, I analyse Winterson’s subversion and re-imagining of historiography, as well as her re-telling of fairy tale, in Sexing the Cherry. Chapter Two provides a discussion of Winterson’s re-telling of the myth of Atlas from Greek mythology, in which she draws on the discourses of science, technology, and autobiography, in Weight. Part Two focuses on Warner’s first two novels, Morvern Callar (1995) and These Demented Lands (1997). In both novels, Warner re-imagines aspects of Christian, Celtic and pagan mythology in order to debunk the validity of biblical archetypes and narratives in a contemporary working-class setting, as well as to endow his protagonist with goddess-like or mythical sensibilities. Chapter Three deals predominantly with Warner’s use of language, which I argue is central to his blending of mythological and contemporary content, while Chapter Four analyses his use of myth in these two novels. This thesis argues that while both Winterson and Warner share many of the aims associated with contemporary re-visionary fiction, their novels also exceed the boundaries of the genre in various ways. Winterson and Warner may, therefore, represent a new class of re-visionary writers, whose aim is not solely to subvert the pre-text but to draw on its generic discourses and thematic conventions in order to demonstrate the generic and discursive possibilities inherent in the act of re-telling.
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