A study of assimilation and alienation in West African fiction and psychic dislocation in South African fiction
- Authors: Poisat, Ross
- Date: 2019
- Subjects: South African fiction (English) , South African fiction -- History and criticism Assimilation (Sociology) Alienation (Social psychology)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/43270 , vital:36776
- Description: This dissertation will provide a study of Assimilation and Alienation in West African fiction of Ferdinand Oyono’s Houseboy (1956) and Ayi Kwei Armah’s Why Are We So Blest? (1972) and Psychic dislocation in South African fiction of Wulf Sachs’s Black Hamlet (1936/1996). The dissertation plans to examine the specific effects of assimilation, alienation and psychic dislocation by examining them as central lines of argument in the respective texts. In Houseboy, the Catholic mission is depicted as being subordinate to the French Policy of Assimilation in colonial Cameroon. This dissertation examines how Oyono represents the manner in which the French catechists indoctrinated, dehumanized and made ‘other’ the colonized Cameroonian people. The relationship between colonial violence and trauma in Oyono’s text is also explored in relation to how the trauma of the colonized is expressed by them being the subject of and witnessing colonial violence at the hands of French Imperial agents. Oyono’s text was selected because it presents a counter-hegemonic portrayal of the French Policy of Assimilation and the Catholic mission’s complicity in this process. Why Are We So Blest? is analysed in terms of Armah’s depiction of the Modin’s relationship to a Western model of education, which is illustrative of his academic, racial and cultural alienation. The protagonist in Armah’s text can be seen as complicit in the history of colonial oppression due to his intellectual dependency on Western knowledge. Furthermore, this dissertation explores how the Modin is alienated by his relationships with his white academic superiors, who ‘other’, deny him agency, and infantilize him. Furthermore, the Algerian revolution functions as an expression of culture and the African intellectual, by being denied entry to it, is also alienated from the African masses. Armah’s text was selected because of its complex depiction of alienation. The literary analysis of Black Hamlet in this dissertation seeks to address the neglect of the fictional and imaginative aspects of the text in preceding studies. The representation of the psychic dislocation of John as a Shona nganga’s relationship to his ancestors is approached from a cultural and racial perspective in further examining his psychic dislocation in relation to the narrator. Furthermore, this dissertation investigates how Black Hamlet can be seen to suggest that psychic dislocation is tied to the hierarchal nature of colonial relations between John and the white narrator, and to John’s unreal experience of racialized South African and Zulu cultural place.
- Full Text:
- Date Issued: 2019
- Authors: Poisat, Ross
- Date: 2019
- Subjects: South African fiction (English) , South African fiction -- History and criticism Assimilation (Sociology) Alienation (Social psychology)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/43270 , vital:36776
- Description: This dissertation will provide a study of Assimilation and Alienation in West African fiction of Ferdinand Oyono’s Houseboy (1956) and Ayi Kwei Armah’s Why Are We So Blest? (1972) and Psychic dislocation in South African fiction of Wulf Sachs’s Black Hamlet (1936/1996). The dissertation plans to examine the specific effects of assimilation, alienation and psychic dislocation by examining them as central lines of argument in the respective texts. In Houseboy, the Catholic mission is depicted as being subordinate to the French Policy of Assimilation in colonial Cameroon. This dissertation examines how Oyono represents the manner in which the French catechists indoctrinated, dehumanized and made ‘other’ the colonized Cameroonian people. The relationship between colonial violence and trauma in Oyono’s text is also explored in relation to how the trauma of the colonized is expressed by them being the subject of and witnessing colonial violence at the hands of French Imperial agents. Oyono’s text was selected because it presents a counter-hegemonic portrayal of the French Policy of Assimilation and the Catholic mission’s complicity in this process. Why Are We So Blest? is analysed in terms of Armah’s depiction of the Modin’s relationship to a Western model of education, which is illustrative of his academic, racial and cultural alienation. The protagonist in Armah’s text can be seen as complicit in the history of colonial oppression due to his intellectual dependency on Western knowledge. Furthermore, this dissertation explores how the Modin is alienated by his relationships with his white academic superiors, who ‘other’, deny him agency, and infantilize him. Furthermore, the Algerian revolution functions as an expression of culture and the African intellectual, by being denied entry to it, is also alienated from the African masses. Armah’s text was selected because of its complex depiction of alienation. The literary analysis of Black Hamlet in this dissertation seeks to address the neglect of the fictional and imaginative aspects of the text in preceding studies. The representation of the psychic dislocation of John as a Shona nganga’s relationship to his ancestors is approached from a cultural and racial perspective in further examining his psychic dislocation in relation to the narrator. Furthermore, this dissertation investigates how Black Hamlet can be seen to suggest that psychic dislocation is tied to the hierarchal nature of colonial relations between John and the white narrator, and to John’s unreal experience of racialized South African and Zulu cultural place.
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- Date Issued: 2019
Acorn girl
- Authors: Kukard, Gina
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96969 , vital:31382
- Description: My thesis encapsulates a coming-of-age novella told through short vignettes of flash fiction and prose poetry. It makes use of the distillation and fragmentation of these forms to explore themes such as the nature of violation, and works between genres to engage the tension between inner and outer realities, and the blurred lines between passivity and resistance. Moving fluidly between memoir and fiction and set in modern day South Africa, it draws inspiration from both my own experiences and the writing of others, especially Raul Zurita’s resistance poetry in Dreams for Kurosawa, Claudia Rankine’s subtle absurdity in Don’t Let Me Be Lonely, bizarro elements as seen in Athena Villaverde’s The Clockwork Girl and the use of physicality to explore the emotional world, as seen in Shelley Jackson’s The Melancholy of Anatomy: Stories.
- Full Text:
- Date Issued: 2019
- Authors: Kukard, Gina
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/96969 , vital:31382
- Description: My thesis encapsulates a coming-of-age novella told through short vignettes of flash fiction and prose poetry. It makes use of the distillation and fragmentation of these forms to explore themes such as the nature of violation, and works between genres to engage the tension between inner and outer realities, and the blurred lines between passivity and resistance. Moving fluidly between memoir and fiction and set in modern day South Africa, it draws inspiration from both my own experiences and the writing of others, especially Raul Zurita’s resistance poetry in Dreams for Kurosawa, Claudia Rankine’s subtle absurdity in Don’t Let Me Be Lonely, bizarro elements as seen in Athena Villaverde’s The Clockwork Girl and the use of physicality to explore the emotional world, as seen in Shelley Jackson’s The Melancholy of Anatomy: Stories.
- Full Text:
- Date Issued: 2019
Ndoxoza mphini wumbi!
- Authors: Saki, Sandile Dudu
- Date: 2019
- Subjects: South African fiction (English)
- Language: English , Xhosa
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92605 , vital:30741
- Description: My English half-thesis comprises semi-autobiographical short stories based on my own lived and observed experiences of patriarchal township life, but told through the eyes of others, often those who find themselves victims of societal ills and cruel injustices. The stories deal with issues ranging from rape culture, intimate femicide, social patriarchy and the vulnerability of women, children and people living with disabilities in such settings. Refusing didacticism, I seek to voice the complexity, bravery and beauty of my characters. I draw influence from Joel Matlou’s simple narration of the small details of daily life, Can Themba’s ability to find humour in the everyday, Chimamanda Ngozi Adichie’s contemporary sass and Irenosen Okojie’s unconventional, subtle and deeply enigmatic approach to storytelling. , Le thisisi yingqokelela yemibongo enesingqi nefuthe endilincance kubabhali endihlangene nabo kwezi zifundo endingabala kubo uMxolisi Nyezwa, Rustum Kozain nabanye. Injongo yale thisisi kukonwabisa; ukucebisa mhlawumbi ukuthungulula iintongo emva kobentlombe. Maxa wambi ikukukhahlela nakwabo baye banegalelo kwizinto-yinto zokuhlala ngakumbi iimvumi zikaMasikhandi ezifana noMlindelwa ‘Inkunz’ emdaka’ Mralatya owaziwa njengovulindlela kaMasikhandi kwisizwe sakwaXhosa siphela. Bakho ke ababhali abasingqi sabo sindithimbileyo, naba bugcisa ndibuthandileyo endingabalula kubo uMzwandile Matiwana, M. S. Mlandu, Fundile Majola, John Solilo, J. J. R Jolobe kunye noS. E. K. Mqhayi. Liyavakala ifuthe labo kule mibongo, ngakumbi isingqi nokusetyenziswa kolwimi. , English and Xhosa versions provided for dual language submission
- Full Text:
- Date Issued: 2019
- Authors: Saki, Sandile Dudu
- Date: 2019
- Subjects: South African fiction (English)
- Language: English , Xhosa
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92605 , vital:30741
- Description: My English half-thesis comprises semi-autobiographical short stories based on my own lived and observed experiences of patriarchal township life, but told through the eyes of others, often those who find themselves victims of societal ills and cruel injustices. The stories deal with issues ranging from rape culture, intimate femicide, social patriarchy and the vulnerability of women, children and people living with disabilities in such settings. Refusing didacticism, I seek to voice the complexity, bravery and beauty of my characters. I draw influence from Joel Matlou’s simple narration of the small details of daily life, Can Themba’s ability to find humour in the everyday, Chimamanda Ngozi Adichie’s contemporary sass and Irenosen Okojie’s unconventional, subtle and deeply enigmatic approach to storytelling. , Le thisisi yingqokelela yemibongo enesingqi nefuthe endilincance kubabhali endihlangene nabo kwezi zifundo endingabala kubo uMxolisi Nyezwa, Rustum Kozain nabanye. Injongo yale thisisi kukonwabisa; ukucebisa mhlawumbi ukuthungulula iintongo emva kobentlombe. Maxa wambi ikukukhahlela nakwabo baye banegalelo kwizinto-yinto zokuhlala ngakumbi iimvumi zikaMasikhandi ezifana noMlindelwa ‘Inkunz’ emdaka’ Mralatya owaziwa njengovulindlela kaMasikhandi kwisizwe sakwaXhosa siphela. Bakho ke ababhali abasingqi sabo sindithimbileyo, naba bugcisa ndibuthandileyo endingabalula kubo uMzwandile Matiwana, M. S. Mlandu, Fundile Majola, John Solilo, J. J. R Jolobe kunye noS. E. K. Mqhayi. Liyavakala ifuthe labo kule mibongo, ngakumbi isingqi nokusetyenziswa kolwimi. , English and Xhosa versions provided for dual language submission
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- Date Issued: 2019
Therefore I am
- Authors: Núñez-Lagos, Andres
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92737 , vital:30743
- Full Text:
- Date Issued: 2019
- Authors: Núñez-Lagos, Andres
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92737 , vital:30743
- Full Text:
- Date Issued: 2019
We are yet to kill the cattle
- Authors: Orleyn, Rithuli
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92769 , vital:30746
- Description: My novella comprises inter-linked fragments that combine fiction, autobiography and creative non-fiction. Ranging fluidly from pre-colonial times to the present, and largely set in South Africa but cutting across the native/diaspora divide, the project draws on historical and archival documents, found and fictive letters, oral testimonies and inadmissible facts, mythologies, ghost voices and fictional speculation. It uses the slim slippery voice of autobiography to cast a big shadow of doubt on the certitudes of authorial truth, harnessing multiple voices to disorient settled notions about self/other, black/white and man/machine. My intention is to explore possibilities of being that exceed the human. I draw inspiration from Zoë Wicomb's novella, You Can’t Get Lost In Cape Town, Mariama Ba’s So Long a Letter and Mikhail Shishkin’s letter-narratives in Maidenhair. The narrative voice that threads stand-alone fragments seeks to express the demotics of subjects in search of a language for their unlanguaged ‘grammar of suffering’.
- Full Text:
- Date Issued: 2019
- Authors: Orleyn, Rithuli
- Date: 2019
- Subjects: South African fiction (English)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/92769 , vital:30746
- Description: My novella comprises inter-linked fragments that combine fiction, autobiography and creative non-fiction. Ranging fluidly from pre-colonial times to the present, and largely set in South Africa but cutting across the native/diaspora divide, the project draws on historical and archival documents, found and fictive letters, oral testimonies and inadmissible facts, mythologies, ghost voices and fictional speculation. It uses the slim slippery voice of autobiography to cast a big shadow of doubt on the certitudes of authorial truth, harnessing multiple voices to disorient settled notions about self/other, black/white and man/machine. My intention is to explore possibilities of being that exceed the human. I draw inspiration from Zoë Wicomb's novella, You Can’t Get Lost In Cape Town, Mariama Ba’s So Long a Letter and Mikhail Shishkin’s letter-narratives in Maidenhair. The narrative voice that threads stand-alone fragments seeks to express the demotics of subjects in search of a language for their unlanguaged ‘grammar of suffering’.
- Full Text:
- Date Issued: 2019
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