“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:
- 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:
“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:
- 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:
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