Between past and future: memory and mourning in the stories of Okwiri Oduor and Ndinda Kioko
- Authors: Awuor, Nicholas Amol
- Date: 2020
- Subjects: Oduor, Okwiri -- Criticism and interpretation , Oduor, Okwiri -- The plea bargain , Oduor, Okwiri -- My father's head , Oduor, Okwiri -- Rag doll , Kioko, Ndinda -- Criticism and interpretation , Kioko, Ndinda -- Sometime Before Maulidi , Kioko, Ndinda -- Some Freedom Dreams , Authors, Kenyan -- Criticism and interpretation , Kenyan fiction (English) -- History and criticism , Kenyan literature (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/163168 , vital:41015
- Description: This study investigates the literary activities of two emerging female Kenyan writers, Claudette Okwiri Oduor and Jacqueline Ndinda Kioko, both of whom are award-winning authors. Oduor won the 2014 Caine Prize for African Writing while Kioko bagged the Wasafiri New Writing Fiction Award 2017. It examines specifically how the writers deal with memory and mourning in negotiating between the past and future. I explore how their fictional and non-fictional narratives assist individuals and groups to confront loss, reconstruct new identities, and renegotiate belonging amidst personal and social upheaval. The fictional narratives at the centre of this research are Oduor’s “The Plea Bargain” (2011), “My Father’s Head” (2013) and “Rag Doll” (2014), and Kioko’s “Sometime Before Maulidi” (2014) and “Some Freedom Dreams” (2017). The study explores the themes of mental illness, existential crisis, and fragmentation, and considers bereavement, queer relationships, cultural freedom, and social recognition. The research further considers the active participation of these two writers in Kenya’s contemporary literary-cultural conversations, which span different genres and various media platforms, including blogs, YouTube clips, online magazines, and social media networks in dialogue with other writers. I trace the significance of the literary-cultural link these authors have with their local, continental, and global counterparts in countries like Uganda, Nigeria, and South Africa. The link finds expression through their (in)direct association with some of the new online publishing outlets in Kenya like Jalada Africa, Enkare Review, and Kikwetu. More importantly, their shared participation in and association with such international awards and scholarships as the Commonwealth Short Story Prize, Kwani Trust Manuscript Project, and Miles Morland Foundation is integral in apprehending contemporary literary exchanges and multidirectional flows of publishing in Africa and beyond. I equally illustrate how mentorship of younger writers through local writers’ organisations and collectives like AMKA and Writivism help in the formation of an alternative canon other than the mainstream. The study affirms that the authors seem to transcend the boundaries of production and circulation by fluidly moving between electronic and non-electronic platforms, thus mimicking the memory production of remembering, repeating, and working through.
- Full Text:
- Date Issued: 2020
- Authors: Awuor, Nicholas Amol
- Date: 2020
- Subjects: Oduor, Okwiri -- Criticism and interpretation , Oduor, Okwiri -- The plea bargain , Oduor, Okwiri -- My father's head , Oduor, Okwiri -- Rag doll , Kioko, Ndinda -- Criticism and interpretation , Kioko, Ndinda -- Sometime Before Maulidi , Kioko, Ndinda -- Some Freedom Dreams , Authors, Kenyan -- Criticism and interpretation , Kenyan fiction (English) -- History and criticism , Kenyan literature (English) -- History and criticism
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/163168 , vital:41015
- Description: This study investigates the literary activities of two emerging female Kenyan writers, Claudette Okwiri Oduor and Jacqueline Ndinda Kioko, both of whom are award-winning authors. Oduor won the 2014 Caine Prize for African Writing while Kioko bagged the Wasafiri New Writing Fiction Award 2017. It examines specifically how the writers deal with memory and mourning in negotiating between the past and future. I explore how their fictional and non-fictional narratives assist individuals and groups to confront loss, reconstruct new identities, and renegotiate belonging amidst personal and social upheaval. The fictional narratives at the centre of this research are Oduor’s “The Plea Bargain” (2011), “My Father’s Head” (2013) and “Rag Doll” (2014), and Kioko’s “Sometime Before Maulidi” (2014) and “Some Freedom Dreams” (2017). The study explores the themes of mental illness, existential crisis, and fragmentation, and considers bereavement, queer relationships, cultural freedom, and social recognition. The research further considers the active participation of these two writers in Kenya’s contemporary literary-cultural conversations, which span different genres and various media platforms, including blogs, YouTube clips, online magazines, and social media networks in dialogue with other writers. I trace the significance of the literary-cultural link these authors have with their local, continental, and global counterparts in countries like Uganda, Nigeria, and South Africa. The link finds expression through their (in)direct association with some of the new online publishing outlets in Kenya like Jalada Africa, Enkare Review, and Kikwetu. More importantly, their shared participation in and association with such international awards and scholarships as the Commonwealth Short Story Prize, Kwani Trust Manuscript Project, and Miles Morland Foundation is integral in apprehending contemporary literary exchanges and multidirectional flows of publishing in Africa and beyond. I equally illustrate how mentorship of younger writers through local writers’ organisations and collectives like AMKA and Writivism help in the formation of an alternative canon other than the mainstream. The study affirms that the authors seem to transcend the boundaries of production and circulation by fluidly moving between electronic and non-electronic platforms, thus mimicking the memory production of remembering, repeating, and working through.
- Full Text:
- Date Issued: 2020
Between past and future: memory and mourning in the stories of Okwiri Oduor and Ndinda Kioko
- Authors: Awuor, Nicholas Amol
- Date: 2020
- Subjects: Women authors, Kenyan , Oduor, Okwiri -- The plea bargain , Oduor, Okwiri -- My father's head , Oduor, Okwiri -- Rag doll , Kioko, Ndinda -- Sometime before Maulidi , Kioko, Ndinda -- Some freedom dreams , Women and literature -- Africa , Bereavement -- Fiction , Culture in literature , Liberty in literature
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/161229 , vital:40608
- Description: This study investigates the literary activities of two emerging female Kenyan writers, Claudette Okwiri Oduor and Jacqueline Ndinda Kioko, both of whom are award-winning authors. Oduor won the 2014 Caine Prize for African Writing while Kioko bagged the Wasafiri New Writing Fiction Award 2017. It examines specifically how the writers deal with memory and mourning in negotiating between the past and future. I explore how their fictional and non-fictional narratives assist individuals and groups to confront loss, reconstruct new identities, and renegotiate belonging amidst personal and social upheaval. The fictional narratives at the centre of this research are Oduor’s “The Plea Bargain” (2011), “My Father’s Head” (2013) and “Rag Doll” (2014), and Kioko’s “Sometime Before Maulidi” (2014) and “Some Freedom Dreams” (2017). The study explores the themes of mental illness, existential crisis, and fragmentation, and considers bereavement, queer relationships, cultural freedom, and social recognition. The research further considers the active participation of these two writers in Kenya’s contemporary literary-cultural conversations, which span different genres and various media platforms, including blogs, YouTube clips, online magazines, and social media networks in dialogue with other writers. . I trace the significance of the literary-cultural link these authors have with their local, continental, and global counterparts in countries like Uganda, Nigeria, and South Africa. The link finds expression through their (in)direct association with some of the new online publishing outlets in Kenya like Jalada Africa, Enkare Review, and Kikwetu. More importantly, their shared participation in and association with such international awards and scholarships as the Commonwealth Short Story Prize, Kwani Trust Manuscript Project, and Miles Morland Foundation is integral in apprehending contemporary literary exchanges and multidirectional flows of publishing in Africa and beyond. I equally illustrate how mentorship of younger writers through local writers’ organisations and collectives like AMKA and Writivism help in the formation of an alternative canon other than the mainstream. The study affirms that the authors seem to transcend the boundaries of production and circulation by fluidly moving between electronic and non-electronic platforms, thus mimicking the memory production of remembering, repeating, and working through.
- Full Text:
- Date Issued: 2020
- Authors: Awuor, Nicholas Amol
- Date: 2020
- Subjects: Women authors, Kenyan , Oduor, Okwiri -- The plea bargain , Oduor, Okwiri -- My father's head , Oduor, Okwiri -- Rag doll , Kioko, Ndinda -- Sometime before Maulidi , Kioko, Ndinda -- Some freedom dreams , Women and literature -- Africa , Bereavement -- Fiction , Culture in literature , Liberty in literature
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/161229 , vital:40608
- Description: This study investigates the literary activities of two emerging female Kenyan writers, Claudette Okwiri Oduor and Jacqueline Ndinda Kioko, both of whom are award-winning authors. Oduor won the 2014 Caine Prize for African Writing while Kioko bagged the Wasafiri New Writing Fiction Award 2017. It examines specifically how the writers deal with memory and mourning in negotiating between the past and future. I explore how their fictional and non-fictional narratives assist individuals and groups to confront loss, reconstruct new identities, and renegotiate belonging amidst personal and social upheaval. The fictional narratives at the centre of this research are Oduor’s “The Plea Bargain” (2011), “My Father’s Head” (2013) and “Rag Doll” (2014), and Kioko’s “Sometime Before Maulidi” (2014) and “Some Freedom Dreams” (2017). The study explores the themes of mental illness, existential crisis, and fragmentation, and considers bereavement, queer relationships, cultural freedom, and social recognition. The research further considers the active participation of these two writers in Kenya’s contemporary literary-cultural conversations, which span different genres and various media platforms, including blogs, YouTube clips, online magazines, and social media networks in dialogue with other writers. . I trace the significance of the literary-cultural link these authors have with their local, continental, and global counterparts in countries like Uganda, Nigeria, and South Africa. The link finds expression through their (in)direct association with some of the new online publishing outlets in Kenya like Jalada Africa, Enkare Review, and Kikwetu. More importantly, their shared participation in and association with such international awards and scholarships as the Commonwealth Short Story Prize, Kwani Trust Manuscript Project, and Miles Morland Foundation is integral in apprehending contemporary literary exchanges and multidirectional flows of publishing in Africa and beyond. I equally illustrate how mentorship of younger writers through local writers’ organisations and collectives like AMKA and Writivism help in the formation of an alternative canon other than the mainstream. The study affirms that the authors seem to transcend the boundaries of production and circulation by fluidly moving between electronic and non-electronic platforms, thus mimicking the memory production of remembering, repeating, and working through.
- Full Text:
- Date Issued: 2020
‘That mountain cannot be beautiful for nothing’: Zakes Mda’s aesthetics of liberation
- Dilinga, Siyamthanda Iribagiza
- Authors: Dilinga, Siyamthanda Iribagiza
- Date: 2019
- Subjects: Mda, Zakes -- Criticism and interpretation , South African fiction (English) -- History and criticism , South Africa -- In literature
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/70452 , vital:29662
- Description: Zakes Mda is a prominent post-apartheid black South African novelist whose style has been described as experimental. He also wrote plays intended to ‘rally people to action’ during the apartheid years. The changes in the political and social situation in South Africa since 1994 have had significant implications for those writers and artists who produced protest literature and art. The changes in Mda’s own practice and approach to art are themselves quite telling. His experimental novels place him among those African artists pioneering a new chapter for black South African art and the self-reflexive nature of his novels suggest that he is aware of the fact and is consciously forming and reforming his ideas about what it means to be an artist in post-apartheid South Africa. This study will unpack the role of the artist and the function of art in the becoming new South Africa as represented in Zakes Mda’s novels, thereby hypothesizing Mda’s aesthetic philosophy, as may be deduced from his practice, for what an African artist and art should be. This will be done first by locating Mda in the debates around art and literature within the sociopolitical context of a South Africa in transition. Despite the fact that when it comes to public action in the post-apartheid situation, Mda distinguishes between his own role in society as an artist who is a social activist and the role intended for his work, his own novels reveal a desire for the artefact (or artwork) to have a developmental, educational or conscientizing function. This is evident in representations of the effects of art in what this study proposes to be his extended South African black Kunstlerroman, which spans three novels. It is also demonstrated in his ekphrastic novel, The Madonna of Excelsior, in which visual art is interpreted in the process of description, thereby educating the reader. Not only that, but the reader is made into an ‘almost viewer’ and taught how to ‘see’ art. What emerges in the process of this study is Mda’s aesthetic philosophy or what may be termed his ‘aesthetics of liberation’ concerning the role of the artist in post-apartheid South Africa, a suitable African audience and how art works theoretically, as expressed through his fiction.
- Full Text:
- Date Issued: 2019
- Authors: Dilinga, Siyamthanda Iribagiza
- Date: 2019
- Subjects: Mda, Zakes -- Criticism and interpretation , South African fiction (English) -- History and criticism , South Africa -- In literature
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/70452 , vital:29662
- Description: Zakes Mda is a prominent post-apartheid black South African novelist whose style has been described as experimental. He also wrote plays intended to ‘rally people to action’ during the apartheid years. The changes in the political and social situation in South Africa since 1994 have had significant implications for those writers and artists who produced protest literature and art. The changes in Mda’s own practice and approach to art are themselves quite telling. His experimental novels place him among those African artists pioneering a new chapter for black South African art and the self-reflexive nature of his novels suggest that he is aware of the fact and is consciously forming and reforming his ideas about what it means to be an artist in post-apartheid South Africa. This study will unpack the role of the artist and the function of art in the becoming new South Africa as represented in Zakes Mda’s novels, thereby hypothesizing Mda’s aesthetic philosophy, as may be deduced from his practice, for what an African artist and art should be. This will be done first by locating Mda in the debates around art and literature within the sociopolitical context of a South Africa in transition. Despite the fact that when it comes to public action in the post-apartheid situation, Mda distinguishes between his own role in society as an artist who is a social activist and the role intended for his work, his own novels reveal a desire for the artefact (or artwork) to have a developmental, educational or conscientizing function. This is evident in representations of the effects of art in what this study proposes to be his extended South African black Kunstlerroman, which spans three novels. It is also demonstrated in his ekphrastic novel, The Madonna of Excelsior, in which visual art is interpreted in the process of description, thereby educating the reader. Not only that, but the reader is made into an ‘almost viewer’ and taught how to ‘see’ art. What emerges in the process of this study is Mda’s aesthetic philosophy or what may be termed his ‘aesthetics of liberation’ concerning the role of the artist in post-apartheid South Africa, a suitable African audience and how art works theoretically, as expressed through his fiction.
- Full Text:
- Date Issued: 2019
The interface of history and fiction in Russel Brownlee’s Garden of the plagues, Ingrid Winterbach’s To hell With Cronjé, and Etienne van Heerden’s The long silence of Mario Salviati
- Authors: Wyrill, Beth Alexandra
- Date: 2014
- Subjects: Brownlee, Russel -- Criticism and interpretation , Winterbach, Ingrid -- Criticism and interpretation , Van Heerden, Etienne, 1954- -- Criticism and interpretation , South African fiction (English) -- History and criticism , South African fiction (English) -- 20th century -- History and criticism , African fiction (English) -- 21st century -- History and criticism , Brownlee, Russel -- Garden of the plagues , Winterbach, Ingrid -- Niggie -- English , Van Heerden, Etienne, 1954- -- Swye van Mario Salviati -- English , Historical fiction -- History and criticism , Magic realism (Literature)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2323 , http://hdl.handle.net/10962/d1015517
- Description: Both historiographical and literary practices have undergone revision in recent years in attempting to address the inheritance of nineteenth-century realism. Since the object of realist stylistics, employed in both the writing of fiction and history, is to render authorship authoritative or even invisible, the ideological import of these narratives is often such that the constructedness of the historical record and its absences are veiled. In developments beginning in the 1980s with the advent of ‘New Historicism’ and with the emergence of postmodern literary techniques, the interface of literature and history became of seminal importance, since both were now credited as being products of narrative and discourse, and hence, to varying degrees, of the literary imagination. This movement intersects interestingly with developments in postcolonial studies, since it is the voices of the marginalized and disempowered colonized peoples that are routinely co-opted and excised from nineteenth-century realist histories. These concerns are now being fully explored in the literature of the contemporary post-transitional South African moment, since authors in this country seemingly now feel freed up to look back to histories that precede the immediate traumas of apartheid. The concern, in relation to apartheid developments but also on a broader universal scale, is this: if history is viewed as perpetual emergences of modernities, then one of the great absences in the record is the historical determinants of any given epistemology. The attempt to recreate such an epistemological genealogy is thus simultaneously postcolonial, historiographical, and literary. Russel Brownlee’s Garden of the Plagues (2005), Ingrid Winterbach’s To Hell with Cronjé (2010), and Etienne van Heerden’s The Long Silence of Mario Salviati (2002) attempt to bridge this gap in the recorded sensibilities of any historical moment by representing a ‘lived experience’ of the past, and in the process imaginatively recreating the cultural, historical and psychological locations of the proponents of an emerging modernity. This study concerns itself with the ways in which these authors address the influence of realist historiography through the use of literary innovations that allow for the departure from realist stylistics. Most commonly, all three authors draw on forms of magic realism, but multiple refigurings and recombinations of notions of temporality, narrative, and characterization likewise work to defamiliarize the once stable discourse of history.
- Full Text:
- Date Issued: 2014
- Authors: Wyrill, Beth Alexandra
- Date: 2014
- Subjects: Brownlee, Russel -- Criticism and interpretation , Winterbach, Ingrid -- Criticism and interpretation , Van Heerden, Etienne, 1954- -- Criticism and interpretation , South African fiction (English) -- History and criticism , South African fiction (English) -- 20th century -- History and criticism , African fiction (English) -- 21st century -- History and criticism , Brownlee, Russel -- Garden of the plagues , Winterbach, Ingrid -- Niggie -- English , Van Heerden, Etienne, 1954- -- Swye van Mario Salviati -- English , Historical fiction -- History and criticism , Magic realism (Literature)
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2323 , http://hdl.handle.net/10962/d1015517
- Description: Both historiographical and literary practices have undergone revision in recent years in attempting to address the inheritance of nineteenth-century realism. Since the object of realist stylistics, employed in both the writing of fiction and history, is to render authorship authoritative or even invisible, the ideological import of these narratives is often such that the constructedness of the historical record and its absences are veiled. In developments beginning in the 1980s with the advent of ‘New Historicism’ and with the emergence of postmodern literary techniques, the interface of literature and history became of seminal importance, since both were now credited as being products of narrative and discourse, and hence, to varying degrees, of the literary imagination. This movement intersects interestingly with developments in postcolonial studies, since it is the voices of the marginalized and disempowered colonized peoples that are routinely co-opted and excised from nineteenth-century realist histories. These concerns are now being fully explored in the literature of the contemporary post-transitional South African moment, since authors in this country seemingly now feel freed up to look back to histories that precede the immediate traumas of apartheid. The concern, in relation to apartheid developments but also on a broader universal scale, is this: if history is viewed as perpetual emergences of modernities, then one of the great absences in the record is the historical determinants of any given epistemology. The attempt to recreate such an epistemological genealogy is thus simultaneously postcolonial, historiographical, and literary. Russel Brownlee’s Garden of the Plagues (2005), Ingrid Winterbach’s To Hell with Cronjé (2010), and Etienne van Heerden’s The Long Silence of Mario Salviati (2002) attempt to bridge this gap in the recorded sensibilities of any historical moment by representing a ‘lived experience’ of the past, and in the process imaginatively recreating the cultural, historical and psychological locations of the proponents of an emerging modernity. This study concerns itself with the ways in which these authors address the influence of realist historiography through the use of literary innovations that allow for the departure from realist stylistics. Most commonly, all three authors draw on forms of magic realism, but multiple refigurings and recombinations of notions of temporality, narrative, and characterization likewise work to defamiliarize the once stable discourse of history.
- Full Text:
- Date Issued: 2014
Self, family and society in Nadine Gordimer's Burger's Daughter, Rachel Zadok's Gem Squash Tokoloshe, and Doris Lessings's The Grass is Singing
- Authors: O'Brien, Lauren Leigh
- Date: 2013 , 2013-09-08
- Subjects: Gordimer, Nadine. Burger's daughter -- Criticism and interpretation Zadok, Rachel. Gem Squash Tokoloshe -- Criticism and interpretation Lessing, Doris May, 1919-- The grass is singing -- Criticism and interpretation South African fiction (English) -- 20th century -- History and criticism South African fiction (English) -- 21st century -- History and criticism South Africa -- In literature South Africa -- Social life and customs Identification (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2271 , http://hdl.handle.net/10962/d1006771
- Description: This dissertation examines Nadine Gordimer’s Burger’s Daughter, Rachel Zadok’s Gem Squash Tokoloshe, and Doris Lessing’s The Grass is Singing. It focuses on the development of each of the protagonists’ identities in three realms: the individual, the familial and the societal. Additionally, it is concerned with the specific socio-political contexts in which the novels are set. It employs psychoanalytic and historical materialist frameworks in order to engage with the disparate areas of identity with which it is concerned. The introduction establishes the analytical perspective of the dissertation and explores the network of theoretical frames on which the dissertation relies. Additionally, it contextualises each of the novels, within their historical contexts, as well as in relation to the theory. The first chapter examines Nadine Gordimer’s Burger’s Daughter. It focuses on the protagonist’s assertion of an identity independent of her father’s role as a political activist, and her eventual acceptance of the universal difficulty in negotiating a life which is both private and political. The second chapter, on Rachel Zadok’s Gem Squash Tokoloshe, examines the relationship between the protagonist’s traumatic experiences as a child and her inability to assert an identity as an adult. The similarities between the protagonist’s attempts to address her traumas and thereby create herself anew and South Africa’s employment of the Truth and Reconciliation Commission as a means to acknowledge and engage with its traumatic history is of import. The third chapter which deals with Doris Lessing’s The Grass is Singing traces the life of its protagonist, whose identifications remain childish as a result of having witnessed her parents’ difficult relationship. Her understanding of the world is informed by a rigid, binary understanding, which is ultimately disrupted by her relationship with a black employee. She is incapable of readjusting her frame of reference, however, and ultimately goes mad. I conclude that, while my focus has been on personal, familial and social identifications, the standard terms in which identity is examined, namely, race, class, and gender, are present in each of the three tiers of identity with which I have been concerned.
- Full Text:
- Date Issued: 2013
- Authors: O'Brien, Lauren Leigh
- Date: 2013 , 2013-09-08
- Subjects: Gordimer, Nadine. Burger's daughter -- Criticism and interpretation Zadok, Rachel. Gem Squash Tokoloshe -- Criticism and interpretation Lessing, Doris May, 1919-- The grass is singing -- Criticism and interpretation South African fiction (English) -- 20th century -- History and criticism South African fiction (English) -- 21st century -- History and criticism South Africa -- In literature South Africa -- Social life and customs Identification (Psychology) in literature
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2271 , http://hdl.handle.net/10962/d1006771
- Description: This dissertation examines Nadine Gordimer’s Burger’s Daughter, Rachel Zadok’s Gem Squash Tokoloshe, and Doris Lessing’s The Grass is Singing. It focuses on the development of each of the protagonists’ identities in three realms: the individual, the familial and the societal. Additionally, it is concerned with the specific socio-political contexts in which the novels are set. It employs psychoanalytic and historical materialist frameworks in order to engage with the disparate areas of identity with which it is concerned. The introduction establishes the analytical perspective of the dissertation and explores the network of theoretical frames on which the dissertation relies. Additionally, it contextualises each of the novels, within their historical contexts, as well as in relation to the theory. The first chapter examines Nadine Gordimer’s Burger’s Daughter. It focuses on the protagonist’s assertion of an identity independent of her father’s role as a political activist, and her eventual acceptance of the universal difficulty in negotiating a life which is both private and political. The second chapter, on Rachel Zadok’s Gem Squash Tokoloshe, examines the relationship between the protagonist’s traumatic experiences as a child and her inability to assert an identity as an adult. The similarities between the protagonist’s attempts to address her traumas and thereby create herself anew and South Africa’s employment of the Truth and Reconciliation Commission as a means to acknowledge and engage with its traumatic history is of import. The third chapter which deals with Doris Lessing’s The Grass is Singing traces the life of its protagonist, whose identifications remain childish as a result of having witnessed her parents’ difficult relationship. Her understanding of the world is informed by a rigid, binary understanding, which is ultimately disrupted by her relationship with a black employee. She is incapable of readjusting her frame of reference, however, and ultimately goes mad. I conclude that, while my focus has been on personal, familial and social identifications, the standard terms in which identity is examined, namely, race, class, and gender, are present in each of the three tiers of identity with which I have been concerned.
- Full Text:
- Date Issued: 2013
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