“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:
- Date Issued: 2017
- 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:
- Date Issued: 2017
“Wishy-washy liberalism” and “the art of getting lost” in Ivan Vladislavić’s Double Negative:
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142633 , vital:38097 , DOI: 10.4314/eia.v44i3.1
- Description: The politics of the protagonist of Ivan Vladislavić’s Double Negative, Neville Lister, are broadly liberal during apartheid, but show signs of becoming more conservative during the post-apartheid era. In this article, I argue that this development is unsurprising because bourgeois white liberals and conservatives in South Africa continue to cling to the privileges afforded them as the propertied class. For this reason, acknowledgements of privilege and quests for discomfort, while not necessarily dishonest, do not in and of themselves constitute progressive politics. Rather, one can, as Neville does, become comfortable with discomfort so long as it allows one to enjoy a privileged lifestyle. I therefore draw a distinction between the unease argued for in much of what constitutes whiteness studies, and a sense of being lost that seems to demand the loss of the home and its attendant association with control. This sense of lostness emerges in two ways in the novel: in a description of a photograph that contains the spectral presence of a dead child, and in a game that Neville played when he was a young boy. Both of these sections of the text also deal with the limits of art – of writing and of photography in particular. I propose that these self-reflexive episodes suggest the novel’s own limits, and gesture beyond them in ways that are worth consideration by its middle-class readership.
- Full Text:
- Date Issued: 2017
- Authors: Dass, Minesh
- Date: 2017
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/142633 , vital:38097 , DOI: 10.4314/eia.v44i3.1
- Description: The politics of the protagonist of Ivan Vladislavić’s Double Negative, Neville Lister, are broadly liberal during apartheid, but show signs of becoming more conservative during the post-apartheid era. In this article, I argue that this development is unsurprising because bourgeois white liberals and conservatives in South Africa continue to cling to the privileges afforded them as the propertied class. For this reason, acknowledgements of privilege and quests for discomfort, while not necessarily dishonest, do not in and of themselves constitute progressive politics. Rather, one can, as Neville does, become comfortable with discomfort so long as it allows one to enjoy a privileged lifestyle. I therefore draw a distinction between the unease argued for in much of what constitutes whiteness studies, and a sense of being lost that seems to demand the loss of the home and its attendant association with control. This sense of lostness emerges in two ways in the novel: in a description of a photograph that contains the spectral presence of a dead child, and in a game that Neville played when he was a young boy. Both of these sections of the text also deal with the limits of art – of writing and of photography in particular. I propose that these self-reflexive episodes suggest the novel’s own limits, and gesture beyond them in ways that are worth consideration by its middle-class readership.
- Full Text:
- Date Issued: 2017
“You whore; you are so dirty, bitch”: the justification of and resistance to violence in the intimate relationships of female sex workers
- Authors: Bartlett, Elretha
- Date: 2017
- Subjects: Women -- Violence against -- South Africa , Sex workers -- Violence against -- South Africa , Women, Black -- Abuse of -- South Africa , Women -- Violence against -- South Africa -- Case studies , Sex workers -- Violence against -- South Africa -- Case studies , Women, Black -- Abuse of -- South Africa -- Case studies
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/5082 , vital:20764
- Description: The objective of the study is to examine discourses of gender and dimensions of social difference implicated in female sex workers’ (FSWs) justifications of, and resistances to, intimate partner violence (IPV). Individual narrative interviews were conducted with FSWs (n=11) who were affiliated with the Sex Workers Education and Advocacy Taskforce (SWEAT). The participants were mostly women of colour (n=10), with a low socio-economic status, and between 31 and 51 years of age. Intersectionality and features of Foucauldian discourse analysis, as described by Parker (1992), informed the analysis of the interview data. In personal interviews, participants interrogated aspects of their own and their partners’ lives that they viewed as playing a significant role in the aetiology and experience of IPV. They drew on a discourse of violent black masculinity, developmental discourses, and patriarchal ideology to justify and resist their partners’ violent behaviour. They also positioned themselves and their ‘spoiled’ identities as playing a role in the experience of violence. Participants pointed to the construction of sex work as ‘dirty work’ and the role that this played in legitimising the violence that was directed at them by intimate partners. In relation to this positioning and its consequences in terms of justifications for violence, my analysis highlights occasions in which gender ideology is re-appropriated for the purpose of challenging the legitimacy of these interpretative frames. While gender politics is central to my analytic observations, my analysis demonstrates how intersections with race and class shape the specificities of FSWs experiences of IPV. In doing so, this study aims to broaden current insights into the phenomenon of IPV, as it does not only focus on gender discrimination, but on the complex interaction between various systems of oppression.
- Full Text:
- Date Issued: 2017
- Authors: Bartlett, Elretha
- Date: 2017
- Subjects: Women -- Violence against -- South Africa , Sex workers -- Violence against -- South Africa , Women, Black -- Abuse of -- South Africa , Women -- Violence against -- South Africa -- Case studies , Sex workers -- Violence against -- South Africa -- Case studies , Women, Black -- Abuse of -- South Africa -- Case studies
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/5082 , vital:20764
- Description: The objective of the study is to examine discourses of gender and dimensions of social difference implicated in female sex workers’ (FSWs) justifications of, and resistances to, intimate partner violence (IPV). Individual narrative interviews were conducted with FSWs (n=11) who were affiliated with the Sex Workers Education and Advocacy Taskforce (SWEAT). The participants were mostly women of colour (n=10), with a low socio-economic status, and between 31 and 51 years of age. Intersectionality and features of Foucauldian discourse analysis, as described by Parker (1992), informed the analysis of the interview data. In personal interviews, participants interrogated aspects of their own and their partners’ lives that they viewed as playing a significant role in the aetiology and experience of IPV. They drew on a discourse of violent black masculinity, developmental discourses, and patriarchal ideology to justify and resist their partners’ violent behaviour. They also positioned themselves and their ‘spoiled’ identities as playing a role in the experience of violence. Participants pointed to the construction of sex work as ‘dirty work’ and the role that this played in legitimising the violence that was directed at them by intimate partners. In relation to this positioning and its consequences in terms of justifications for violence, my analysis highlights occasions in which gender ideology is re-appropriated for the purpose of challenging the legitimacy of these interpretative frames. While gender politics is central to my analytic observations, my analysis demonstrates how intersections with race and class shape the specificities of FSWs experiences of IPV. In doing so, this study aims to broaden current insights into the phenomenon of IPV, as it does not only focus on gender discrimination, but on the complex interaction between various systems of oppression.
- Full Text:
- Date Issued: 2017