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Kenyan comedy: transmogrifying stereotypes and fashioning a ‘Kenyanness’ of aesthetic escapism

- Lumasia, Patrick Chesi

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
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Date Issued: 2023-10-13

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The portrayal of migrants and liminality in Nadifa Mohamed’s Black Mamba Boy, The Orchard of Lost Souls and The Fortune Men

- Fühner, Melissa Ashleigh

Authors: Fühner, Melissa Ashleigh
Date: 2023-10-13
Subjects: Mohamed, Nadifa, 1981- Criticism and interpretation , Diaspora , Transnationalism in literature , Migration studies , Liminality in literature , African literature (English) History and criticism
Language: English
Type: Academic theses , Master's theses , text
Identifier: http://hdl.handle.net/10962/425056 , vital:72205
Description: This thesis argues that the characters in Nadifa Mohamed’s oeuvre exhibit both vulnerability and agency and that their position in society oscillates as if between two poles, as they cross social and spatial boundaries. There is no existing scholarly research that focuses on child migrants in Mohamed’s texts specifically. Here, Black Mamba Boy, The Orchard of Lost Souls and The Fortune Men are analysed and compared with a central focus on the child migrant characters to examine her portrayal of conflict-induced migration and its impact on vulnerable communities. In Black Mamba Boy, Mohamed portrays Jama’s exilic journey where he leaves his homeland of Hargeisa and migrates across territorial borders in Northeast Africa to find his father. His quest brings him from Somaliland to Sudan as he walks through countries that are devastated by the war between the British and Italian colonial forces in the 1930s. As Jama attempts to cross the spatial distance between himself and his father he also treads the invisible line between life and death. Along his journey, Jama is exploited and abused by colonial troops and traumatised by the conflict he witnesses. Mohamed revisits her father’s precarious journey not to portray him as a victim but to make him “a hero, not the fighting or romantic kind but the real deal, the starved child who survives every sling and arrow that shameless fortune throws at them” (1). Thus, the text is an account of Jama’s strength as he miraculously survives the brutalities of war. Similarly, in The Orchard of Lost Souls, the child protagonist, Deqo, is a refugee with parents. She internally migrates through Hargeisa at the moment the region breaks out into the Somali Civil War. Deqo attempts to keep herself out of harm’s way as the town is destroyed by soldiers and rebel groups who have opened fire against civilians. As a female child migrant Deqo occupies a particularly vulnerable position as she navigates a space where gender-based violence is used as a method of war. Despite the dangers around her, Deqo actively seeks out safety and a path that will free her from the tightening grip of the war. The Fortune Men depicts Mahmood’s journey of migration as an adult. When he attempts to cross the border into Wales he is ostracised, abused, and dehumanised because of his difference. Jama and Deqo’s exilic journeys are compared to Mahmood’s unsuccessful migration and the children cross borders that adults cannot cross because they use their vulnerability to seek out opportunities and change their environment. This thesis is situated within the theoretical framework of transnational and diasporic literature with a specific focus on the impact of forced migration on child migrants. Through close engagement and comparison of the three primary ii texts mentioned, this thesis demonstrates the vulnerabilities and fluctuating agencies of characters to highlight their liminal positioning. , Thesis (MA) -- Faculty of Humanities, Literary Studies in English 2023
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Date Issued: 2023-10-13

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“Rwanda cannot be exorcised”: representations of the trauma of the Rwandan Genocide in selected films and novels

- Jennings, Kathleen

Authors: Jennings, Kathleen
Date: 2023-10-13
Subjects: Rwandan Genocide, Rwanda, 1994 , Genocide in literature , Genocide in motion pictures , Psychic trauma , Postcolonialism , Collective memory Rwanda
Language: English
Type: Academic theses , Master's theses , text
Identifier: http://hdl.handle.net/10962/425067 , vital:72206
Description: Although the Rwandan genocide (itsembabwoko in Kinyarwanda) has often been compared with the Holocaust, in terms of literary and cinematic narratives it has been largely underrepresented, with the notable exception of the release of the films Hotel Rwanda (2004) and Sometimes in April (2005), as well as novels such as Gil Courtemanche’s A Sunday at the Pool in Kigali (2003). However, although there is now a larger oeuvre of works on the subject, they are often not widely known or disseminated beyond their countries of origin. Of even greater concern is the fact that most cinematic narratives on itsembabwoko rely on Western narrative structures in their approach to storytelling. As a result, trauma in these narratives largely tends to focus on the experiences of Western protagonists or on Rwandan protagonists from a Western point of view. This tendency can be tied to the use of Western trauma theory in exploring the effects of the genocide on its witnesses and survivors, at the expense of arguably more relevant postcolonial trauma theory. This presents a problem in theorising the trauma of itsembabwoko, which occurred in a highly specific historical context involving the processes of colonization and decolonization, and in which the difficulties in unifying a population which had been split along socio-economic lines since pre-colonial times remained unresolved. Despite its shortcomings in the postcolonial African context, it would be a mistake to dismiss Yale trauma theory entirely, however, since theorists such as Cathy Caruth still provide valuable insights into the effects of trauma on both the individual and the collective. As a result, I have sought to find commonalities between the two schools of thought, so as to create a more nuanced view of itsembabwoko, its repercussions and the violence preceding it. In writing this thesis, I have selected mostly Rwandan authors, often survivors of the genocide, whose works provide an alternative view of Rwanda’s violent history to that presented in the works mentioned above. Given that the majority of the texts I focus on have been released more recently – mostly the mid-2010s – and are less well-known than their Western counterparts, they provide the opportunity to compare first-hand accounts with those that can only partially recreate the terror of anti-Tutsi violence in Rwanda. My analysis hopefully provides a new perspective on the dominant narratives which have shaped the way in which non-Rwandan (predominantly Western) audiences understand the genocide. The overall aim of this thesis, then, is to demonstrate the importance of placing the genocide and its resultant trauma in a broader historical context, with a view to establishing that it is shortsighted to ignore the impact of pre- and post-genocide trauma on the Rwandan people when discussing itsembabwoko. Though this has been achieved in socio-historical studies, such as Mahmood Mamdani’s When Victims Become Killers: Colonialism, Nativism, and the Genocide in Rwanda, very little has been produced on literary and cinematic representations of the genocide. , Thesis (MA) -- Faculty of Humanities, Literary Studies in English 2023
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Date Issued: 2023-10-13

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Language and the Thing in Itself in the fiction of John Banville

- Payne, Jessica Raechel

Authors: Payne, Jessica Raechel
Date: 2021-10-29
Subjects: Banville, John Criticism and interpretation , English literature 20th century History and criticism , Language and languages in literature , Narrative inquiry (Research method) , Hermeneutics , Excess (Philosophy) , Literary criticism
Language: English
Type: Master's theses , text
Identifier: http://hdl.handle.net/10962/190019 , vital:44956
Description: This thesis consists of an exploration of the interaction between language and the thing in itself in the fiction of John Banville. The thing in itself is that which exceeds the text and to which it cannot refer, even as it is compelled to do so. In exploring this tension, the thesis focuses on how Banville’s writing, in foregrounding the inadequacy of the literary text, makes the reader aware of the existence of what exceeds it. Each of the chapters in the study examines the various strategies through which Banville gestures beyond the text in spite of the limitations placed upon him by form and genre. The first chapter studies the tendency in this writer’s texts to view death as an apotheosis of the soul in which the individual finally has access to the thing in itself, which they had previously encountered as infants before entering language. The second chapter examines how elements of Romantic thought, such as nostalgia, the seniority of the child over the adult and a particular impression of the natural world, contribute to Banville’s attempt to gesture towards the thing in itself. In the third chapter, the role of language in distorting one’s understanding of the other is examined. The final chapter of the thesis examines the narrative strategies (including mise en abyme, ekphrasis, metaphor and catachresis) Banville uses in order to present the reader with excess. Ultimately, this study suggests that Banville uses various narrative strategies to make his reader aware of that which exists outside of the text. By gesturing beyond the novel to the sublime, and by self-reflexively exposing the inner workings of the writing process to the reader, Banville’s texts confront the reader with an intimation of ineluctable excess. , Thesis (MA) -- Faculty of Humanities, Literary Studies in English, 2021
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Date Issued: 2021-10-29

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Queer as Africa: Representations of queer lives in selected Nigerian, Kenyan, and South African literature and film

- Wilson, Jon Stephen Edward

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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Date Issued: 2021-10-29

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“Un-silencing queer Nigeria”: Representations of queerness in contemporary Nigerian fiction

- Akram, Tahzeeb

Authors: Akram, Tahzeeb
Date: 2021-10-29
Subjects: Heterosexism in literature , Patriarchy in literature , Homophobia in literature , Sexual minorities in literature , Nigerian literature 21st century History and criticism , Queer theory Nigeria , Gender identity Law and legislation Nigeria , Gender identity Religious aspects , Sexual minorities Nigeria Social conditions , Nigeria. Same Sex Marriage (Prohibition) Act, 2013
Language: English
Type: Master's theses , text
Identifier: http://hdl.handle.net/10962/190668 , vital:45016
Description: This thesis analyses contemporary queer Nigerian fiction, particularly queer representations regarding law, religion and culture in Nigeria’s heteropatriarchal and queerphobic society. I explore a number of authors’ use of different literary forms and platforms to promote and represent non-conforming genders and sexualities in queerphobic Nigeria. These narratives show queer people navigating the heteronormative society vis-à-vis marriage, family, intimacy, work, violence and rights activism. I draw on Western and African gender and queer theories for the concepts, definitions and critical terminologies used in this thesis. African queer theorists and activists are highlighted for their reclaiming queer history from among the early records in Africa as well as contemporary queer Nigerian literature and activism. Religion and queerness are crucial themes in Chinelo Okparanta’s same sex women’s novel, Under the Udala Trees. Using queer African Christian theology against Nigeria’s conservative socio-religious setting, I demonstrate that queerness is not a threat to Nigerian’s Christian faith, and that mutual coexistence of queer sexuality and Christianity advances queer rights in that society. Nnanna Ikpo’s Fimí Sílẹ̀ Forever: Heaven gave it to me’s problematises heteronormative masculinities and the manufacturing of heteropatriarchy and queer masculinities in Nigeria. I examine the protagonists who are both victims of and perpetrators in their queerphobic society. The socio-legal focus I employ examines the impact of the 2014 Same Sex Marriage Prohibition Act on Nigeria’s already marginalised and oppressed queer community. There are vast opportunities for queer Nigerian artists to create, publish and promote queer identities in the safe and enabling space of online platforms via physical distancing between the queer community and the queerphobic society. From the digitally published 14: An Anthology of Queer Art’s two volumes, five short stories are analysed regarding different forms of intimacies in queer men’s relationships. These queer contemporary fiction writers offer complex representations of queerness within Nigeria’s heteropatriarchal and queerphobic society that polices non-normative bodies through religion, culture and the law. Such literary texts, digital literary platforms and activism vitally provide queer Nigerians a progressive space to assert queer presence, voices lives and rights to educating and re-socialising their society towards humaneness. , Thesis (MA) -- Faculty of Humanities, Literary Studies in English, 2021
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Date Issued: 2021-10-29

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Resisting the ‘Native Informant’ trope in examples of African Diaspora art and literature

- Nuen, Tinika

Authors: Nuen, Tinika
Date: 2020
Language: English
Type: text , Thesis , Masters , MA
Identifier: http://hdl.handle.net/10962/131657 , vital:36708
Description: This thesis draws attention to the existence of the ‘native informant’ trope in the African Diaspora. It argues that a strong emphasis towards studying diasporic groups in relation to their African origin revives, consequently, the colonial politics that underpin the continent as an unknown mythical place. In response to this issue, I introduce multidisciplinary case studies that highlight various artists and authors who resist and challenge the diasporic individual as the ‘native informant’. Their works reinterpret and redefine the relationship between African communities, their connection to the continent and their experiences of living abroad. Analysing the exhibitions Looking Both Ways, Africa Remix and Flow, I investigate their visual art discourses that interpret diasporic artists and their works as cultural embodiments of their African background. As a result, the three art shows marginalise other potential readings to view diasporic experiences. This thesis introduces three resistant themes that reconceive the diasporic person’s relationship to the African Diaspora based on language, spatial interaction and self-identification opposed to a geographic tie. The first theme (language) references Victor Ekpuk’s drawings and Isidore Okpewho’s novel Call Me By My Rightful Name to suggest a language based diasporic experience. The second theme (spatial interaction) looks at Emeka Ogboh’s sound installations and Teju Cole’s novel Open City. Both works examine a diasporic individual’s conflicted engagement with her place of origin. The third theme (self-identification) considers the individual-community relationship in Wura-Natasha Ogunji’s performance art and Chika Unigwe’s novel On Black Sisters’ Street. Each of these visual-literary pairs focus on various components that shape the African diasporic lifestyle. My research re-interprets the continent’s significance in the diaspora from a geographic construct to a socio-spiritual connection to a community. Firstly, it outlines the persistent issue of a colonial residue in Africa’s definition as a physical-cultural space, and secondly, it offers three alternative discourses to read diasporic identities outside a geographic framework. I argue that belonging is a social individual-collective effort rather than an anchor to a tangible environment.
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Date Issued: 2020

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“Don’t be alarmed. It’s to do with sex.” Sherlock Holmes fanfiction and freedom of the imaginary domain

- Van der Nest, Megan

Authors: Van der Nest, Megan
Date: 2020
Subjects: Fan fiction , Fans (Persons) -- Fiction , Holmes, Sherlock , Literature and the internet , Sex in literature
Language: English
Type: text , Thesis , Doctoral , PhD
Identifier: http://hdl.handle.net/10962/124208 , vital:35576
Description: In this thesis I argue that, for the individual fan, reading and writing fanfiction texts, and engaging with the online fandom communities within which these texts are produced, is a potentially valuable experience. This is because the kind of social and creative spaces found in these communities allow for, and celebrate, the free imaginative play with romantic and sexual desires, identities, and relationships. To articulate the importance of these spaces, I draw on Drucilla Cornell’s concept of the imaginary domain, defined as the psychic space each individual uses to explore different sexual desires and personae, which exploration is necessary for the development of full personhood. I also argue that the growing visibility and influence of fandom in modern society means that it could serve as a mechanism for social change, particularly in the acceptance and support of multiple sexual identities and forms of love. Selected texts, drawn from the Sherlock fandom, are discussed as representative of the approach taken within fanfiction communities towards various aspects of sexuality and sexual ethics. This approach combines the enthusiastic exploration of sexual desires without shame or fear of judgment with an ongoing, critical interrogation of sexual ethics.
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Date Issued: 2020

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“Savage” hair and mothers’ hearts: a corpus-based critical discourse analysis of intersectional identities in two South African school setworks

- Hubbard, Beatrice Elizabeth Anne

Authors: Hubbard, Beatrice Elizabeth Anne
Date: 2020
Subjects: Women in literature , Women, Black in literature , Critical discourse analysis , Magona, Sindiwe -- Mother to mother , Bulbring, Edyth -- The Mark
Language: English
Type: text , Thesis , Masters , MA
Identifier: http://hdl.handle.net/10962/141770 , vital:38003
Description: This thesis reports on the discursive construal of intersectional physical identities, with particular reference to ‘black’ female characters, in two novels: Sindiwe Magona’s Mother to Mother, and Edyth Bulbring’s The Mark. These novels are prescribed for Grade 10 English Home Language learners in all South African public schools. Gendered identity construction in texts has been widely discussed in critical linguistics, with some research showing that the ways in which bodies are construed reveal the hegemonic and stereotypical gendering of men and women. However, these arguments have not adequately addressed the intersectional nature of identity construction. This thesis employs Corpus-based Critical Discourse Analysis to investigate the complex physical identities of, especially, ‘black’ female characters in these two novels. The inclusion of Corpus Linguistics is essential for uncovering hidden patterns of language choice, while the analytical techniques and theoretical notions from Critical Discourse Analysis provide the explanatory power that underpins the qualitative analysis. The uses to which nine key body parts are put reveal discourse prosodies showing different intersectional realisations for intimacy, power, violence, emotion, and racial marking. These discourse prosodies are most starkly realised in the two body parts, one from each novel, that are statistically most clearly linked to ‘black’ female characters. HAIR in The Mark is used variously as a racial marker, a target for racism, and a symbol for racial pride. HEART in Mother to Mother is used almost exclusively to symbolise the emotional pain of a mother’s love, and how empathy for another mother’s pain can bridge racial divides. Principal findings reveal that both novels provide very necessary lessons in cross-racial empathy, pride in ‘blackness,’ and interracial relationships. However, it is of concern that these novels also exhibit an over-valorisation of motherhood, largely stereotypical depictions of gender roles, and ableist language. In sum, both novels promote some of the transformative principles of the national curriculum, and are shown to have a bearing on nation building.
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Date Issued: 2020

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The Afropolitan flâneur: literary representations of the city and contemporary urban identities in selected African and transnational texts

- Leff, Carol Willa

Authors: Leff, Carol Willa
Date: 2019
Subjects: City and town life in literature , African literature (English) -- History and criticism , Flaneurs in literature
Language: English
Type: text , Thesis , Doctoral , PhD
Identifier: http://hdl.handle.net/10962/115082 , vital:34076
Description: When an individual walks the urban landscape there is a unique symbiosis between self and city. It is through walking the cityscape and observing the crowd and the surrounding environment that the archetypal literary figure of the European flâneur acts as a mirror of a particular time and space. But how might such a flâneur walk and observe the city in contemporary African and transnational literary texts? I argue that there is a literary re-imagining and repurposing of the flâneur figure which has hitherto not been acknowledged and explored: an Afropolitan flâneur. ‘Afropolitan’ is a term popularised by Taiye Selasi in a 2005 essay to refer to a ‘scattered tribe’ of ‘Africans of the world’ (n. pag.). In this dissertation, the entanglement of the Afropolitan subject and the European flâneur brings together past and present, Africa and the West. I first provide a historical and theoretical framework to illustrate how the flâneur figure ‘migrated’ from Europe to Africa, and how this figure is to be understood as a literary construct, in relation to current considerations of Afropolitanism. I go on to discuss a wide range of texts that engage with Afropolitan flâneurs who traverse cities in Africa (such as Johannesburg, Cape Town and Lagos), or global north cities (New York, Paris and London). While some of the Afropolitan flâneurs depicted in these texts are migrants or homeless individuals who struggle to adapt easily to a new environment, others, despite being more privileged, also sometimes experience uncomfortable assimilation in their new or strange city space. There are also those who seem to feel equally at home wherever they find themselves. As these Afropolitan flâneurs walk their way through the urban landscape in the texts under examination, they reflect different ways of being in the city. By problematising the binaries of local/global, national/transnational, black/white, slum/paradise, this dissertation seeks to address issues of belonging or not belonging and gestures towards new ways of understanding what it means to be an African in the world.
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Date Issued: 2019

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“New ways of telling”: African textual forms and dissemination in the age of digital media

- Friedemann, Oriole Megan

Authors: Friedemann, Oriole Megan
Date: 2019
Subjects: Digital media -- Africa , Self-publishing -- Africa , African literature , Literature publishing -- Technological innovations , Blog authorship -- Africa , African Storybook Reader , FunDza Literacy Project , Long Story SHORT
Language: English
Type: text , Thesis , Masters , MA
Identifier: http://hdl.handle.net/10962/115105 , vital:34078
Description: In the age of digital media, creators are using the versatile nature of information and communication technologies and the ubiquity of the web to publish and distribute texts, circumventing traditional gatekeepers such as publishing institutions. In Africa, where web access and digitisation are relatively new, storytellers are eagerly exploring new mediums and the possibilities that they provide for African narratives and African representation. This thesis looks at the digital platforms of the African Storybook Reader, the FunDza Literacy Project, and Long Story SHORT, as well as Dudu Busani-Dube’s novel Hlomu the Wife, which first gained popularity on a blog platform. It examines three different web series, An African City, The Foxy Five, and Tuko Macho, as well as a transmedia documentary, Love Radio. The texts are grouped into literatures disseminated from digital platforms, localised narratives that explore the urban African woman, and narratives that make use of participatory culture. These are texts that make use of digital tools and platforms to create and disseminate African stories, making diverse and indigenous narratives more easily accessible to both local and global audiences. This thesis argues that digitisation and the global nature of the internet have created opportunities for Africans to become producers and exporters of indigenous information and representation, rather than passive consumers of imported knowledge, or subjects of external characterisation.
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Date Issued: 2019

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