3. Electronic Theses and Dissertations (ETDs) - All submissions
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Item L'images des personnages feminins dans Une si longue lettre de Mariama Ba et Riwan ou le chemin de sable de Ken Bugul(2011-08-22) Tonleu, MadeleineThrough a thematic content analysis, this dissertation analyses how Mariama Bâ in So long a letter (1979) and Ken Bugul in Riwan ou le chemin de sable (1999) perceive the image of African women. This work is focused as well on the ambiguity of the situation of these women who are torn between modernity and tradition. Mariama Bâ raises the issue of women’s emancipation as that of complementarities between men and women and not as that of confrontation. She doesn’t conceive African feminism as a requirement of modern times because everything is not admissible in modernity; but believes a controlled evolution of mentalities is necessary for the balance of the society. On the other hand, Ken Bugul questions all the concepts and ideas that have been received so far on the issue of the status of women in Africa. She thinks women can find happiness in a polygamous marriage, and beyond this a way of rehabilitation. She presents “modern” women as victims in monogamous spousal relationships and believes they have lost their cultural identity.Item Authority, authenticity and the black writer: depictions of politics and community in selected fictional black consciousness texts(2009-11-23T09:53:56Z) Sole, Kelwyn EllisItem "No" - Jose Saramago's subversive creativity from The History of the Siege of Lisbon to The Stone Raft: voyages into the idea of national identity(2009-02-19T10:58:44Z) Mihai, Corina M.Abstract This study outlines a reading of Saramago’s novels as tracing a reflective itinerary into history, questioning the modalities informing a contemporary consciousness, thus acknowledging and re–configuring the past. Through an interpretation of these narratives as ‘voyages into the idea of identity’ it is shown that they reveal a symmetrical pattern tracing the Portuguese national saga from its foundation myth in The History of the Siege of Lisbon to contemporary images of identity in The Stone Raft. In light of this, the analysis examines the subversive narrative strategies employed with regard to the interrogation of canonized historical facts that led to the construction of Portuguese cultural memory and identity. Although the discussion is particularly located within Portuguese texts, the issues raised are relevant within the broader context of Western civilization. It is argued that, within his fictional discourse, Saramago aims at a reformulation of the notion of identity, highlighting the importance of preserving and actively affirming one’s individuality. Drawing on the postmodern perspective of pluralism in the reconstruction of the past, this analysis explores the relationship between history, fiction, memory and identity as reflected in the narratives under discussion. The focus will be on the textual nature of historiography as well as on the relative character of memory, aspects suggesting the irretrievable nature of the past and the necessity of using various acts of supplementation, construction and invention when representing it. Furthermore, the dialogue between Saramago’s fictional canvass and the theoretical framework, drawing on the thinking of critics such as Hayden White, David Lowenthal, Tzvetan Todorov, Linda Hutcheon, is intended to situate Saramago’s stance viz–à-viz the truthfulness of historiography within the contemporary preoccupation with the representation and construction of the past with an eye to reflecting present needs.Item Reading violence: representation and ethics(2009-02-17T10:01:18Z) Thompson, Allan CampbellABSTRACT The textual representation of an instance of violence involves three principle considerations: a notion of representation, a conception of violence, and an inter-relationship between ethical and aesthetic evaluations. By investigating these considerations within the context of postmodern thought, a more sensitive perception of textual representations of violence becomes possible. Any representation, prior to being read and interpreted, has no predetermined meaning, and therefore no inherent value. It is only through a process of reading that verifiability, the principles of appraisal and personal cognition become actualised. As any text is necessarily iterable – subject to infinite (re)interpretation within an infinite number of future contexts – any interpretation is determined by the intersection of the iterable text and the historically situated reader. Violence, which is defined as an act of direct or indirect intentional harm against a person’s body or mind or property, may be experienced either as an event, or as a representation of an event. In instances of the representation of violence, the ethical perspective of the reader is influenced to a large extent by expectations of the text’s verifiability, the linguistic register of the text, and the inter-subjective ethical framework at the moment of reading the text. The aesthetic evaluation of the narrative, which is closely associated with its linguistic features, is also closely related to this ethical perspective. However, normative systems of ethics are often inadequate in the face of the plurality of meaning and possibilities inherent in representations of violence, and therefore a postmodern conception of ethical thought seems most appropriate. Textual instances of violence therefore have the potential for representing a multiplicity of experiences and ethical responses, without necessarily having to rely upon problematic normative obligations of systemisation or duty. A recognition of postmodern ethical ambiguity, combined with a flexibility of moral outlook, allows the reader to develop a more nuanced approach to the ethical predicaments suggested by the representation of violence.Item Representation of Coloured identity in selected visual texts about Westbury, Johannesburg(2008-11-11T13:22:29Z) Dannhauser, Phyllis D.In post-apartheid South Africa, Coloured communities are engaged in reconstructing identities and social histories. This study examines the representation of community, identity, culture and historic memory in two films about Westbury, Johannesburg, South Africa. The films are Westbury, Plek van Hoop, a documentary, and Waiting for Valdez, a short fiction piece. The ambiguous nature of Coloured identity, coupled with the absence of recorded histories and unambiguous identification with collective cultural codes, results in the representation of identity becoming contested and marginal. Through constructing narratives of lived experience, hybrid communities can challenge dominant stereotypes and subvert discourses of otherness and difference. Analysis of the films reveals that the Coloured community have reverted to stereotypical documentary forms in representing their communal history. Although the documentary genre lays claim to the representation of reality and authentic experience, documentary is not always an effective vehicle for the representation of lived experience and remembered history. Fiction can reinterpret memory by accessing the emotional textures of past experiences in a more direct way.Item Stirring whispers: fictionalising the 'popular' in the Kenyan Newspaper(2006-03-22) Ogola, George OtienoPopular fiction columns have been among the most resilient and versatile of the newspaper sub-genres in Kenya. Since the 1970s, these columns have remained a permanent feature in the Kenyan newspapers. Among the most popular of these columns is Whispers, a satirical column written by one of Kenya’s most talented writers of the 1980s—90s decades, Wahome Mutahi. At a time when the state had all but monopolised public sites of expression in the country, Whispers kept the Kenyan popular media porous, opening up spaces for the discussion of social and political issues that could only be ‘whispered’. This study gives a detailed discussion of this column against the historical dynamics of post-independence Kenya. I examine how Whispers became a public space where Kenya’s postcolonial existence, in its many contradictory faces was constantly interrogated. I argue that this column provided its readers certain ‘moments of freedom’; it was a site where the limits of social and political taboos were boldly tested. In Whispers, people could heartily laugh at authority, and at themselves, but ultimately reflect on the reasons for their laughter. By providing such a space for self-reflection and for the critique of society, I argue that the Kenyan newspaper became an important site of cultural production especially in the 1980s through the 1990s. The introductory parts of this thesis attempt a theorisation of the ‘popular’ and later trace the emergence of popular fiction as a category of critical literary exegesis in Kenya. I examine the beginnings and growth of popular fiction, focusing mainly on the role of the popular press. The median chapters examine how the Kenyan newspaper provides the space within which popular fiction interfaces with journalism to constitute ‘publics’, by drawing on popular cultural resources to mediate contemporary and topical issues. The thesis gives a detailed reading of the cultural forms that offer subject populations interpretive frameworks within which to make sense of their world. The last part of the thesis continues this discussion with an analysis of how the ‘popular’ mediates questions of power in postcolonial Kenya.