Faculty of Humanities (ETDs)
Permanent URI for this communityhttps://hdl.handle.net/10539/37922
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Item Memory, Trauma and Narrative in Yvonne Vera’s The Stone Virgins and Delia Jarrett-Macauley’s Moses, Citizen &Me(University of the Witwatersrand, Johannesburg, 2024) Mtongana, Lutho Siphe; Musila, Grace A.The notion of memory is a core fabric of identity and navigating human life both at individual level and collective levels. Therefore, when everyday life is disrupted by traumatic events such as wartime conflict, individual and shared memory becomes highly contested, especially when subaltern voices compete with dominant narratives. This thesis explores the role and power of memory in narrating trauma and violence in Yvonne Vera’s The Stone Virgins (2002) and Delia Jarrett-Macauley’s Moses, Citizen & Me (2005). By depicting how memory is at the centre of both texts, the study interrogates the ways in which the authors use memory as a narrative device to mediate healing, reconciliation and reintegration, or as a weapon of silencing survivors of traumatic wartime experiences. Using Sigmund Freud’s argument that trauma manifests both at the moment of distressing event and at the moment of recall of that event, the thesis interrogates the ways in which Vera and Jarrett-Macauley narrate trauma by cross mapping the representation of the Gukurahundi civil war in Zimbabwe and the decade-long civil war in Sierra Leone to the national politics of the respective countries. I argue that while the authors’ approaches to historical conflict differ — with Jarrett-Macauley utilising an expatriate narrator who takes on the role of mediation while Vera draws on history, art and landscape — both authors are concerned with inventing alternative routes to stitching together forms of multidirectional memory.Item She’s Not a Bad Girl, Brenda Fassie: Past, Present and Future, A Canon for the Construction of Post Colonial Feminist Consciousness(University of the Witwatersrand, Johannesburg, 2023-07) Qwesha, Qhama; Mupotsa, Danai S.In this research report, I examine the ways that icon Brenda Fassie operates as an important archive for the articulation of quotidian feminist consciousness. In paying close attention to the present re-emergence of Fassie in South African intimate publics that include idioms, modes, praxes, aesthetics, and consumptive forms that she currently figuratively circulates. I approach the question of an archive from two central sensibilities: first, with regards to authoritative narrative accounts related to her memorialization; and second, in the ways that her figure (re)appears in these intimate publics to reconfigure the meanings we attach to African femme/womanhood and sexualities. Looking to multiple archives is a methodological gesture at assembling a range of cultural objects that include her body of work, including the aural, visual, and aesthetic performance of her work; along with the archive of work produced with or about her that often situates itself around accounts of her biography. With this understanding of her archive, the approach is to see how Fassie figuratively operates, presenting contesting identities through which she can move in and out of multiple temporalities that are often contradictory. Fassie’s ability to transgress while equally forming a part of national historic discourse allows us to inquire into the ways that she complicates notions of gender and sexuality – and how these continue to shape current articulations of feminism in post-apartheid South Africa.